texts:
 Analysis
In his 1973 essay, "<mask>'s Ontological-Hysteric Theatre," theater critic Michael Kirby aptly breaks down the aesthetics of OHT through the case study of <mask>'s play Sophia = (Wisdom) Part 3: The Cliffs. Kirby uses the elements of setting, picturization, speech, written material, control, movement and dances, sound, objects, relation to film, structure, content, and effect to analyze <mask>'s theatrical vocabulary. Among his observations, Kirby notes that although "Sophia" is a play without a plot, it produces its own kind of structure of "thematic webs of visual and verbal ideas and references." <mask> achieves this visual structure through "picturization.' By picturization, Kirby means that <mask>'s staging is presented as "sequences of static pictures" in which the actors adjust themselves into tableaux as opposed to moving continuously throughout the play. Kirby also notes that <mask> makes use of written text that is projected on screens on the set. These projected words, Kirby describes, are both direct addresses to the spectator and "expository information".Kirby also writes about how <mask> literally controlled the pace and tempo of every performance of "Sophia." During the performance, <mask> would sit at a table in front of the stage, controlling the projections and sound cues. By acting as stage manager, <mask> was able to insert himself into he performance as it unfolded. Kirby also discusses the role of sound in <mask>'s plays. He writes, "Noise, too, serves as both background and as an explicit part of the action." At times, recordings of lines take over for the actors' actual voice, creating a sense of alienation. Ontological-Hysteric Incubator
The Ontological-Hysteric Theater prides itself on nurturing the talents of young and emerging theater practitioners.According to their website, "the OHT was a starting point for many artists making their mark in New York City and internationally including David Herskovitz, Artistic Director of Target Margin Theater, Damon Keily Artistic Director of American Theater in Chicago, Radiohole, Elevator Repair Service, Pavol Liska, NTUSA, as well as <mask>, Sophie Haviland, Bob Cucuzza, DJ Mendel, Ken Nintzle and Young Jean Lee." In 1993, OHT began their emerging artists program by initiating the Blueprint Series for emerging directors. In 2005, OHT reorganized their emerging artists program under the name INCUBATOR, "creating a series of linked programs to provide young theater artists with resources and support to develop process-oriented, original theatrical productions." The INCUBATOR programs include a residency program, two annual music festivals, a regular concert series, a serial work-in-progress program called Short Form, and roundtables and salons. The program received an OBIE grant in 2010. Collaborations and work outside of the Ontological-Hysteric Theatre
<mask>'s work has been primarily produced by and performed at the Ontological-Hysteric Theater in New York, though he has gained acclaim as director for such productions as Bertolt Brecht's The Threepenny Opera at Lincoln Center and the premiere of Suzan-Lori Parks's Venus at the Public Theater. Stage productions
<mask>'s plays have been co-produced by The New York Shakespeare Festival, La Mama Theatre, The Wooster Group, the Festival d'Autumn in Paris and the Vienna Festival.<mask> has collaborated (as librettist and stage director) with composer Stanley Silverman on eight music theater pieces produced by The Music Theater Group and The New York City Opera. He has also directed and designed many classical productions with major theaters around the world including, The Threepenny Opera, The Golem and plays by Václav Havel, Botho Strauss, and Suzan-Lori Parks for The New York Shakespeare Festival, Die Fledermaus at the Paris Opera, Don Giovanni at the Opera de Lille, Philip Glass's Fall of the House of Usher at the American Repertory Theater and The Maggio Musicale in Florence, Woyzeck at Hartford Stage Company, Molière's Don Juan at the Guthrie Theater and The New York Shakespeare Festival, Kathy Acker's Birth of the Poet at the Brooklyn Academy of Music and the RO theater in Rotterdam, Gertrude Stein's Doctor Faustus Lights the Lights at the Autumn Festivals in Berlin and Paris. Seven collections of his plays have been published, and books studying his work have been published in English, French, and German. Bridge Project
In 2004, <mask> established The Bridge Project with Sophie Haviland to promote international art exchange between countries around the world through workshops, symposiums, theater productions, visual art, performance and multimedia events. Major Works

Plays

Angelface, New York City (1968)
Ida-Eyed, New York City (1969)
Total Recall, New York City (1970)
HcOhTiEnLa (or) Hotel China, New York City (1971)
Dream Tantras for Western Massachusetts, Lennox, Massachusetts (1971) (music by Stanley Silverman)
Evidence, New York City (1972)
Sophia= (Wisdom) Part 3: The Cliffs, New York City (1972)
Particle Theory, New York City (1973)
Classical Therapy or A Week under the Influence ... , Paris (1973)
Pain(t), New York City (1974)
Vertical Mobility, New York City (1974)
Pandering to the Masses: A Misrepresentation, New York City (1975)
Rhoda in Potatoland (Her Fall-Starts), New York City (1975)
Livre des Splendeurs: Part One, Paris (1976)
Book of Splendors: Part Two (Book of Leaves) Action at a Distance, New York City (1977)
Blvd. de Paris (I've Got the Shakes), New York City (1977)
Madness and Tranquility (My Head Was a Sledgehammer), New York City (1979)
Place + Target, Rome (1980)
Penguin Touquet, New York City (1981)
Café Amérique, Paris (1981)
Egyptology, New York City (1983)
La Robe de Chambre de Georges Bataille, Paris (1983)
Miss Universal Happiness, New York City (1985)
The Cure, New York City (1986)
Film Is Evil: Radio Is Good, New York City (1987)
Symphony of Rats, New York City (1987)
Love and Science, Stockholm (1988)
What Did He See? New York City (1988)
Lava, New York City (1989)
Eddie Goes to Poetry City: Part One, Seattle (1990)
Eddie Goes to Poetry City: Part Two, New York City (1991)
The Mind King, New York City (1992)
Samuel's Major Problems, New York City (1993)
My Head Was A Sledgehammer, New York City (1994)
I've Got the Shakes, New York City (1995)
The Universe, New York City (1995)
Permanent Brain Damage, New York City (1996) (toured to London)
Pearls for Pigs, Hartford, Connecticut (1997) (toured to Montreal, Paris, Rome, Los Angeles, and New York City)
Benita Canova, New York City (1997)
Paradise Hotel (Hotel Fuck), New York City (1998) (toured to Paris, Copenhagen, Salzburg and Berlin)
Bad Boy Nietzsche, New York City (2000 (toured to Brussels, Berlin and Tokyo)
Now That Communism is Dead, My Life Feels Empty, New York City (2001) (toured to Vienna and the Netherlands)
Maria Del Bosco, New York City (2002) (toured to Singapore)
Panic!(How to Be Happy! ), New York City (2003) (toured to Zurich and Vienna)
King Cowboy Rufus Rules the Universe!, New York City (2004)
The Gods Are Pounding My Head! AKA Lumberjack Messiah, New York City (2005)
ZOMBOID! (Film/Performance Project #1), New York City (2006)
WAKE UP MR. SLEEPY! and Other Plays (2005)
Manifestos and Essays (2010)
 Plays with Films (New York: Contra Mundum Press, 2013)
Plays For The Public (Theatre Communications Group, 2019)

Awards and honors
<mask> has won seven Village Voice Obie Awards, including three for "Best Play", and one for Lifetime Achievement. In addition, he has received:

1972 – Guggenheim Fellowship for Playwriting
1974 – Rockefeller Foundation Playwrights Grant
1990 – Ford Foundation play development grant for Eddie Goes to Poetry City
1990 – National Endowment for the Arts (NEA) Distinguished Artist Fellowship for Lifetime Achievement in Theater
1992 – American Academy and Institute of Arts and Letters Award in Literature
1992 & 1995 – NEA Playwriting Fellowship
1995-2000 – MacArthur Fellowship
1996 – Edwin Booth Award for Theatrical Achievement
2001 – PEN/Laura Pels Theater Award Master American Playwright Award
2004 – Officer of the Order of Arts and Letters of France

See also

Marina Abramović
Avant-garde
Experimental theatre
The Flea Theater
Fluxus
Happenings
Dick Higgins
Intermedia
Allan Kaprow
Elizabeth LeCompte
Ontological-Hysteric Theater
Performance art
<mask>ner
Speculations: An Essay on the Theater
Mac Wellman
The Wooster Group

References
Notes

External links

Official website
The Fales Library Guide to the <mask> Papers
The Bridge Project
Foreman's EPC author page
More Hysteria Please!A conversation with Josefina Ayerza Lacanian Ink 12
UBU: Strong Medicine stream
<mask> on PennSound
<mask> in the Video Data Bank
Don't Disappear Into A Dream - A Conversation with <mask>
"In Dialogue: Snap Crackle Pop: Dancing in <mask>’s Brain" interview by Tommy Smith, The Brooklyn Rail, March 2007. <mask> papers, 1973-1987, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts

1937 births
20th-century American dramatists and playwrights
American opera directors
Brown University alumni
Living people
MacArthur Fellows
Officiers of the Ordre des Arts et des Lettres
Postmodern theatre
Yale School of Drama alumni
People from Scarsdale, New York
Scarsdale High School

masks:
Richard Foreman
Foreman
Foreman
Foreman
Foreman
Foreman
Foreman
Foreman
Foreman
Foreman
Richard Maxwell
Foreman
Foreman
Foreman
Foreman
Foreman
Richard Schech
Richard Foreman
Richard Foreman
Richard Foreman
Richard Foreman
Richard Foreman
Richard Foreman


type: original

texts:
<mask> (November 15, 1954 – May 7, 2010) was an American playwright, poet and scholar of Puerto Rican descent who wrote numerous books and received many literary awards. He was a professor of English and Creative Writing at the University of Toledo in Ohio. His work deals extensively with issues of immigration, Latino culture, and homosexuality. <mask> was openly gay and frequently wrote self-reflexive, autobiographical texts. He was the long-term partner of the American poet Glenn Sheldon. Biography
<mask> was born in Chicago, Illinois, to Puerto Rican parents. He began his career as a performance artist in the Chicago art galleries of the 1980s and eventually expanded into poetry, for which he has become best known.<mask> earned his Ph.D. in English and Cultural Studies from the University of Pittsburgh where he wrote his dissertation on issues surrounding the "Chicago Renaissance" that parallel the building of a contemporary Latino literary canon. He served as the co-Vice President of the Board of Directors for the Association of Writers & Writing Programs (AWP) and as the co-Chair for the 2009 Chicago Conference. His last public poetry reading was at SUNY/Brockport on March 31, 2010. His last three words to the public at that reading were: "Live. Then Write." Although it does not appear on the electronic version of the DVD Brockport made, it is quite audible on the YouTube clip immediately following a sampling of a Lady Gaga song which ended his poetry reading. Those three words were words he not only lived by but demanded of his creative writing students.<mask> died in the early morning of May 7, 2010 due to a cerebral hemorrhage. Critical reception
<mask> was included in the Heath Anthology of American Literature published in 2006; this book is commonly taught in English college classes in the U.S. He won the 2004–05 John Ciardi Poetry Prize for The Portable Famine; the 1997 Carl Sandburg Poetry Prize for his book The Singing Shark; and a 1997 Pushcart Prize for the poem "Breathing Lessons" as published in Ploughshares. Other awards include: Stonewall Books Chapbook Prize; The Sonora Review Chapbook Prize, the Hart Crane Memorial Poetry Prize, and a 2007 Ohio Arts Council Excellence Award in Poetry. Betsy A. Sandlin published an article on him ("Poetry Always Demands All My Ghosts: The Haunted and Haunting Poetry of <mask> <mask>") in a landmark issue of CENTRO: Journal of the Center for Puerto Rican Studies on Puerto Rican queer studies. Lawrence La Fountain-Stokes has also written about his work. Works

Books of poetry
Columbus's Orphan.Arcadia, Fl. : JVC books, 1993, . The Singing Shark. Tempe, AZ: Bilingual Press, 1996, . Pale Ramón. Cambridge, Mass. : Zoland Books, 1998, .Home Movies of Narcissus. Tucson: University of Arizona Press, 2002, . The Portable Famine. Kansas City, Mo. : BkMk Press, 2005, . The Roswell Poems. La Porte, Ind.: WordFarm, 2008, . Same-Sex Séances. New Sins Press, 2008, . The Buried Sea: New & Selected Poems. Tucson: University of Arizona Press, 2008, . The Sky's Weight. Turning Point Press, 2009, .White as Silver: Poems. West Somerville, MA: Cervená Barva Press, 2010, . Book of short stories
How to Name a Hurricane. Tucson: University of Arizona Press, 2005, . Performed plays
The Amateur Virgin, Buddha and the Señorita, Tiara Tango, Emily Dickinson in Bandages, A Family in Figleaves, Prayers for a Go-Go Boy, Honeymoon Rehearsals, House with Black Windows (with the poet Glenn Sheldon), Red House On Fire, and Horatio: An Inquisition

Published plays
 Dancing at Funerals: Selected Plays. Tokio and Toronto: ahadada books, 2010, . Buddha and the Señorita, Sex with the Man-in-the-Moon, Spanish Moon, Bed But No Breakfast, Fade to White (with the poets Glenn Sheldon and Diane Williams), Honeymoon Rehearsals, and A Lesson in Writing Love Letters

Awards and honors
 1985	Jane Chambers Playwriting Award.Also in The Latino Encyclopedia
 2007 	Nominated for a Pushcart Prize (by Poems & Plays) for A Lesson in Writing Love Letters, a one-act play
 2007–08   Ohio Arts Council Excellence Award in Poetry/State Grant
 2009  Inducted into the Ohio Center of the Book
 2009  Nominated for the 15th time for a Pushcart Prize by Saranac Review for  The Closet
 2009	Nominated for the 16th time for a Pushcart Prize by Aperture for "
 2009	The International Latino Literary Prize:  Honorable Mention in Poetry:  The Buried Sea: New and Selected Poems

Legacy
In 2012, Seven Kitchens Press announced the creation of the Rane Arroyo Chapbook Prize for an original, unpublished poetry manuscript. The editors for this prize are Eduardo C. Corral and Ron Mohring. The co-winners of the inaugural prize were Steven Alvarez and Rhett Watts. In 2015, <mask> <mask> - Poetry Foundation

1954 births
2010 deaths
Affrilachian Poets
American gay writers
LGBT people from Illinois
American people of Puerto Rican descent
Writers from Chicago
Deaths by intracerebral hemorrhage
University of Pittsburgh alumni
University of Toledo faculty
Chapbook writers
American LGBT poets
LGBT Hispanic and Latino American people
Gay academics
20th-century African-American people
21st-century African-American people
African-American male writers

masks:
Ramón Arroyo
Arroyo
Ramón Arroyo
Arroyo
Arroyo
Arroyo
Rane
Arroyo
Arroyone
Arroyo


texts:
<mask> (3 December 1898–28 October 1964) was an English author and devotee of Japanese culture. He is most famous for his writings on Zen and on haiku poetry. Early life
<mask> was born in Essex, England, the son of a railway clerk. He was the only child of <mask> and <mask>. He attended Cleveland Road Primary School, in Ilford, then the County High School (later Ilford County High School). In 1916, at the height of World War I, he was imprisoned at Wormwood Scrubs, as a conscientious objector, before working on the Home Office Scheme at Princetown Work Centre in the former and future Dartmoor Prison. After the war he attended the University of London, where he read English and from which he graduated in 1923, with honours.He adopted a vegetarian lifestyle which he maintained throughout his life. Blyth played the flute, made musical instruments, and taught himself several European languages. He was particularly fond of the music of J.S. Bach. In 1924, he received a teaching certificate from London Day Training College. The same year, he married Anna Bercovitch, a university friend. Some accounts say they moved to India, where he taught for a while until he became unhappy with British colonial rule, other scholars dismiss this episode, claiming it to have been invented or misunderstood by Blyth's mentor Daisetz T. Suzuki.Korea (1925–1935)
In 1925, the Blyths moved to Korea (then under Japanese rule), where <mask> became Assistant Professor of English at Keijo University in Seoul. While in Korea, <mask> began to learn Japanese and Chinese, and studied Zen under the master Hanayama Taigi of Myōshin-ji Keijo Betsuin (Seoul). In Korea he started to read D. T. Suzuki's books about Zen. In 1933, he informally adopted a Korean student, paying for his studies in Korea and later at London University. His wife parted from him in 1934 and <mask> took one-year absence from the university in 1935, following her to England. After the divorce, Blyth returned to Korea in early 1936, leaving the adopted son with his ex-wife. The adopted son returned after World War II to Korea.In 1947 he was captured by North Korean soldiers; when he returned to the South, he was shot as a traitor by the South Korean army. Japan (1936–1964)
Having returned to Seoul in 1936, <mask> remarried in 1937, to a Japanese woman named Kijima Tomiko, with whom he later had two daughters, <mask> and Harumi <mask>. 1940 they moved to Kanazawa, D. T. Suzuki's home town, in Japan, and Blyth took a job as English teacher at the Fourth Higher School (later Kanazawa University). When Britain declared war on Japan in December 1941, following the Japanese attack on Pearl Harbor, bringing Japan into World War II, Blyth was interned as a British enemy alien. Although he expressed his sympathy for Japan and sought Japanese citizenship, this was denied. During his internment his extensive library was destroyed in an air raid. In the internment camp in Kobe he finished his first book Zen in English Literature and Oriental Classics and wrote parts of his books about haiku and senryu.He also met in the camp Robert Aitken, later Roshi of the Diamond Sangha in Honolulu. After the war, Blyth worked diligently with the authorities, both Japanese and American, to ease the transition to peace. Blyth functioned as liaison to the Japanese Imperial Household, and his close friend, Harold Gould Henderson, was on General Douglas MacArthur's staff. Together, they helped draft the declaration , by which Emperor Hirohito declared himself to be a human being, and not divine. By 1946, <mask> had become Professor of English at Gakushuin University, and became private tutor to the Crown Prince (later emperor) Akihito until the end of his [Blyth's] life. He did much to popularise Zen philosophy and Japanese poetry (particularly haiku) in the West. In 1954, he was awarded a doctorate in literature from Tokyo University, and, in 1959, he received the  (Order of Merit) Fourth Grade.<mask> died in 1964, probably of a brain tumour and complications from pneumonia, in the Seiroka Hospital in Tokyo. He was buried in the cemetery of the Shokozan Tokei Soji Zenji Temple in Kamakura, next to his old friend, D. T. Suzuki. Blyth's posthumous Buddhist name is Bulaisu Kodo Shoshin Koju. He left the following death poem:

Works
Blyth produced a series of work on Zen, haiku and , and on other forms of Japanese and Asian literature. He wrote six books on haiku (1949–52, 1963–64) and two books on  (1949, 1960), four books on humour in Asian and English literature (1957, 1959(a), 1959(b), 1961), as well as seven books on Zen (1942, 1952, 1960–64; posthumous 1966, 1970). Further publications include studies of English literature (1942, 1957, 1959(b)) and a three-fifths shortened version of A Week on the Concord and Merrimack Rivers by his favourite author Henry David Thoreau, along with an introduction and explanatory notes. The most significant of his publications was his four-volume Haiku series (1949–52), his Zen in English Literature and Oriental Classics and his five-volume Zen series.Nearly all of his books were published in Japan, by Hokuseido Press, Tokyo. Blyth and Zen
The actual 5-volume Zen and Zen Classics series is a modification by the publishers, caused by the unexpected death of Blyth, of the originally planned 8-volume project, which included a translation of the  (Piyenchi), a History of Korean Zen and of Japanese Zen (Dogen, Hakuin etc.) and a renewed edition of his 'Buddhist Sermons on Christian Texts' as volume 8; (as a result of the modification the already published volume 7 was reprinted as volume 5). According to D.T. Suzuki, the Zen series should have been "the most complete work on Zen to be presented so far to the English-reading public". The first volume presents a general introduction from the Upanishads to Huineng. Volume two and three presents a history of Zen from the Seigen Branch to Nangaku Branch, and volume five contains 25 essays on Zen.In volume four, Blyth translates the  (Wumenkuan). Blyth's  was the third complete translation into English, but the first one which was accompanied by extensive interpretive commentaries on each case. Blyth's early publication Zen in English Literature and Oriental Classics, published 1942 when he was interned in Japan during World War II, and his Zen and Zen Classics series exerted a significant influence on the Western writers and Zen community, although nearly all of his books were published solely in Japan. To his "Zen-audience" belonged Aldous Huxley, Henry Miller, Lawrence Durrell, J. D. Salinger, Robert Shea and Robert Anton Wilson as well as Alan Watts, Christmas Humphreys, Robert Aitken, Katsuki Sekida, Donald Richie, Raymond Smullyan, Janwillem van de Wetering ("a Zen priest told me "Blyth talked too much - the man should have been throttled at birth"") and Osho ("about Zen and Zen poetry - haiku - he was one of the most authoritative persons in the world"). Haiku and
In an autobiographical note, Blyth writes: "By a fortunate chance I then came across haiku, or to speak more exactly , the Way of Haiku, which is the purely poetical (non-emotional, non-intellectual, non-moral, non-aesthetic) life in relation to nature. Next, the biggest bit of luck of all, Zen, through the books of Suzuki Daisetz ... Last but not least there appeared , which might well be dignified by the term , the Way of , for it is an understanding of all things by laughing and smiling at them, and this means forgiving all things, ourselves and God included". Blyth wrote six books on haiku and four books on humour and , the genre sister of haiku: "In haiku things speak for themselves with the voice of a man, in  things do not speak; we speak and speak for ourselves".<mask> wrote that in  the world is 'not seen as God made it' but 'as man sees it'; 'to haiku, sex hardly exists; to , it is all pervading ... a great many deal with the subject of the Yoshiwara...'

After early imagist interest in haiku the genre drew less attention in English, until after World War II, with the appearance of a number of influential volumes about Japanese haiku. In 1949, with the publication in Japan of the first volume of Haiku, <mask>'s four-volume work, haiku was introduced to the post-war Western world. His Haiku series (1949–52) was dealing mostly with pre-modern haiku, though included Masaoka Shiki; later followed his two-volume History of Haiku (1963–64). Today he is best known as a major interpreter of haiku and  to English speakers. Many contemporary Western writers of haiku were introduced to the genre through his Zen-based haiku explanations. These include the San Francisco and Beat Generation writers, Gary Snyder, Philip Whalen, Jack Kerouac and Allen Ginsberg, as well as J. D. Salinger ("...particularly haiku, but , too...can be read with special satisfaction when R. H<mask> was on them. Blyth is sometimes perilous, naturally, since he's a highhanded old poem himself, but he's also sublime"), Octavio Paz, E. E. Cummings, and (probably) Luke Rhinehart.Many members of the international "haiku community" also got their first views of haiku from Blyth's books, including American author James W. Hackett (born 1929), Eric Amann, William J. Higginson, Anita Virgil, Jane Reichhold, and Lee Gurga. The French philosopher and semiotician Roland Barthes read 1967 Blyth's four-volume set, using it for lectures and seminars on haiku 1979. Some noted Blyth's distaste for haiku on more modern themes, some his strong bias regarding a direct connection between haiku and Zen, a connection largely ignored by modern Japanese poets. Bashō, in fact, felt that his devotion to haiku prevented him from realising enlightenment; and classic Japanese haiku poets like Chiyo-ni, Buson, and Issa were Pure Land (Jodo) rather than Zen Buddhists. Some also noted that Blyth did not view haiku by Japanese women favourably, that he downplayed their contribution to the genre, especially during the Bashō era. In the chapter 'Women Haiku Writers' Blyth writes: "Haiku for women, like Zen for women, - this subject makes us once more think about what haiku are, and a woman is…Women are said to be intuitive, and as they cannot think, we may hope this is so, but intuition…is not enough… [it] is doubtfull... whether women can write haiku". Although Blyth did not foresee the appearance of original haiku in languages other than Japanese when he began writing on the topic, and although he founded no school of verse, his works stimulated the writing of haiku in English.At the end of the second volume of his History of Haiku, he remarked 1964 that "The latest development in the history of haiku is one which nobody foresaw... the writing of haiku outside Japan, not in the Japanese language." He followed that comment with a number of original verses in English by Hackett with whom Blyth corresponded:

Blyth's Zen

"...and when we say, "What is the meaning of life?" the spiritual life, spontaneously generated up to that moment, is extinguished, the world is a darkness that can be felt. However, the question has been asked; the man is sick, it is too late to recapitulate the laws of health, he needs medicine"
 "What is Zen? Zen is the unsymbolisation of the world and all the things in it"
 'most of the world's trouble are due to grammar'
 "...we objectify things which are no objects, subjectify persons who are not subjects, and suffer the consequences of this"
 "Worry is the great enemy … what is wrong is not the pain and grief suffering,

masks:
Reginald Horace Blyth
Blyth
Horace
Henrietta Blyth
Blyth
Blyth
Blyth
Blyth
Nana Blyth
Blyth
Blyth
Blyth
Blythe
Blyth
. Blyth


texts:
 but thinking about ourselves as sufferers"
 "The intellect beats its wings in vain against the bars of [the] intellectual cage"
 "You are going to swat a fly; it comes and sits on the fly-swat itself; what will you do in such a case?" "According to Buddha, the object of life is satori, enlightenment, and this continued and continuous state is Nirvana, but since sin is only the illusion that sin is sin, since enlightenment is illusion and illusion is enlightenment, all this business of salvation and the endeavour to be enlightened is the most blithering nonsense"
 ".. how about all the poor unenlightened chaps, or those who have died five minutes before they became enlightened? No, No!The universe must suffer, in being what it is, and we must suffer with it. The universe has joy … and we must be happy with it. Above all, the universe is a paradox, and we must laugh with and at it." "Suppose a man practises ascetism for ten years and the day before he is going to be enlightened, - he dies! Was it worth it all?... The orthodox will say that he will get enlightenment very soon and easily in the next life, but there's no end to nonsense." "...supposes a fairly long life.and what, for example, is the sense of struggling for enlightenment if the day after we get it (and perhaps the day before) we die? we must get something this moment, in a world in which every next moment may be our last." " [the] history of the development of Mahayana Buddhism, the gradual realisation that without illusion and bondage there can be no enlightenment and release, and the further Zen discovery of the … fact that illusion is, without any change, enlightenment, the ordinary man is, as he is, the Buddha"
 "...the activeness of Zen, compared with the passivity of most forms of Buddhism…"
 "'Raising waves where there is no wind' is a favourite expression in Zen, signifying that there is no problem of life. Things are as they are, and as they are becoming, and once you realise this in its active, not resigned meaning, there is nothing really to worry about"
 "This attitude of life, of willing acceptance of all that comes, or rather, all that we come to, for our attitude to life must be active and not passive…"
 "There are indeed four attitudes to the world, (depending to our attitude to our own being): opposition, resignation, cooperation, and domination. We are continually moving among them. Zen is the last." "Really to laugh at oneself, and laugh at oneself laughing at oneself, - this is enlightenment"
 "...I feel inclined to warn you against a humourless Zen. The secret of life consists in being always and never serious!" "Humour is the origin of life. Humour is the meaning of life. Humour is the object of life. But don't take it too seriously!" "… laughter is the result and the evidence of the perception of the (intellectually contradictory) whole truth.Again, humour or its invariable concomitant laughter … is not a means, it's the end, enlightenment itself"
 '...when Shuilao was asked what his enlightenment was, he answered, "Since the master [Matsu] kicked me, I have not been able to stop laughing"'
"Zen is laughing at the world, laughing with the world"

"the Bible of Zen, the Mumonkan plus the Hekiganroku, is the universe laughing at itself"

 while reading this sutra,
 I began to laugh ...
 without knowing why

"Zen is the essence... of all that is good in the daily life of the ordinary people. But that does not mean that we are not to smash it flat if we get the slightest opportunity. And we are not going to attack foxy (false) Zen, or the hypocrites and time-servers who support it, but Zen itself in its highest and sublimest forms … the great thing is to have the courage, and say again and again, "All that can be shaken shall be shaken!" and if nothing remains, let it be so"

 "Zen, it must be admitted, is the selfish side of the doctrine of selflessness that comes down through the Mahayana. Zen has a very weak missionary spirit, and for that reason interferes very little with other people's lives. It does not have, and does not want, the excuse to force people into Heaven"
 "A Zen society is unthinkable in so far as it consists of (celibate) monks. A sexless society is a contradiction in terms, and a Zen society of laymen and laywomen of the traditional type would be a return to (religious) feudalism...The Zen sect has always been, like Athens, a state of "free" men among slaves, living on them more or less, and with no desire to free them socially, politically or financially. It has no view of society, no idea of human progress, material or spiritual. It is always all things to all men, and will support any government, fascistic or communistic or democratic. Its organization is unchangeable feudalistic, though on special occasions it has an All Fools' Day when an absolute equality is de rigueur. The opinion of Zen adepts on world affairs has invariably been a patriotic opportunism dressed in Buddhist platitudes...; the greatest happiness of the greatest number of people has been the least of its concerns"
 "What was, is, and always will be wrong with Buddhism of course is the –ism. A system of doctrine, rules of morality, and above all the Sangha itself means religious mass suicide…the Indian hatred of women persisted; sex was omitted, and the monastery could not be self-subsisting, since new members were constantly needed. Thus the life of the Zen monastery, however earnest and active it may have once been, was always a farce…Zen has not yet taught us how to be fathers and mothers and citizens.It is still a thing for monks, at least for men, and especially for old men"
 "The least admirable part of Buddhisms is its attitude to sex. The Buddha accepted women into the Sangha with the utmost unwillingness, and indeed prophesied that they would be the ruin of his system …In actual fact one of the reasons for the decline of Buddhism in India was the resurgence of Tantrism with its female deities and esoteric eroticism ... This attitude has been continued in Zen, which is thus Buddhist in its defects as well as its virtues. Occasionally women, usually old hags, appear in the Zen anecdotes ---"Some of these old Chinese women were more than a match for the greatest Zen masters [Joshu, Tokusan, Nansen, Mayoku, (Rinzai); Kanzai]…"---, but the enlightenment of women is conspicuous by its absence, and sex problems are conveniently forgotten"... "Zen is not for women and women (but see Mumonkan Case XLII) are not for Zen. So much the worse for both. Buddhism has always been anti-feminist…"... "What claim can Zen possibly have to universality when it ignores one half of humanity [women], and assumes sexlessness, that is halflessness, in the other?" Bibliography (in chronological order)

Zen in English Literature and Oriental Classics, The Hokuseido Press, 1942, reprint 1996; Dutton 1960, ; Angelico Press 2016,
Haiku, in Four Volumes, Volume 1: Eastern Culture.Volume 2: Spring. Volume 3: Summer-Autumn. Volume 4: Autumn-Winter. The Hokuseido Press, 1949-1952; Reprint The Hokuseido Press/Heian International, 1981, ; Reprint Angelico Press, 2021, ISBN 978-1621387220
 Senryu: Japanese Satirical Verses, The Hokuseido Press, 1949; Reprint Greenwood Press, 1971
Translation: Japanese Cookbook (100 Favorite Japanese Recipes for Western Cooks) by Aya Kagawa, D.M., Japan Travel Bureau, 1949, 14. print Rev.&Enlarged 1962, 18. print Enlarged 1969
A First Book of Korean, by Lee Eun and R. H. Blyth, The Hokuseido Press, c. 1950, Second Improved Edition, 1962
A Shortened Version of A Week on the Concord and Merrimack Rivers by Henry David Thoreau with Introduction and Notes by R. H<mask>, The Hokuseido Press, (1951)
Buddhist Sermons on Christian Texts, Kokudosha 1952; Heian International, 1976,
Ikkyu's Doka; in: The Young East, Vols II.2 - III.9, Tokyo, 1952-1954; Reprint in: Blyth, Zen and Zen Classics, Vol. 5, 1966
Japanese Humour,  Japan Travel Bureau, 1957
A Survey of English Literature, from the Beginnings to Modern Times, The Hokuseido Press, 1957
Oriental Humour, The Hokuseido Press, 1959(a)
Humour in English Literature: A Chronological Anthology, The Hokuseido Press, 1959(b); Reprint Folcroft Library Editions, 1973,
Japanese Life and Character in Senryu, The Hokuseido Press, 1960. Edo Satirical Verse Anthologies, The Hokuseido Press, 1961; Heian International 1977,
A History of Haiku in Two Volumes. Volume 1: From the Beginnings up to Issa, 1963, .Volume 2: From Issa up to the Present, The Hokuseido Press, 1964,
Zen and Zen Classics, in Five Volumes (planned set of 8 Volumes), Volume 1: General Introduction, from the Upanishads to Huineng, 1960, ; also reprinted as 'What is Zen? General Introduction…', . Volume 2: History of Zen (Seigen Branch),1964, . Volume 3: History of Zen (cont'd) (Nangaku Branch), 1970 (posthumous; edited by N.A. Waddell and N. Inoue). Volume 4: Mumonkan, 1966 (posthumous); reprint 2002 under the title 'Mumonkan - The Zen Masterpiece. Volume 5: Twenty-Five Zen Essays (wrong subtitle on Dust Jacket 'Twenty-Four Essays'), (first published as Volume 7, 1962), reprinted 1966, .The Hokuseido Press
 Translation: Ikkyu's Skeletons (with N. A. Waddell), in: The Eastern Buddhist, N.S. Vol. VI No. 1, May 1973
Poetry and Zen: Letters and Uncollected Writings of R. H<mask>. Edited by N. A. Waddell, Shambala Publ., 2022, ISBN 978-1-61180-998-5Selection:Games Zen Masters Play: Writings of R. H. <mask>, Edited by Robert Sohl and Audrey Carr, Signet, 1976,
Selections from R.H<mask>, Zen and Zen Classics. Compiled and with Drawings by Frederick Franck, Vintage Books, 1978,
Essentially Oriental. R. H. Blyth Selection, Edited by Kuniyoshi Munakata and Michael Guest, Hokuseido Press, 1994,
The Genius of Haiku.Readings from R. H.<mask> on poetry, life, and Zen. With an Introduction by James Kirkup, The British Haiku Society, 1994, ; The Hokuseido Press, 1995, Writings/Textbooks for Students:'''
 Writings/Textbooks for Students (most of them at the University of Maryland, Hornbake Library, Gordon W. Prange Collection) include: R.L. Stevenson: Will O' the Mill, 1948; Selections from Thoreau's Journals, 1949; William Hazlitt: An Anthology, 1949; The Poems of Emerson: a Selection, 1949; A Chronological Anthology of Nature in English Literature, 1949; An Anthology of English Poetry, 1952; Dorothy Wordsworth's'' Journals (with Introduction and Footnotes), Hokuseido Press, 1952, ; R. L. Stevenson, Fables: with introduction and notes by R. H. <mask>, Nan'un-Do, Tokyo 1953; How to Read English Poetry, Hokuseido Press, (c.1957) 1958, 1971
Writings/Textbooks for Students (Publishing Unclear) include: An Anthology of Nineteenth Century Prose, 1950; Thoughts on Culture, 1950; A Chronological Anthology of Religion in English Literature, 1951; English Through Questions and Answers, 1951;  Easy Poems, Book 1 and 2, 1959; More English through Questions and Answers, 1960;

References

External links

Blyth on Zen and haiku, pictures, links
Visiting Blyth's Home (Hackett)
Chronology, bibliography, links, quotes by Michael P. Garofalo. Accessed 2008-10-10
Blyth and haiku, links, pictures
Blyth's Zen, links, pictures
Blyth Papers - Duke University
Remembering R. H. Blyth (Robert Aitken)

1898 births
1964 deaths
British expatriates in Japan
British Japanologists
British expatriates in Korea
British conscientious objectors
Alumni of the University of London
People from Essex
People educated at Ilford County High School
Kanazawa University faculty
20th-century English male

masks:
. Blyth
. Blyth
Blyth
. Blyth
Blyth
Blyth


texts:
Benjamin Hammond Haggerty (born June 19, 1983), better known by his stage name <mask> ( ; formerly <mask>), is an American rapper. A native of Seattle, Washington, he has collaborated with producer Ryan Lewis as the duo Macklemore & Ryan Lewis. His releases to date include one mixtape, three EPs, and four albums. <mask> and Lewis's single "Thrift Shop" (featuring Wanz) reached number one on the U.S. Billboard Hot 100 in 2013. The single was dubbed by Billboard as the first song since 1994 to top the Hot 100 chart without the support of a major record label; however <mask>, in a slightly unusual recording contract, pays a nominal percentage of sales to use Warner Bros. Records's radio promotion department to push his singles. Their second single, "Can't Hold Us", also peaked at number one on the Hot 100 chart, making <mask> and Lewis the first duo in the chart's history to have their first two singles both reach the peak position.Their debut studio album The Heist was released on 9 October 2012, and charted at number 2 on the U.S. Billboard 200. The duo won four Grammy Awards at the 2014 ceremony, including Best New Artist, Best Rap Album (The Heist), Best Rap Song and Best Rap Performance ("Thrift Shop"). <mask> and Lewis's second album, This Unruly Mess I've Made, was released on February 26, 2016. In June 2017, <mask> released "Glorious", a single featuring Skylar Grey, which marked his return to the music industry as well as his first major single produced without Lewis since his mainstream breakthrough. <mask> released a second solo studio album, Gemini, in September that year. Early life and influences
Ben Haggerty was born in Seattle, Washington, on June 19, 1983, one of two sons born to Bill Haggerty and Julie Schott.He was raised with his brother Tim in Seattle's Capitol Hill neighborhood. He has Irish heritage. Haggerty was six years old when hip hop first came into his life by way of Digital Underground. According to a YouTube interview, he listened to "parental advisory" music from the radio when he was an underage youth. At the age of 15, he began to write lyrics. At the time he started to sing, Haggerty listened to "a lot of East Coast underground hip hop", listing Hieroglyphics, Freestyle Fellowship, Aceyalone, Living Legends, Wu-Tang Clan, Mobb Deep, Nas, and Talib Kweli as his major influences. He was interested in reaching a younger generation through his music and became part of a program focusing on education and cultural identity called "Gateways for Incarcerated Youth", where he facilitated music workshops.Haggerty attended Garfield High School and Nathan Hale High School. At Hale, he developed the stage name "Professor Macklemore" for an art project involving a made-up superhero, and at Garfield, he started a hip-hop group named Elevated Elements with other students. The group released an album, Progress, in 2000. Haggerty enrolled at the College of Santa Fe for a year, later saying in an interview that "[i]t was a very pivotal time in a lot of ways. Santa Fe was the place where I got good at rapping". After not getting into the music program, he moved back to Seattle. Haggerty later enrolled at The Evergreen State College and completed his bachelor's degree in 2009.Career

2000–2008: The Language of My World

In 2000, Haggerty recorded a mixtape titled Open Your Eyes under the name <mask>, which he distributed himself and released on October 21, 2000. Haggerty dropped "Professor" from his name and began working on his first official full-length album, called The Language of My World. The album was released on January 1, 2005, with its lead single, "Love Song", being announced the same day. "Love Song" featured singer Evan Roman, and was produced by Budo, who would later go on to produce several more tracks for Macklemore. In 2006, Haggerty first met his future collaborator Ryan Lewis. Lewis, who would go on to release two albums with Haggerty as Macklemore & Ryan Lewis, spent a few years working on Macklemore's promotion as a photographer. The two musicians would soon become good friends but would not formalize their collaborative efforts until 2009.In the meantime, <mask> kept busy as a solo artist, appearing on The Physics's song "Good" in 2009, as well as performing at the Seattle major arts and music festival Bumbershoot in 2006, 2009, and 2011. <mask>'s second mixtape, The Unplanned Mixtape, was released on September 7, 2009. It would later reach No. 7 on the iTunes Hip Hop chart. The mixtape was accompanied by the singles "The Town" and "And We Danced", the latter of which featured singer Ziggy Stardust. "The Town" was later remixed by Sabzi of the Blue Scholars. 2009–2017: Career with Ryan Lewis
In 2009, <mask> and Ryan Lewis formalized the collaboration as a duo <mask> & Ryan Lewis.They released the EP The VS. EP. They also released "Irish Celebration" in December 2009 in anticipation of the release of The Vs. EP. In March 2010, the duo released "Stay At Home Dad", a track that didn't quite make Vs. In October 2010, they created the VS. Redux EP. <mask> used his experience with substance abuse to create the mixtape's song "Otherside", which samples the Red Hot Chili Peppers song of the same title. On April 8, 2011, <mask> and Ryan Lewis performed the song at the 2011 Mariners Opening Day in-front of a sold-out crowd of nearly 48,000 attendees. "Wings" was released on January 21, 2011, followed by "Can't Hold Us" featuring Ray Dalton on August 16, 2011.In February 2011, Macklemore and producer Ryan Lewis kicked off a multi-city tour in Seattle, Washington, which included three sold-out shows at Showbox at the Market, a Seattle music venue. That same year, the rapper appeared at many U.S. music festivals, including Bumbershoot, Outside Lands, Lollapalooza, Rock the Bells, SoundSet,  Sasquatch, and Bonnaroo. Their album The Heist was released in October 2012 and debuted on the U.S. Billboard 200 at number 2 of the week dated October 27, 2012, selling over 78,000 copies. "Same Love" was released on July 18, 2012 and after "White Walls". In January 2013, Music Choice featured Macklemore in the brand new series "Primed", which focuses on emerging artists. In May 2013, Haggerty was featured on Clinton Sparks's single "Gold Rush", along with 2 Chainz and D.A.The Heist World Tour began in August 2012 to promote The Heist. In January 2015, <mask> announced via Twitter that his third studio album would be released sometime in the second half of that year. Despite this, the album was not released until February 26, 2016. On August 5, 2015, <mask> released a song for free download titled "Growing Up (Sloane's Song)", which features Ed Sheeran. On 27 August 2015, he released a new song called "Downtown" which features Foxy Shazam vocalist Eric Nally, Kool Moe Dee, Melle Mel, and Grandmaster Caz, which he performed at the 2015 MTV Video Music Awards on August 30. On his first tour in two years, An Evening with <mask> and Ryan Lewis, <mask> announced that his new album was finished and ready for release. On January 15, 2016, <mask> released a teaser video on his YouTube channel revealing the name of his third studio album, This Unruly Mess I've Made, and announcing that it was scheduled to be released on February 26, 2016.On January 22, 2016, the duo released "White Privilege II", the second single on This Unruly Mess I've Made. On February 26, 2016, <mask> and Ryan Lewis released the album This Unruly Mess I've Made. Also in 2016, Macklemore released two solo singles, "Drug Dealer" and "Wednesday Morning". "Drug Dealer" features <mask> rapping about his previous addictions and is featured in a documentary that includes clips of Macklemore discussing drug abuse with President Barack Obama. "Wednesday Morning" was released after the 2016 US Election and features <mask> rapping about the political future of the country. The tracks were produced by Budo. On June 15, 2017, <mask> announced via his official Instagram that the duo were on hiatus.2017–present: Gemini
On June 15, 2017, <mask> released "Glorious", featuring American singer Skylar Grey, as the lead single from <mask>'s second solo studio album Gemini. On July 26, 2017, <mask> released "Marmalade", featuring American rapper Lil Yachty, as the second single from Macklemore's upcoming album. "Good Old Days", a collaboration with Kesha, was released as a single on October 9, 2017. <mask> released Gemini on September 22. The album was produced by longtime collaborator Budo. On October 1, <mask> performed "Same Love" in a set at the opening of the Grand Final of the National Rugby League in Sydney, Australia — something that was considered by some to be controversial in the middle of a national survey on same sex marriage. <mask> stated that it was one of his best performances due to the circumstances and thanked the fans in Sydney for the reception that he received throughout.On December 11, 2017, <mask> announced an upcoming co-headlining tour with Kesha titled The Adventures of Kesha and <mask>. This is <mask>'s fifth headlining tour, promoting his album Gemini and Kesha's sixth headlining tour, promoting her third solo album Rainbow (2017) The tour began in Phoenix on June 6, 2018, and concluded in Tampa on August 5, 2018. Personal life

<mask> became engaged to his girlfriend of seven years, Tricia Davis, on January 21, 2013. On January 3, 2015, he announced on Twitter that he and his fiancée were expecting their first child that May. After the release of "Growing Up (Sloane's Song)", which featured English singer-songwriter Ed Sheeran, the couple announced that their daughter, Sloane Ava Simone Haggerty, had been born on May 29. Following the birth of Sloane, they married on June 27, 2015. In September 2017, the couple announced that they were expecting their second child.On April 3, 2018, <mask> announced during a performance at the 3Arena that his wife had given birth to their second daughter. He did not tell the crowd her name. <mask> voiced his support of LGBT rights and same-sex marriage in the song "Same Love", which also condemns homophobia in mainstream hip-hop, society, and mass media. In August 2008, <mask> admitted himself into rehab for drug addiction and alcoholism, and celebrated three years of sobriety before a brief relapse in 2011, which he describes in his song "Starting Over". He said in a 2012 documentary that he spent most of his twenties trying to combat his addictions and destructive way of life: On September 29, 2018, <mask> headlined Recovery Fest in Pawtucket, Rhode Island. Recovery Fest was formed to have a drug- and alcohol-free concert and support charities that worked in combating opioid addiction. <mask> dedicated his song "My Oh My" to sportscaster Dave Niehaus, who died in November 2010, with a performance before 50,000 fans who attended the 2011 Mariners Opening Day at Safeco Field.Following the performance, <mask> and Ryan Lewis were each awarded a custom jersey embedded with a Mariners patch. Ryan Lewis announced that all proceeds from the song benefit the Rainier Vista Boys and Girls Club. <mask> is also a fan of the Seattle Seahawks and created a 12th Man promotional video as well as performed at the 2014 NFC Championship game in Seattle. <mask> is still a fan of the now-relocated Seattle SuperSonics, as he can be seen sporting a Sonics jersey at times. In August 2019, <mask> joined the ownership group of Seattle Sounders FC, the local Major League Soccer club. He is also a fan of the Seattle Kraken of the National Hockey League. <mask> also has an eclectic taste in art, including outlandish garments spouting sequins, fringe and feathers, a kitschy velvet painting of a bald eagle, an oil painting of Drake dancing and a Dan Lacey painting of a nude Justin Bieber.On May 14, 2016, <mask> appeared in Barack Obama's weekly address to talk about the dangers of addiction to opioids and prescription painkillers. <mask> talked about his own experiences with abuse of painkillers, stating "When you're going through it, it's hard to imagine anything being worse than addiction. But the shame and stigma associated with the disease keeps too many people from seeking the help they actually need. Addiction isn't a personal choice or a personal failure." On July 28, 2017, <mask> was involved in a head-on collision in Langley, Washington, but was unharmed. On May 16, 2019, <mask> received the Stevie Ray Vaughan Award from MusiCares, in recognition of his support of MusiCares and the addiction recovery process. In 2021, <mask> and his wife had their third child, Hugo.Discography

Solo albums
 The Language of My World (2005)
 Gemini (2017)

With Ryan Lewis
 The Heist (2012)
 This Unruly Mess I've Made (2016)

Filmography

See also
Macklemore & Ryan Lewis
List of awards and nominations received by Macklemore & Ryan Lewis
Ryan Lewis

References

Further reading

External links

1983 births
Activists from Seattle
American people of Irish descent
Grammy Award winners for rap music
Hip hop activists
LGBT rights activists from the United States
Living people
Musicians from Seattle
Rappers from Seattle
Rappers from Washington (state)
Evergreen State College alumni
West Coast hip hop musicians
American male rappers
Garfield High School (Seattle) alumni
Indie rappers
Pop rappers
Ryan Lewis
21st-century American rappers

masks:
Macklemore
Professor Macklemore
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texts:
<mask> (1941–2013) was an American ethicist, political philosopher, and public intellectual. She was the Laura Spelman Rockefeller Professor of Social and Political Ethics in the University of Chicago Divinity School with a joint appointment in the department of political science. Biography

Early life
<mask> was born on January 6, 1941, to <mask> and Hellen Lind in Windsor, Colorado. She grew up in Timnath, Colorado. She was from a Lutheran background. She received a Bachelor of Arts degree from Colorado State University and master's degrees in history from the University of Wisconsin–Madison and the University of Colorado. She received her Doctor of Philosophy degree from Brandeis University in Massachusetts in 1973, writing her dissertation on Women and Politics: A Theoretical Analysis.Career
<mask> taught from 1973 to 1988 at the University of Massachusetts and then from 1988 to 1995 she taught at Vanderbilt University as the first woman to hold an endowed professorship. <mask> was selected as a Phi Beta Kappa scholar, a Fellow of the American Academy of Arts and Sciences, a Fellow at the Institute for Advanced Study in Princeton, New Jersey, a Guggenheim Fellow, and recipient of nine honorary degrees. In 1995 she became a professor at University of Chicago. She was the Laura Spelman Rockefeller Professor of Social and Political Ethics at the University of Chicago Divinity School, and a contributing editor for The New Republic. She was also a Visiting Distinguished Professor of Religion and Politics at Baylor University. In the 1990s, she chaired the Council on Civil Society, a joint project of the Institute for American Values and the University of Chicago Divinity School, which issued the report A Call to Civil Society: Why Democracy Needs Moral Truths. She was a member of the American Academy of Arts and Sciences and she has served on the boards of the Institute for Advanced Study, Princeton, and the National Humanities Center.She was the recipient of a Guggenheim Fellowship, and received nine honorary degrees. In 2002, <mask> received the Frank J. Goodnow award, the highest award for distinguished service to the profession given by the American Political Science Association. The focus of <mask>'s work is an exploration of the relationship between politics and ethics. Much of her work concerned the parallel development of male and female gender roles as they pertain to public and private social participation. After the September 11, 2001, attacks she was one of the more visible academic supporters of US military intervention in Afghanistan and Iraq. She published over five hundred essays and authored and/or edited over twenty books, including Democracy on Trial, Just War Against Terror: The Burden of American Power in a Violent World, Jane Addams and the Dream of American Democracy, Augustine and the Limits of Politics, and Sovereignty: God, State, Self. In 2006, she was appointed by US President George W. Bush to the Council of the National Endowment for the Humanities, and also delivered the prestigious Gifford Lectures at the University of Edinburgh, joining such previous Gifford Lecturers as William James, Hannah Arendt, Karl Barth, and Reinhold Niebuhr.In 2008, Elshtain received a second presidential appointment to the President's Council on Bioethics. Elshtain contributed to national debates on the family, the roles of men and women, the state of American democracy, and international relations for more than thirty-five years. Analysis of major works
Elshtain's importance to the United States stems both from her impact in political ethics, and also her position in society as a woman. Carlin Romano, author of America the Philosophical, explains in his work that Elshtain's aim "was not so much to lobby for specific policies as to push for good civic-minded 'individualism' over the egoism of 'bad individualism'". In one of her more popular titles, Women and War, Elshtain examines women's roles in war as contrasted against masculine roles and why these concepts are important to society. Beginning by examining America's societal interpretations of gender roles during wartime (man as a brave fighter and woman as a pacifist), Elshtain argues that men may make poor civic soldiers due to the fact that they are predisposed to a dangerous kind of eager adolescence on the battlefield, while women may be enthusiastically patriotic and possess a kind of necessary maturity, which is vital to successful combat. In one of her more famous works, Democracy on Trial, Elshtain reflects on democracy in America, discussing how socio-cultural insistence on "difference" or "separatism" have evolved since the ratification of the Constitution, and how it may be detrimental to the system.Elshtain does not deny the importance of difference, especially within a civic body. Rather, she recognizes that Americans are no longer acting as representative bodies in governments, which embrace separate interests and also work as a collective towards the betterment of the whole. Elshtain, like James Madison, explains that American factional hostility is only a detriment to society: "one makes war with enemies: one does politics – democratic politics – with opponents". Death
She died on August 11, 2013, at the age of 72 of heart failure resulting from endocarditis. She was buried at Grandview Cemetery, Fort Collins. Published works

Books
 Sovereignty: God, State, Self (2008)
 Just War Against Terror: The Burden of American Power in a Violent World (2003)
 Jane Addams and the Dream of American Democracy (2002)
 Who Are We? Critical Reflections and Hopeful Possibilities.Politics and Ethical Discourse (2000)
 New Wine in Old Bottles: International Politics and Ethical Discourse (1998)
 Real Politics: Political Theory and Everyday Life (1997)
 Augustine and the Limits of Politics (1996)
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 Public Man, Private Woman: Women in Social and Political Thought (1981)

Articles and interviews
 "The Self: Reborn, Undone, Transformed". TELOS 44 (Summer 1980). New York: Telos Press

References

Footnotes

Works cited

External links

 <mask> <mask> Papers - Pembroke Center Archives, Brown University
 Guide to the <mask> Elshtain Papers 1935-2017 at the University of Chicago Special Collections Research Center

1941 births
2013 deaths
20th-century American philosophers
20th-century Lutherans
21st-century American philosophers
21st-century Roman Catholics
American ethicists
American feminist writers
American Lutherans
American political philosophers
American women political scientists
American political scientists
American Roman Catholic religious writers
American women philosophers
Brandeis University alumni
Burials in Colorado
Catholic philosophers
Catholics from Colorado
Catholics from Tennessee
Christian ethicists
Colorado State University alumni
Communitarianism
Converts to Roman Catholicism from Lutheranism
Deaths from endocarditis
Evangelical Lutheran Church in America Christians
Feminist philosophers
Georgetown University faculty
Individualist feminists
International relations scholars
Lutheran philosophers
People from Larimer County, Colorado
People from Windsor, Colorado
University of Chicago faculty
University of Colorado alumni
University of Wisconsin–Madison College of Letters and Science alumni
Vanderbilt University faculty
Writers from Colorado
21st-century American women

masks:
Jean Paulette Bethke Elshtain
Elshtain
Paul Bethke
Elshtain
Elshtain
Elshtain
Elshtain
Jean Bethke
Elshtain
Jean Bethke


texts:
<mask> (born December 27, 1943) is a bisexual American activist, writer, and poet best known for her involvement in lesbian feminist activism. Life and early work
<mask> was born on December 27, 1943, in Brooklyn, New York, to parents of Russian-Polish Jewish descent. In 1960, she attended her first women's judo classes in New York City, trying to meet lesbian women. Two years later, at age 19, she moved out of her parents' home to a hotel and went to lesbian bars, where she "was miserable". She did not find herself fitting in to the roles of "butch" or "femme", common lesbian gender roles during this period. During this period, she was exposed to Betty Friedan's famous work, The Feminine Mystique, a text which inspired many feminists. She was also involved in a group based on the work of Harry Stack Sullivan which led to her first Anti-Vietnam War movement protest.In 1965, she graduated from City College. In November 1967 she went to her first meeting of the New York City chapter of the Daughters of Bilitis (DOB), of which she later became president, despite her feelings of resistance to events like the "Annual Reminder" held by the organization. Due to FBI surveillance, members of the DOB were encouraged to take aliases, and Altman took <mask> as a surname. While working as a secretary in the office of fundraising for Barnard College, she joined the Student Homophile League and worked with bisexual activist Stephen Donaldson, who she was also dating at the time. <mask> has described the affair as causing a scandal, stating, "We used to walk into these meetings arm in arm... because the two of us were so blatant and out there in public being pro gay, they certainly couldn't afford to throw us out." In approximately 1969, the first major essay of <mask>'s appears in the newsletter Liberation News Service: "Stepin' Fetchit Woman". This same essay later appeared in other publications with alternate titles including "Women of Lesbos" and "Notes of a Radical Lesbian".<mask> states that she did not choose the title under which it first appeared. Gay Liberation Front

While in a leadership role with the Daughters of Bilitis (DOB), <mask> sometimes provided tours to women who were in New York City to learn about how to make their own chapter of the organization. While giving one of these tours to women from Boston the night of the Stonewall riots, <mask> and her visitors walked past the beginnings of the riots outside of the Stonewall Inn. <mask> dismissed them as anti-war protests initially, but was later informed about the actual cause. Recognizing the significance of the event and being politically aware,  <mask> proposed a protest march and, as a result, DOB and Mattachine sponsored a demonstration. With time, it became clear to those involved that <mask> and others desired a new organization to better serve their political goals; she was one of the twenty or so women and men who formed the Gay Liberation Front after Stonewall and was outspoken in many of their confrontations. Over time, the Gay Liberation Front's name was used in similar organizations but without any inherent direct connection to <mask> or other organizers in New York City at this time.<mask> also wrote for Come Out!, the New York City Gay Liberation Front's newsletter, and helped get the issues printed. The newsletter published essays, reports, art, and poetry of submitters and members of the organization. It ran, however inconsistently, for three years. <mask>’s work appears in all eight issues of the newsletter, with a variety of genres, including essays on the movements she was participating in, reports on the Gay Liberation Front in other cities and related organizations in New York City, and some of her poetry. Many of her essays, including “More Radical Than Thou” and “Subversion in the Women’s Movement - What is to be Done?” involve critiquing the competitive and cutthroat nature of the women’s movement, gay liberation movement, and other adjacent movements. Come Out! is one of the places in which <mask> was first published, providing insight into her developing political ideology as well as the events around her.The Gay Liberation Front allied itself with other movements going on at the time, including black liberation and women's liberation. For some, this unity was not desirable, and the Gay Activists Alliance (GAA) formed as a splinter group from GLF, and sought to focus more exclusively on gay rights. In addition to GAA, members of GLF also formed subgroups—cells—with different goals and purposes. One of the groups that formed primarily out of GLF women was Lavender Menace, named after the comment made by Betty Friedan (then president of NOW) regarding lesbians as a "lavender menace" in the feminist movement. Lavender Menace was later renamed Radicalesbians. Feminism

In 1970, Lavender Menace, later Radicalesbians, organized the Lavender Menace zap of the Second Congress to Unite Women. <mask> played an instrumental role in the zap itself, and some have claimed she assisted in the writing of the Radicalesbians manifesto, "The Woman-Identified Woman", which introduced "women-identified" and "male-identified" terminology to the lesbian feminist discourse community.Later that same year, <mask> wrote "Subversion in the Women's Movement", which was published in both Come Out! and in off our backs, a feminist publication. Beginning in 1972, <mask> produced the radio show Lesbian Nation on New York's WBAI radio station. The Library of Congress claims Lesbian Nation to be, most likely, the first lesbian radio show. She contributed the pieces "Notes of a Radical Lesbian" and "Terror" to the 1970 anthology Sisterhood is Powerful: An Anthology of Writings From The Women's Liberation Movement, edited by Robin Morgan. After moving to Oakland, California in October 1974, she was involved with the Women's Press Collective where she worked with Judy Grahn to produce Crossing the DMZ, In Other Words, Lesbians Speak Out and other books. Her poetry has appeared in Ms. magazine, Sunbury, The Bright Medusa, We Become New and other periodicals.<mask> appeared in the 2010 documentary Stonewall Uprising, an episode of the American Experience series. Activism and political views

Despite being involved with lesbian feminism, <mask> does not describe herself as a lesbian separatist from the gay rights movement. Though she liked the idea of lesbian-only spaces, she has said that the splitting of gay liberation into splinter groups weakened the movement as a whole. She also was allied to many other left-wing causes of the 1960s and 1970s, such as the pro-choice movement, and civil rights groups such as the Black Panthers and Young Lords, and has described herself as a socialist. <mask> was also a strong critic of the prevailing psychiatric views of homosexuality in the 1960s and argued that the stigmatization of homosexuality as a mental illness was a major contributing factor to psychological issues within the gay and lesbian community. Works and publications

Articles

In Come Out! "Stepin' Fetchit Woman" (Vol.1, No. 1)
 “More Radical Than Thou” (Vol. 1, No. 2)
 “The Young Lords” (Vol. 1, No. 3)
 “Gay Youth Liberation” (Vol. 1, No.4)
 “Gays Riot Again! Remember Stonewall!” (Vol. 1, No. 5)
 “Let a Hundred Flowers Bloom” (Vol. 1, No. 5) - Co-authored by Bernard Lewis
 "Subversion in the Women’s Movement: What is to be Done?” (Vol. 1, Issue 7)
 “Power… and the People!” (Vol.2, No. 7b)

Other works

 "Notes of a Radical Lesbian" in
 "Gay is Good" in
 "Our Passion Shook the World" in

Books

Short stories
"Her wild barbarian heart" in

"Walking the rim" in
"The cart o'tea belove" in

Poetry in anthology

Notes

External links
 Interview with <mask> in WGBH's public television series "American Experience: Stonewall Uprising", 2011
 Ebisu Publications
 Stonewall Uprising website
 Radicalesbians in glbtq.com
 Then and now

1943 births
American feminist writers
American people of Polish-Jewish descent
American people of Russian-Jewish descent
Daughters of Bilitis members
Bisexual feminists
Bisexual writers
Gay Liberation Front members
Jewish American writers
Jewish feminists
Jewish socialists
LGBT Jews
LGBT rights activists from the United States
Living people
Radical feminists
Lavender Menace members
The Bronx High School of Science alumni
Anti–Vietnam War activists
City College of New York alumni
Barnard College faculty

masks:
Martha Shelley
Martha Altman
Shelley
Shelley
Shelley
Shelley
Shelley
Shelley
Shelley
Shelley
Shelley
Shelley
Shelley
Shelley
Shelley
Shelley
Shelley
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Shelley
Shelley
Martha Shelley


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<mask> (March 31, 1946 – October 26, 2013) was an American journalist and blogger who wrote about politics, power, media, and LGBT issues. He was the U.S. correspondent for the French political-investigative weekly Bakchich, for which he also wrote a weekly column, and he was also the Contributing Editor for International Affairs of Gay City News. Scott Tucker has called him "not only a left-wing critic of sexual and political conformism among sectors of the lesbian, gay, bisexual and transgender movements, but ... also one of the notable public intellectuals of the civil libertarian left." Professional
An early member of the Dump Johnson movement, Ireland was recruited for the staff of the  presidential campaign of the man who became the anti-war candidate of the Dump Johnson movement, Senator Eugene McCarthy, for whom Ireland coordinated the Mid-Atlantic region of states. Following the 1968 Democratic National Convention (at which he coordinated McCarthy's labor support and helped organize demonstrations by Convention delegates against police brutality targeting anti-war demonstrators) Ireland went to Long Island to help run the successful campaign for Congress by Allard Lowenstein, considered the principal founder of the Dump Johnson movement. After a stint as a journalist on the New York Post, when it was still owned by Dorothy Schiff, and then on the Community News Service (a short-lived wire service providing news of the black, Latino, and other minority racial communities), he resigned to manage the successful 1970 anti-Vietnam war campaign for Congress by Bella Abzug, making her the first left radical to be elected to the U.S. House of Representatives since Vito Marcantonio. He also managed Abzug's 1976 campaign for the Democratic nomination for U.S.Senator from New York, which Abzug narrowly lost by 0.10 per cent of the vote to Daniel Patrick Moynihan. Ireland played a studio executive in Woody Allen's Stardust Memories. Journalism
Having already worked briefly at the New York Post and Community News Service, Ireland returned full-time to journalism in 1977, becoming a political columnist for the SoHo Weekly News. In an obituary, Micah Sifry wrote that "It was said that he could have been the 'next Jimmy Breslin,' but I think <mask> was too pure about his politics to ingratiate himself with enough people to win that label." Among his notable articles was a 1978 expose, daring for the time, of violence against gay men in the Ramble, known as a cruising area in Central Park in New York City. He lived for ten years in France, writing on European politics and culture for various publications, including English language Paris city magazine, Paris Passion magazine; and he continued to write frequently about French and European politics and foreign affairs. Ireland was an assiduous promoter in the United States of the work of the prolific young French philosopher Michel Onfray.Ireland was a columnist for The Village Voice, The New York Observer New York magazine, and the Paris daily Libération, among other publications. He was also a contributing editor of POZ, the monthly for the HIV-positive community, of the magazine In These Times, and the French satirical news website Bakchich. In the late 1990s, he was a contributor to The Nation. Sifry, a colleague of his at the time, wrote that "I think one of my most trying experiences as a young editor was being in the middle of his push to publish a damning indictment" of then-President Bill Clinton, and the editors' "discomfort with his ferocity and willingness to infer the worst from a mixed bag of solid facts and not-so-solid surmises." However, Sifry added that Ireland "was more right than not ... in the grand sense." From mid-2005, Ireland was the Contributing Editor for International Affairs of Gay City News, the largest LGBT weekly newspaper in New York City and in the U.S. Criticism
Ireland's reporting on Iran in the several years after 2005 drew harsh rebuttals from a number of Iranian activists, as well as from Scott Long, director of the LGBT Rights Program at Human Rights Watch.They charged that Ireland and Gay City News generally were uncritical in relying on sources who maintained that two young men hanged in Mashhad, Iran in mid-2005 –– after being convicted of raping an underage boy at a time when they themselves were underage –– had in fact been involved in consensual sex. Long and some other human rights advocates criticized activists and reporters, including Ireland and controversial British campaigner Peter Tatchell, saying they were engaging in unwarranted speculation about the motives for the case. Ireland continued to produce articles claiming a pattern of "anti-gay" executions in Iran. However, no professional human rights organization ever endorsed these claims, or identified any recent case of persons sentenced to death for consensual homosexual conduct in Iran. Long and others became increasingly critical, charging that Ireland and others were making claims without evidence, and imputing a Western gay identity to Iranians coming from a very different cultural experience. The conflict between Long on one side and Ireland and Tatchell on the other side was at times vitriolic and led to a 2010 episode in which Human Rights Watch and Long apologized in writing to Tatchell. However, Long remained a critic of Ireland to the end, faulting him for relying excessively on single sources in his reporting, for intolerance toward Islam and for failing to understand complex international situations.In particular, Long claimed that Ireland had unduly promoted the career of the flamboyant Russian activist Nikolai Alekseev while ignoring other Russian groups. Alekseev had a record of erratic behavior and supporting far right-wing causes, and later engaged in anti-Semitic outbursts. Scott Tucker writes that "In his reports on the Russian gay movement, and especially of gay activist Nikolai Alexeyev, I found [Ireland] less reliable.... When he became increasingly confined by illness, he could not pretend to be a truly investigative journalist." Personal life
He was born in Duluth, Minnesota and later lived in Port Hueneme, California, where his father worked in the information office of the Naval Battalion Construction Center. Ireland developed polio as a child as the result of his Christian Scientist parents refusing to allow him to receive the polio vaccine. After nights out drinking with writers like Christopher Hitchens and Gore Vidal, Ireland gave up liquor.In his final years, Ireland suffered from diabetes, kidney disease, severe sciatica, and weakened lungs and progressive muscle deterioration related to childhood polio. He also survived at least two major strokes. He often felt too ill to leave his apartment or have company. Ireland died in his East Village home on October 26, 2013. Ireland's partner was Hervé Couergou. He died of AIDS in 1996. Activism
A severe critic from the left of President Bill Clinton's presidency, Ireland for three years wrote a syndicated Clinton Watch column.He wrote extensively in opposition to President George H. W. Bush's Gulf War, as well as President George W. Bush's Iraq War and War in Afghanistan. At an early age, Ireland was part of the early 1960s American New Left. He was a member of Students for a Democratic Society (SDS), and was elected to its National Council in 1963 at the age of 17. He also spent a year on the SDS national staff, as Assistant National Secretary, in 1963-64. Ireland dropped out of SDS in 1966 to devote his time to electoral organizing against the Vietnam War. As a staff member of the New Jersey Industrial Union Council AFL-CIO and the United Auto Workers Region 9-A, in 1967 he helped to organize the National Labor Leadership Assembly for Peace to oppose the Vietnam War. He was involved in the Gay Activists Alliance (GAA) and Gay Liberation Front (GLF).References

External links
 <mask>'s blog DIRELAND
 <mask>'s articles for The Nation
 <mask>'s articles for the L.A. Weekly
 <mask>'s articles for In These Times

American male journalists
American bloggers
1946 births
2013 deaths
American gay writers
LGBT journalists from the United States
LGBT rights activists from the United States
LGBT people from Minnesota
American human rights activists
Anti-war activists
The Village Voice people
The Nation (U.S. magazine) people
People with polio
21st-century American non-fiction writers
American male bloggers
21st-century LGBT people

masks:
William Douglas Ireland
Dougie
Doug Ireland
Doug Ireland
Doug Ireland
Doug Ireland


texts:
<mask> (November 4, 1932 – February 10, 2021), was an African-American professor/administrator emeritus, in the Department of Pan-African Studies at Kent State University (KSU). As a pioneer in the field of Black education his most notable accomplishments include the creation of the Institute for African American Affairs, the predecessor of the Department of Pan-African Studies and The Center of Pan-African Culture at KSU. The Pan-African Studies Department (1969) and the Center of Pan-African Culture (1970) were two of the first institutions of their kind to be established at institutions of higher education. Background and education
Born and raised in Cleveland, Ohio, <mask> was the fourth child born to Frederick Douglass and Marion G<mask>. He attended Cleveland's Our Lady of the Blessed Sacrament parochial and St. Edward's Catholic high schools. Initially a straight "A" student and an aspiring priest, <mask>'s transfer from St. Edward's to Cleveland's public schools paralleled a decline in his academic performance as well as his increased truancy from school and an involvement in a number of delinquent activities. He served in the United States military and was stationed in England.Nevertheless, <mask> would go on to earn a BA in Spanish in 1957 and an MA in German in 1959, both from Kent State University; and a PhD in medieval German languages and literature and medieval history from the University of Kansas in 1965. In 1957 he began teaching at Kent State and subsequently held teaching positions at a number of other institutions, including Hiram College, Tuskegee Institute, Southern Illinois University and the University of Washington. <mask> founded and served as the director of the Institute for African American Affairs (IAAA) from 1969 to 1976. In 1976 the institute successfully petitioned Kent State for departmental status, which gave birth to the Department of Pan-African Studies (DPAS); thus Dr. <mask> served for 18 years as the department's first chair. The IAAA still exists as a community development and research institute at Kent State. The IAAA used a holistic curriculum model based on <mask>'s earlier work at Southern Illinois University, Edwardsville (SIUE). The curriculum he developed for the IAAA's Experiment in Higher Education program was similar to another upstart program at the time, Upward Bound.Both focused on post-secondary readiness for students from urban areas with low high school graduation rates, with the EHE tailored for specialized aptitude testing in and instruction of comparably lower-performing students. EHE teachers received training as counselors and employed an "Each One Teach One" methodology wherein students largely instructed each other. The EHE curriculum also actively sought to validate the culture of its students, utilizing examples, situations and language familiar to students to teach subject matter they would encounter at any university. Notable accomplishments

Creation of the East St. Louis Black Studies Model
His work in the realm of Black education really began in East St. Louis, Illinois, even though he had previously spent a little more than a year at Tuskegee Institute, Alabama, and a brief stint working with the Community Action Council in Akron, Ohio. As the director of education for the Experiment in Higher Education (EHE) Dr. <mask> and his team of fellow Kent State alumni developed a unique curriculum that taught their students what they needed for college without denying the culture of their respective communities. The program developed in East St. Louis under the direction of <mask>, Hyman Frankel and Don Henderson has been cited as the first African-centered collegiate curriculum in the U.S. Black studies programs, departments and institutes were developed at the behest of Black communities across the nation. East St. Louis, with its Black community of 70,000 was no exception.EHE's influence on the development of Black studies in universities across the nation was due in part to the amount of resources, time and brain power they had at hand to forge a pedagogy that put the student at the center of their learning. This Black studies consortium did not confine their efforts to East St. Louis, they offered consulting services to universities from California to New York. One of the lessons of East St. Louis was the importance of an interdisciplinary, holistic approach to Black education. In East St. Louis EHE was partnered with Katherine Dunham’s Performing Arts Training Center (PATC). The symbiotic relationship between EHE and PATC attracted educators, as well as cultural icons from all over the U.S. and beyond to East St. Louis, which generated a lot of energy in the community and attracted community members from all walks of life. On arriving at Kent, knowing the value of this kind of symbiosis, <mask> took on the task of developing an academic program modeled after the one he had previously spearheaded in East St. Louis and also took on the task of creating a cultural center that could work in tandem with the newly formed Institute for African American Affairs (IAAA). For 23 years this dual institution functioned with one purpose in mind, which was to provide an environment that reaffirmed the value of African-American culture while helping their students learn to use the academic skills necessary to graduate from a four-year institution in the study and promulgation of this culture.The implementation of this kind of Black pedagogy has led to the successful graduation of hundreds, if not thousands, of students, that wouldn't have made it otherwise, many of which have devoted their careers to working in Black communities all over the U.S. The Human Relations Center, which was founded in 1968, attempted to do this kind of work, however their perspective was that the students needed to assimilate. The Institute validated the students and their culture as worthy of emulation. The difference between the two could not be more clear cut. Black History Month pioneer
Soon after arriving at Kent State he became one of the key organizers of the first celebration of Black History Month in the U.S., which occurred in February 1970. It was six years later, during the U.S. bicentennial, that the expansion of Negro History Week, as it had been called, was recognized nationally when then President Gerald R. Ford delivered to the nation regarding the observance of Black History Month. Since that time regular observances of Black History Month have become common in elementary, secondary and high schools, as well as city, state and federal buildings across the country.In fact, the practice has spread to many countries overseas, particularly in Europe. Significantly, the first celebration was a Pan-African affair that included the participation of cultural icons such as Babatunde Olatunji and Pulitzer Prize-winning poet Gwendolyn Brooks, as well as poets Eugene Redmond and Quincy Troupe. Dr. Donald Henderson, then director of the Experiment in Higher Education, lectured on the Black Aesthetic. That first celebration of Black History Month also included presentations by Jimmy Garrett and Chief Fela Sowande, both of whom were involved in the formation of new institutions that had a decidedly Black aesthetic and international impact. Jimmy Garrett was a key player in the formation of the first Black Student Union and subsequently the first Black studies department in the U.S., while Fela Sowande was a Nigerian philosopher and musician of note who wrote Nigeria's first national anthem. He spent the latter days of his career teaching Black Cosmology in the Department of Pan-African Studies at Kent State University. Technology in the classroom
Due to the bare bones budgetary allocations for the Institute of African American Affairs by university officials and the need to implement an innovative curricular model, there was also a need to come up with a unique method for delivering lectures that would be extremely cost effective.During his tenure in East St. Louis Dr. <mask> had begun to use some innovative methods of curricular delivery, including, but not limited to videotaped lectures, the use of various types of films and a method of communal education dubbed "Each One Teach One". All three of these methods were used at Kent facilitating the development of courses that could be taught by graduate assistants, who in many cases were later hired as full-time professors. This is how he developed a cadre of professors dedicated to Pan-African Studies. University officials had not foreseen this type of development of Black professors. Their original model incorporated professors from all over the campus, whose were dedicated to the philosophies and ideals of their individual departments; they would also have been hired, fired and paid by those departments. Because of this division of loyalty it would have been difficult, if not impossible to mold a conglomerate of professors from numerous departments into a staff with a cohesive set of ideals or philosophical imperatives. Other technological innovations include the first use of desktop computers in the main office of the Department of Pan-African Studies and one of the first computer labs for student use in an academic area unrelated to science or business classes.The Black Culture Center
Upon arriving at Kent there were a number of demands that students had placed on the table, including a Black Culture Center. This center was something university officials had never dreamed of, hence they have resisted the idea from the beginning and never gave any type of significant funding to the center to be able to promote Black culture on Kent's campus. The center went through a number of phases and was located in a number of buildings before finally ending up in the Old Student Union, now Oscar Ritchie Hall. Dr. <mask> visualized the center and the Institute as institutions that should work in tandem with each other. The Center of Pan-African Culture was established in 1970, through the combined efforts of <mask>, his staff and the leaders of the Black United Students at Kent State, providing a home for students to engage in cultural activities and a home for IAAA. Today, the Center of Pan-African Culture still exists in a newly renovated Oscar Ritchie Hall. Published books
 Your History: A Chronology of Notable Events in the History of Africans in Africa and the Diaspora, 1600 BCE-1980, a revised and enlarged edition with a comprehensive subject and name index, 482 pp., Ginn Press, January 1989.Originally published as a 127-page text by the Institute for African American Affairs, Kent State University, 1976. The African Experience in Community Development, with L. Davis and A. Adams Graves, Vol. I, Advocates Publishing Group, 1982. (Both volumes of this text have been re-printed with some minor revisions by Ginn Press), 1988, 1992, 1993. The African Experience in Community Development, with L. Davis and A. Adams Graves, Vol. II, Advocates Publishing Group, 1983. Published articles
 "Black Studies, Kent State University," in Molefi Kete Asante, Ama Mazama (ed.), Encyclopedia of Black Studies, Sage Publications, Inc. (Thousand Oaks, London, New Delhi), 2005, pp. 153–158. [incorrectly cited as <mask><mask>]
 "A Million Two Hundred Thousand African Drummers" in Eugene B. Redmond, Sherman Fowler, Marcus Atkins, Drumvoices Revue — VISIBLE GLORY: The Million Man March, Vol. 7, Nos. 1–2, Fall-Winter-Spring, 1997/98, pp. 197–198. "Empowering Alternative Schooling Initiatives in the African American Community," in The Electronic Journal of Africana Studies (EJAS1N1 CROSBY), Institute for African American Affairs, Kent State University, April 1995."Der Europäer ("The European") a fable," by Hermann Hesse in Traumfährte (Zurich, Switzerland: Fretz und Washmuth Verlag A.G., 1945). Translation appears in African American Affairs Monograph Series, Institute for African American Affairs, as an "Occasional Paper," Kent State University, Fall 1992. "African Education: An Appraisal of Afrocentric Content vs. Eurocentric Form," Proceedings of the Public Policy Forum — Afrocentrism vs. Eurocentrism: The National Debate, Institute for African American Affairs, May 4, 1991. "The 1990s, A Mirror Image of the Illusion of Progress During the '70s and '80s," The Black Collegian, March/April 1991. "Henry Dumas as Seer and Educator," Black American Literature Forum, Indiana State University, Summer 1988. "The Education of Black Folk: A Historical Perspective," The Western Journal of Black Studies, Vol. 1, No.2, 1977. "Culture, Curriculum And Politics," in African American Affairs Monograph Series, Institute for African American Affairs, Kent State University, Vol. 1, No. 1, November 1973. "On Correct Education," Impact, Vol. 7, No. 2, Winter, 1972."The nigger and the Narcissus (or Self-Awareness in Black Education)," prepared for U.S. Information Agency Forum Series (Voice of America), February 15, 1969. Also published in John Szwed (ed. ), Black America, Basic Books, Winter, 1970. "New Directions in Educating the 'Disadvantaged,'" Higher Education for the Disadvantaged, A Commentary, Southern Illinois University (Edwardsville), 1968, pp. 20–28. "The Negro and Education: An Exercise in Absurdity," in Lawrence C. Howard (ed. ), Interinstitutional Cooperation in Higher Education, University of Wisconsin, 1967, pp.358–384. References

External links
 <mask> profile, Department of Pan-African Studies, Kent State University. Four Decades of Educating African American Youth. An autobiographical sketch of Dr. <mask> (2004). The Ida B. Wells Community Academy, An interactive index of primary information about the Academy founded in Akron Ohio. Chief Fela Sowande's Philosophy and Opinions, Articles edited and published posthumously by HieroGraphics Online on Africana Studies.Your History Online, A Chronological History of Africans in America, in Africa, and in the Diaspora, 1600 BCE to AD 1980. The European: A Fable by Hermann Hesse. Translated from German by Dr. <mask>. The Robinson-Naylor-Harris Family News Quarterly, An Archive of The Family News Quarterly published by E.W. Crosby from 1987 to 2002 and beyond. , Black Institutions Created at Kent State University (2008). 1932 births
2021 deaths
African-American educators
African and Black nationalists
Military personnel from Cleveland
Writers from Cleveland
Educators from Ohio
Kent State University alumni
Kent State University faculty
University of Kansas alumni
20th-century African-American people
21st-century African-American people

masks:
Edward Warren Crosby
Crosby
. Crosby
Crosby
Crosby
Career Crosby
Crosby
Crosby
Crosby
Crosby
Crosby
Crosby
Crosby
Crosby
Edward R
. Crosby
Edward Crosby
Crosby
Crosby


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<mask> (born Sarah Frances Frost; August 17, 1865 – November 12, 1950) was an English-born American actress, known for her interpretations of William Shakespeare's plays. Life and career
Marlowe was born as Sarah Frances Frost at Caldbeck, Cumberland, England, to clogger and shoemaker John Frost and Sarah (Strong) Hodgson. When she was four her family emigrated to the United States. Her father, who was an avid fan of local sports, "fled to America in 1870 under the erroneous impression that he had destroyed a neighbour's eye by flicking a whip at him during a race." He changed his name to Brough and after first settling in Kansas he moved his family east to Portsmouth, Ohio and then Cincinnati. Early career
Marlowe obtained the nickname of "Fanny" and in her early teens began her career in the chorus of a juvenile opera company. While touring with the company for nearly a year performing Gilbert and Sullivan's H.M.S.Pinafore (1879), under the direction of Colonel Robert E.J. Miles (manager of the Cincinnati Opera House) she was given the part of Sir Joseph Porter. She later played in W. S. Gilbert's Pygmalion and Galatea. Her training and initial success was due primarily to Miles's sister-in-law Ada Dow. Still in Cincinnati, Fanny played her first Shakespearean roles as Balthazar in Romeo and Juliet and as Maria in Twelfth Night she was billed as Fanny Brough. Soon after Ada Dow took Fanny to New York where for several years she received voice training by Parsons Price. Finished with the voice training she changed her name to <mask>.As an unknown, Marlowe was, at first, unable to get a Shakesperean role, but she was determined. Colonel Miles, the new manager of the New York Bijou Opera House, gave her the opportunity to play for two weeks on tour in New England, starting in New London, Connecticut. This gave Marlowe the repertoire she needed. On 20 October 1887, her mother hired the Bijou for a matinee of Ingomar, the Barbarian (Maria Lovell's adaptation of Friedrich Halm's Der Sohn der Wildnis), in which Marlowe received acclaim which served as a stepping stone to Broadway.In early 1891, Marlowe came down with a severe case of typhoid fever while on tour in Philadelphia. The owner of the Philadelphia Times newspaper and his wife took <mask> in and oversaw her return to health. At one point her face became so swollen that doctors considered lancing her face to release the toxins, but the good judgment of one doctor prevailed and a different treatment was arrived at which would fight the toxins and save her face for her acting career. Had this measure not been taken, she would never have been performing on Broadway by 1895 and would never have established herself as the leading American actress of Shakespeare in her day alongside actor E. H. Sothern.She made her Broadway debut in 1895 and went on to appear in more than seventy Broadway productions. With the money from her first Broadway success, she bought the townhouse known as River Mansion at 337 Riverside Drive. Her first husband was Broadway actor Robert Taber. Their marriage lasted from 1894 to 1900 and produced no children. According to many who knew her, Marlowe sacrificed her own self-interests many times in order to promote Taber's career. Despite this, however, professional jealousy ended their marriage in 1900. In a letter dated April 2nd, 1895 from Taber he writes "I herewith return your play.Mrs. Taber is grateful for your kindness in submitting it and notwithstanding its interest - She finds it unsuited for her present use. Very truly yours, Robert Taber". Taber was touring in England at the time of their divorce. In 1904, Marlowe starred as Mary Tudor in Paul Kester's adaptation of When Knighthood Was in Flower. This was an enormous success, and made Marlowe financially independent. Other hits for Marlowe followed including Charlotte Oliver in the adaptation by Kester and Middleton of George Washington Cable's The Cavalier, and Ingomar, both in 1903. Of her performance in the latter, The New York Sun wrote, "There is not a woman player in America or in England that is – attractively considered – fit to unlace her shoe".Sothern and later years

In 1904, she began an extremely successful partnership with actor E. H. Sothern, beginning with their appearances in the title roles in Romeo and Juliet, Beatrice and Benedick in Much Ado About Nothing, and the leads in Hamlet. They toured all over the U.S. in these plays, adding The Taming of the Shrew, The Merchant of Venice and Twelfth Night to their repertoire in 1905. Unhappy with their compensation from their manager, Charles Frohman, they continued under the management of the Shubert Brothers, from then on receiving a percentage of the profits. In 1906, together with Sothern, she played the title character in Percy MacKaye's Jeanne d'Arc, Salome in Sudermann's John the Baptist and Rautendelein in The Sunken Bell, receiving favorable reviews. After another season in New York and then on tour, Sothern, Marlowe and their company crossed the Atlantic to play in London. They were unable to attract audiences in England, however, and returned to America after a season. Back in the U.S., they presented Shakespeare at affordable prices at the Academy of Music in New York, allowing audiences who had not previously been able to afford their productions to see them.<mask> and Sothern dissolved their company and formed separate companies for a time. She played in J. B. Fagan's Gloria, in Romeo and Juliet and in As You Like It. In 1908, she played Yvette in Mary Johnston's verse play The Goddess of Reason. At the end of 1909, Sothern and <mask> reunited in Antony and Cleopatra. In 1910, they toured in Macbeth, receiving enthusiastic notices and bringing the production to New York where it was a hit. They continued to tour their Shakespearean repertoire, playing special performances of the plays for schoolchildren.<mask> and Sothern married in 1911. The couple made eleven phonograph recordings for the Victor company in 1920–1921. These recordings are presumably the only recorded evidence of Marlowe's voice today. After more touring with Sothern in Shakespeare, the two brought their production of The Merchant of Venice to New York in 1921. Soon afterwards, <mask>'s health was failing, and she retired in 1924. After Sothern's death in 1933, Marlowe became somewhat of a recluse. She occasionally visited close friends like ailing playwright Edward Sheldon.In 1923, she received an honorary doctorate from George Washington University, and another in 1943 from Columbia University. Feminism
Marlowe was highly engaged as a feminist. She fought for women's right to vote. Death
Marlowe died in 1950 in New York City at the age of 85. She had no children. References

Bibliography
Barry, John D. <mask>e. Boston: R. G. Badger, 1899.Russell, Charles Edward. <mask>, Her Life and Art. New York: D. Appleton and company, 1926. <mask>, <mask>, and E. H. Sothern. <mask>e's Story. New York: Rinehart, 1954. External links

Sothern and Marlowe papers, 1860-1950, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
<mask> photographs, held by the New York Public Library
 <mask> and E.H. Sothern re-enact scenes from  and
The Heroines of The Modern Stage p. 299 by Forrest Izard c.1915
Marlowe in 1944 with lawyer Herbert Satterlee

1865 births
1950 deaths
19th-century American actresses
20th-century American actresses
American stage actresses
American voice actresses
English emigrants to the United States
English stage actresses
English voice actresses
People from Caldbeck
19th-century English women
19th-century English people
20th-century English women
20th-century English people

masks:
Julia Marlowe
Julia Marlowe
Julia
Marlowe
Marlowe
Marlowe
Marlowe
Julia Marlow
Julia Marlowe
Marlowe
Julia
Julia Marlow
Julia Marlowe
Julia Marlowe