Please Call Me By My True Names by Thich Nhat Hanh (from Peace is Every Step, Rider, 1995)
Don’t say that I will depart tomorrow— even today I am still arriving.
Look deeply: every second I am arriving to be a bud on a Spring branch, to be a tiny bird, with still-fragile wings, learning to sing in my new nest, to be a caterpillar in the heart of a flower, to be a jewel hiding itself in a stone.
I still arrive, in order to laugh and to cry, to fear and to hope. The rhythm of my heart is the birth and death of all that is alive.
I am a mayfly metamorphosing on the surface of the river. And I am the bird that swoops down to swallow the mayfly.
I am a frog swimming happily in the clear water of a pond. And I am the grass-snake that silently feeds itself on the frog.
I am the child in Uganda, all skin and bones, my legs as thin as bamboo sticks. And I am the arms merchant, selling deadly weapons to Uganda.
I am the twelve-year-old girl, refugee on a small boat, who throws herself into the ocean after being raped by a sea pirate.
And I am also the pirate, my heart not yet capable of seeing and loving.
I am a member of the politburo, with plenty of power in my hands.
And I am the man who has to pay his “debt of blood” to my people dying slowly in a forced-labor camp.
My joy is like Spring, so warm it makes flowers bloom all over the Earth. My pain is like a river of tears, so vast it fills the four oceans.
Please call me by my true names, so I can hear all my cries and laughter at once, so I can see that my joy and pain are one.
Please call me by my true names, so I can wake up and the door of my heart could be left open, the door of compassion.
Asher-Perrin, Emily, et al. "Dr. Who?" Imaginary Worlds (January 24, 2018) ["We don’t know his real name. We don’t know who he was before he stole the TARDIS — a spaceship/time machine that looks like a police box on the outside, but is really a cavernous ship on the inside. He’s thousands of years old, but wears a different face every few years. He calls himself The Doctor, but Doctor who? In the first of my three-part series, I look at how a restless intergalactic time traveller became a global pop culture icon, and why The Doctor’s knack for physical regeneration resonates with fans on a more personal level."]
Barry, Sarah, et al. "Enzymes." In Our Time (June 1, 2017) ["Melvyn Bragg and guests discuss enzymes, the proteins that control the speed of chemical reactions in living organisms. Without enzymes, these reactions would take place too slowly to keep organisms alive: with their actions as catalysts, changes which might otherwise take millions of years can happen hundreds of times a second. Some enzymes break down large molecules into smaller ones, like the ones in human intestines, while others use small molecules to build up larger, complex ones, such as those that make DNA. Enzymes also help keep cell growth under control, by regulating the time for cells to live and their time to die, and provide a way for cells to communicate with each other."]
"Cultivation Theory." Communication Theory (ND)
Meek's Cutoff (USA: Kelly Reichardt, 2010) Dialogic Cinephilia (Ongoing Archive)
Newman, Ben. "The Canon Revisited." Imaginary Worlds (December 27, 2017) ["The Last Jedi may be the most controversial film in the Star Wars series. While the movie has been critically acclaimed, many Star Wars fans have argued that the film violated canon in a number of ways, especially how it depicted Luke Skywalker. This week, I revisit my 2014 episode “The Canon,” and I have a follow-up conversation with Rabbi Ben Newman about the state of the Star Wars canon. Until now, Ben and I had been on the same page about the new films, but like many fans, we found ourselves at odds when evaluating The Last Jedi."]
Popova, Maria. "Adrienne Rich on Why an Education Is Something You Claim, Not Something You Get." Brain Pickings (May 21, 2014)
Religion/Faith/Spirituality Dialogic Cinephilia (Ongoing Archive)
Singer, Leigh. "Meek's Cutoff: Journeys into the New Canon." Fandor (August 29, 2018) ["Many of the characters in Kelly Reichardt’s compact and intimate body of work are lost in America. Maybe they’ve lost their emotional moorings, or perhaps they constitute the more marginalized members of society, people who, for one reason or another, have slipped through our societal security net. Reichardt’s 2010 film, Meek’s Cutoff, embodies these ideas in their most literal sense, focusing on the true story of a group of nineteenth century pioneers who set out on the Oregon Trail only to find themselves in danger of being stranded. Many of Reichardt’s films have been critically acclaimed, but Meek’s Cutoff was met with more confusion and indifference than the director’s more navigable works. The narrative is more elusive, its characters more opaque. Like the very characters Reichardt portrays, Meek’s Cutoff could have slipped through the cracks. In our latest installment of The New Canon, we discuss why that should never happen and how, in hindsight, the film very well may be Reichardt’s most daring endeavor yet."]
White, Judith B., et al. "Frequent Social Comparisons and Destructive Emotions and Behaviors: The Dark Side of Social Comparisons." Journal of Adult Development 13.1 (March 2006)
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