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“As for the claims by the Congolese historian Isidore Ndaywel è Nziem (“13 million killed” in 1998, then “5 to 10 million killed” in 2008), they are hard to keep track of. Initially, the starting year for his assertions was 1880 (five years before the EIC was founded and ten years before any rubber harvesting) while the latter estimate extended the end year to 1930 (22 years after the EIC). A second edition of the latter estimate, without explanation, moved up the starting date to 1885. Ndaywel cites no data or methods. All three editions of his book merely cite Moulin. It is notable that in a lengthy essay on the EIC published in L’Histoire in 2020, Ndaywel no longer makes any specific population claims, asserting only that the effects of the EIC were “worse than grim” (“plus que macabres”). In the end, Ndaywel is not credible. His works are published by the Royal Museum for Central Africa in Belgium because he is black. This helps them to “decolonize Eurocentric narratives,” which means using blacks as shadow puppets to shield their radical accounts from criticism.”

“As for the differences between audio and the printed page, the sonic aspects of poetry are important to me. I read my poems aloud to myself as I'm composing them. And I enjoy reading to an audience. I think people get tone more easily when they hear a writer read her work. Some people have told me they hear more humor in my poems at a live reading than when they see them on the page. I think that may be a matter of pacing. On the other hand, I've listened to a lot of poetry readings and I know how much you can miss. If you stop to really register one line, you miss the next three or so.”

“As for the dinosaur - But Noah's conscience was easy; it was not named in his cargo list and he and the boys were not aware that there was such a creature. He said he could not blame himself for not knowing about the dinosaur, because it was an American animal and America had not then been discovered.”

“As for the eastern part of the former Soviet Union, the picture is rather uniform. Authoritarian structures prevail to differing extents. But we can still determine certain regularities, and the role of Russia is not to be underestimated. It is clear that we would have the same situation in Tajikistan and, let's say, Uzbekistan without the direct influence of Russia.”

“As for the Economy, this new embodiment as I called it of Fate or the Gods, this global power that governs the lives of Chinese workers in village factories, Brazilian miners, children working cocoa plantations in West Africa, sex workers in Mumbai, real estate salesmen in Connecticut, sheep-farmers in Scotland or on the Darling Downs, disembodied voices in call centres in Bangalore, workers in the hospitality industry in Cancun or Venice or Fiji, keeping them fatefully interconnected, in its mysterious way, by laws that do exist, the experts assure us, though they cannot agree on what they are- it is too impersonal, too implacable for us to live comfortably with, or even to catch hold of and defy. When we were in the hands of the Gods, we had stories that made these distant beings human and brought them close. They got angry, they took our part or turned violently against us. They fell in love with us and behaved badly. They had their own problems and fought with one another, and like us were sometimes foolish. But their interest in us was personal. They watched over us and were concerned though in moments of willfulness or boredom they might also torment us as “wanton boys” do flies. We had our ways of obtaining their help as intermediaries. We could deal with them. The Economy is impersonal. It lacks manageable dimensions. We have discovered no mythology to account for its moods. Our only source of information about it, the Media and their swarm of commentators, bring us “reports,” but these do not help: a possible breakdown in the system, a new crisis, the descent of Greece, or Ireland or Portugal, like Jove’s eagle, of the IMF. We are kept in a state of permanent low-level anxiety broken only by outbreaks of alarm.”

“As for the ethics, law, and politics relationship, there has always been a tension for me as I try to keep them distinct while recognizing their interactions. A valuable contribution to my thinking there and elsewhere was Ellen Meiksins Wood's Mind and Politics, which reinforced for me the ways in which seemingly disparate philosophical endeavors were/are interconnected, and although I have tended to give a certain priority to ethical considerations as part of practical reasoning, I am reminded often enough that this position makes some contentious presumptions .”

“As for the Folsom Prison show, ... would anybody have the guts to do that show now 50 Cent, maybe I think the whole idea of even playing to a crowd of people like that is so politically unfavorable now - it's like, 'What are you doing, singing for these people Do they deserve it' There's such anger in our culture right now, that kind of grace and forgiveness, we don't see that very often.”

“As for the glaze, he took another bite to think as the intense sugar slapped his taste buds. Cream cheese. That would add a tanginess to counter the sweet. He mixed a new glaze, adding a pinch of cinnamon, and spread it on the unglazed halves so they could sample right away. "Should I keep the cherries whole or chop them up so you don't get a giant glob in your mouth?" Jack loved the flavor but didn't always like it when he took a bite and an entire cherry came out. For his taste, it was too much cherry in one chunk. "Chopped. Always chopped.”

“As for the house, it is scrubbed to the tiniest mousehole before Passover, to avoid such dangers as even a forgotten cake crumb might cause. Passover dishes are probably the most interesting of any in the Jewish cuisine because of the lack of leaven and the resulting challenge to fine cooks.... Everything is doubly rich, as if to compensate for the lack of leaven... [W]oes are forgotten in the pleasures of the table, for if the Mosaic laws are rightly followed, no man need fear true poison in his belly, but only the results of his own gluttony.”

“As for the influence on my writing,music has definitely influenced how I write. That idea of cadence, repetition, all those elements appear throughout my writing. Drumming has definitely had a huge influence on the way I write, too. Has definitely tuned my ear to rhythm. After I've written something, I'll go through it repeatedly, carefully listening to the construction of the words, seeing, hearing how they flow.”