Recommended Reading. From the Forward:
“A tragic suicide, a likely murder, wrongful imprisonment, and gripping courtroom scenes draw readers into this compelling story giving them a frightening perspective on justice corrupted and who should be accountable when evidence is withheld. Licensed to Lie: Exposing Corruption in the Department of Justice is the true story of the strong-arm, illegal, and unethical tactics used by headline-grabbing federal prosecutors in their narcissistic pursuit of power. Its scope reaches from the US Department of Justice to the US Senate, the FBI, and the White House. This true story is a scathing attack on corrupt prosecutors, the judges who turned a blind eye to these injustices, and the president who has promoted them to powerful political positions.”
Book Reviews and Related Links:
The Shroud of Turin and the Sudarium of Oviedo “almost certainly covered the cadaver of the same person.” This is the conclusion from an investigation that has compared the two relics using forensics and geometry.
“It’s only when we look with eyes of love that we see as the painter sees,” Henry Miller wrote in his forgotten 1968 gem To Paint Is to Love Again. Drawing, indeed, transforms the secret passageway between the eye and the heart into a two-way street — while we are wired to miss the vast majority of what goes on around us, learning to draw rewires us to see the world differently, to love it more intimately by attending to and coming to cherish its previously invisible details. This, perhaps, is why beloved artist Lynda Barry teaches visual storytelling as the infinitely rewarding art of “being present and seeing what’s there.”
A story of redemption and adaptation:
“The lesson: If you would destroy our world’s versions of Sauron and Saruman, then you must love strawberries and cream.”
“The fundamental musical experience – fundamental not just to our classical tradition but to all music that has been sung, played, and danced from the beginning of time – is that of virtual causality, whereby one moment seems to produce the next out of its own inner dynamic. This is the primary experience on which all rhythmic, melodic, and harmonic invention depends, and it is absent – deliberately absent – from Boulez.”