All posts by Mike Zonta

Mary Baker Eddy’s androgynous interpretation of the Lord’s Prayer

Our Father which art in heaven,

Our Father-Mother God, all-harmonious,

Hallowed be Thy name.

Adorable One.

Thy kingdom come.

Thy kingdom is come; Thou art ever-present.

Thy will be done in earth, as it is in heaven.

Enable us to know, — as in heaven, so on earth, —

God is omnipotent, supreme.

Give us this day our daily bread;

Give us grace for to-day; feed the famished affections;

And forgive us our debts, as we forgive our debtors.

And Love is reflected in love;

And lead us not into temptation, but deliver us from evil;

And God leadeth us not into temptation, but delivereth 

us from sin, disease, and death.

For Thine is the kingdom, and the power, and the glory, forever.

For God is infinite, all-power, all Life, Truth, Love,

over all, and All.

[From Science and Health with Key to the Scriptures
by Mary Baker Eddy, pp. 16–17]

Creationism

Creationism is the religious belief that nature, and aspects such as the universeEarthlife, and humans, originated with supernatural acts of divine creation.[1][2] In its broadest sense, creationism includes a continuum of religious views,[3][4]which vary in their acceptance or rejection of scientific explanations for the origin and development of natural phenomena such as evolution.[5][6]

The term creationism most often refers to belief in special creation; the claim that the universe and lifeforms were created as they exist today by divine action, and that the only true explanations are those which are compatible with a Christian fundamentalist literal interpretation of the creation myths found in the Bible‘s Genesis creation narrative.[7] Since the 1970s, the commonest form of this has been young Earth creationism which posits special creation of the universe and lifeforms within the last 10,000 years on the basis of Flood geology, and promotes pseudoscientific creation science. From the 18th century onwards, old Earth creationism accepted geological time harmonized with Genesis through gap or day-age theory, while supporting anti-evolution. Modern old-Earth creationists support progressive creationism and continue to reject evolutionary explanations.[8] Following political controversy, creation science was reformulated as intelligent design and neo-creationism.[9][10]

Mainline Protestants and the Catholic Church reconcile modern science with their faith in Creation through forms of theistic evolution which hold that God purposefully created through the laws of nature, and accept evolution. Some groups call their belief evolutionary creationism.[5]

Less prominently, there are also members of the Islamic,[11][12] Hindu[13] and American Indian[14] faiths who are creationists.

Use of the term “creationist” in this context dates back to Charles Darwin‘s unpublished 1842 sketch draft for what became On the Origin of Species,[15] and he used the term later in letters to colleagues.[16] Asa Gray published a 1873 article in The Nation saying a “special creationist” maintaining that species “were supernaturally originated just as they are, by the very terms of his doctrine places them out of the reach of scientific explanation.”[17]

More at:  https://en.wikipedia.org/wiki/Creationism

What 8 survivors of violent crime taught me about redemption

The idea of The Redemption Project is to create a space where the victim or victim or a crime can meet with and have a conversation with the perpetrator of that crime. To be specific, the episode I watched this evening, “My Mother’s Murder,” involved the daughter of a murdered woman meet with the murderer, at the daughter’s initiative.

There are many different impressions that flow from watching these emotionally powerful scenes. Van Jones created the series and provides an on-screen continuity and credibility by narrating to some extent, and meeting with the participants. But there are other people in the trenches who have worked to bring these moments about, and of course the victims and the perpetrators. I’ve never seen anything like it.

–submitted by Michael Kelly

May 9, 2019 (cnn.com)

Van Jones is the host of the “The Van Jones Show” and a CNN political commentator. He is the CEO of REFORM Alliance, an organization aiming to reduce the number of people serving unjust parole and probation sentences, and the co-founder of #cut50, a bipartisan criminal justice initiative of the Dream Corps. The opinions expressed in this commentary are his own.

(CNN)The twisted irony of violent crime is that the two people involved — those who commit the heinous act, and those who survive — are connected for the rest of their lives. From the moment of the incident on, their life stories must always include that other person.

But our current criminal justice system isn’t designed to acknowledge this reality. It serves to keep people on both sides of a crime completely separate as it weighs out the appropriate penalty. This system may deliver justice. What it might not do is heal.

To learn more about new approaches to justice inside and outside of our prison system, tune into the CNN Original Series “The Redemption Project with Van Jones,” Sundays at 9 p.m. ET/PT.

During the filming of my new CNN show, “The Redemption Project,” I witnessed a different response to violent crime — one that brings together survivors and those who committed a crime to seek accountability and answers they may not have gotten in the courtroom.

I saw survivors of violence and loss agree to meet face-to-face and talk with those who hurt them or their family members. Meanwhile, those who had made terrible decisions sat down to hear directly from those whose lives they had derailed or destroyed.

These carefully structured dialogues are a key part of the restorative justice process. Where our criminal justice system focuses on punishment of the individual responsible for the crime, restorative justice seeks to heal the whole community and all parties involved. (Note that some people find the term “victim” to be dehumanizing. But within the context of a restorative justice process, it is the most commonly used term, so I will use it here advisedly along with the term “survivor.”)

In the new CNN Original Series "The Redemption Project," Van Jones joins those impacted by crimes and those that committed them on their journey to meet face-to-face.

Biography: Praxiteles

From Wikipedia, the free encyclopedia

Medaillon representing Praxiteles

Praxiteles (/prækˈsɪtɪlz/GreekΠραξιτέλης) of Athens, the son of Cephisodotus the Elder, was the most renowned of the Atticsculptors of the 4th century BC. He was the first to sculpt the nude female form in a life-size statue. While no indubitably attributable sculpture by Praxiteles is extant, numerous copies of his works have survived; several authors, including Pliny the Elder, wrote of his works; and coins engraved with silhouettes of his various famous statuary types from the period still exist.

A supposed relationship between Praxiteles and his beautiful model, the Thespian courtesan Phryne, has inspired speculation and interpretation in works of art ranging from painting (Gérôme) to comic opera (Saint-Saëns) to shadow play (Donnay).

Some writers have maintained that there were two sculptors of the name Praxiteles. One was a contemporary of Pheidias, and the other his more celebrated grandson. Though the repetition of the same name in every other generation is common in Greece, there is no certain evidence for either position.

More at:  https://en.wikipedia.org/wiki/Praxiteles

Biography: Heraclitus

From Wikipedia, the free encyclopedia

Heraclitus
Utrecht Moreelse Heraclite.JPG

Heraclitus by Johannes Moreelse. The image depicts him as “the weeping philosopher” wringing his hands over the world, and as “the obscure” dressed in dark clothing—both traditional motifs
Born c. 535 BCE

Died c. 475 BCE (age c. 60)
Era Ancient philosophy
Region Western philosophy
School Ionian
Main interests
Metaphysicsepistemologyethicspoliticscosmology
Notable ideas
Logos“everything flows”, fire is the archeidios kosmosunity of opposites

Heraclitus of Ephesus (/ˌhɛrəˈkltəs/;[1] GreekἩράκλειτος ὁ Ἐφέσιοςtranslit. Hērákleitos ho Ephésiosc. 535 – c. 475 BCE) was a pre-Socratic Greek philosopher, and a native of the city of Ephesus,[2] then part of the Persian Empire. He was of distinguished parentage. Little is known about his early life and education, but he regarded himself as self-taught and a pioneer of wisdom. From the lonely life he led, and still more from the apparently riddled[3] and allegedly paradoxical[4] nature of his philosophy and his stress upon the heedless unconsciousness of humankind,[5] he was called “The Obscure” and the “Weeping Philosopher”.

Heraclitus was famous for his insistence on ever-present change as being the fundamental essence of the universe, as stated in the famous saying, “No man ever steps in the same river twice”[6] (see panta rhei below). This is commonly considered to be a key contribution in the development of the philosophical concept of becoming, as contrasted with “being”, and has sometimes been seen in a dialectical relationship with Parmenides‘ statement that “whatever is, is, and what is not cannot be”, the latter being understood as a key contribution in the development of the philosophical concept of being. For this reason, Parmenides and Heraclitus are commonly considered to be two of the founders of ontology. Scholars have generally believed that either Parmenides was responding to Heraclitus, or Heraclitus to Parmenides, though opinion on who was responding to whom has varied over the course of the 20th and 21st centuries.[7] Heraclitus’ position was complemented by his stark commitment to a unity of opposites in the world, stating that “the path up and down are one and the same”. Through these doctrines Heraclitus characterized all existing entities by pairs of contrary properties, whereby no entity may ever occupy a single state at a single time. This, along with his cryptic utterance that “all entities come to be in accordance with this Logos” (literally, “word”, “reason”, or “account”) has been the subject of numerous interpretations.

More at:  https://en.wikipedia.org/wiki/Heraclitus

‘World-famous for 15 minutes’: How Andy Warhol predicted the cult of personality and social media age

By Tony Bravo  (SFChronicle.com)

Andy Warhol, “Liz #6 [Early Colored Liz],” 1963. Acrylic and silkscreen ink on linen.Photo: © Andy Warhol Foundation for the Visual Arts Inc., Artists Rights Society (ARS), New York.

In 1968, Andy Warhol memorably stated, “In the future, everyone will be world-famous for 15 minutes.” Less well known is his follow-up sentiment, a decade later.“By 1979, Warhol acknowledged his prediction from the ’60s that everyone will be famous for 15 minutes had already come true,” says Michael Dayton Hermann, director of licensing at the Andy Warhol Foundation for the Visual Arts. “Bored of that line, he went on to say, ‘In 15 minutes, everybody will be famous.’ “

Although Warhol died in 1987, his impact on how we think of fame — not to mention contemporary permutations like personal branding and social media influencers — is ripe for re-examination.

“In this moment when seemingly anyone can be famous on social media, it is hard to think of a more prescient outlook that continues to reverberate,” Hermann says.

Andy Warhol, “Brillo Boxes,” 1969 (version of 1964 original). Silkscreen ink on wood, 50 parts.Photo: © Andy Warhol Foundation for the Visual Arts Inc., Artists Rights Society (ARS) New York

On Sunday, May 19, “Andy Warhol — From A to B and Back Again,” the first American retrospective of the artist since 1989, opens at SFMOMA, featuring more than 300 works from Warhol’s 40-year career. In addition to iconic pieces like his “Brillo Boxes” sculpture, triple-panel Elvis silkscreen and Pop Art flowers, there are also films and footage of Warhol on television.

The exhibition, which originated at the Whitney Museum of Art in New York, takes its title from Warhol’s 1975 book “The Philosophy of Andy Warhol (From A to B and Back Again),” which examines the artist’s thoughts on topics including fame and celebrities. But as celebrity culture widens its reach, making both the lives of famous people and fame itself more accessible, the exhibit inspires a question: Are we living in the ultimate Warhol universe?

“Andy was definitely way ahead of the curve,” says SFMOMA curator Gary Garrels.  “He didn’t see himself as an oracle. But he was so in tune with the cultural shift. He was the canary in the coal mine.”

Andy Warhol, “Green Coca-Cola Bottles,” 1962. Silkscreen ink, acrylic, and graphite on canvas.Photo: © Andy Warhol Foundation for the Visual Arts Inc., Artists Rights Society (ARS) New York.

Born Andrew Warhola in Pittsburgh in 1928,  the artist’s Pop Art style exploded in the 1960s with its exploration of visual advertising, public personalities and then-contemporary culture. With his shocking white hair, soft-spoken aloofness and entourage of celebrity pals, he was hard to miss.

From an early age, Garrels says, Warhol was fascinated not only by famous people, but also by the cult of personality that sometimes emerged around the famous.

“Andy was infatuated with celebrity as a kid in Pittsburgh — he was a member of the Shirley Temple Fan Club,” Garrels says. “Later, he became infatuated with Truman Capote.”

Capote, author of “In Cold Blood,” eventually became both a friend of Warhol’s and a portrait subject for the artist, as well as a frequent companion on the celebrity circuits of the day. By then, Warhol’s own fame was equal to, if not greater than the attraction of his subjects. And by the time Warhol died, his artistic gaze at figures like Elizabeth Taylor, Marilyn Monroe, Mao, Jacqueline Kennedy and objects like the Campbell’s soup can had become as ubiquitous as the muses themselves.

Andy Warhol, “Ladies and Gentlemen (Wilhelmina Ross),” 1975. Acrylic and silkscreen on linen.Photo: © Andy Warhol Foundation for the Visual Arts Inc., Artists Rights Society (ARS) New York.

But it wasn’t just celebrities who captured Warhol’s eye. His work often featured niche personalities and cultural outsiders, people the artist elevated in society through his artwork.

Andy Warhol, “Ethel Scull 36 Times,” 1963. Silkscreen ink and acrylic on linen, 36 panels.Photo: © Andy Warhol Foundation for the Visual Arts Inc., Artists Rights Society (ARS) New York

Garrels says  Warhol “gravitated toward people who had distinctive personalities, who were just themselves,” naming Warhol “superstars” Brigid Berlin (a.k.a. Brigid Polk), Billy Name and gender-transgressive performers Holly Woodlawn and Candy Darling as examples.

The artist’s tendency to spark or promote the popularity of famous-for-being-famous heiress “It girls” like Edie Sedgwick is an obvious precursor to what Garrels calls the social media-savvy made-from-nothing celebrities of today. In the age of reality television and Instagram celebrity saturation, one might ask how direct the through line is from Warhol and his superstars to the denizens of “Keeping Up With the Kardashians.”

Even with decades-plus of distance between Warhol’s death and the dawn of the social media age, it is difficult not to see the artist’s influence in how we use these tools for personal expression — and personal promotion. YouTube video blogger testimonials where people confess into their phones or webcams seem like a further evolved version of Warhol’s screen-test films, where people would frequently confess into the movie camera. The way we present and fetishize objects using platforms like Instagram also calls back to Warhol, who spent the early years of his career in advertising, an experience Garrels says sharpened his focus and interest in exploring images of commercial objects.

“Warhol understood the immense power of images as communication tools,” says Hermann. “Whenever I scroll through images on Instagram, I am reminded of how much I agree with him when he said, ‘I never read; I just look at pictures.’ ”

Andy Warhol, “Self-Portrait,” 1963–64. Silkscreen ink and acrylic on canvas, four panels.Photo: © Andy Warhol Foundation for the Visual Arts Inc., Artists Rights Society(ARS) New York.

Warhol’s public presentation of himself, especially as an extension of his work, is perhaps the ultimate connector to present day. Among the pieces in the exhibition are self-portraits by the artist, an art world predecessor to the selfie.

During his lifetime, both his physical persona and his philosophies were as much the artist’s signature as his body of work. Warhol himself was enough of a brand that just his silent presence was a coveted celebrity cameo in films like “Tootsie” and on television in “The Love Boat.” The appeal didn’t stop with his death: Warhol keeps popping up in commercial spaces, too, from fashion collaborations to home wares featuring his art and likeness.

For Hermann, part of what makes Warhol’s work so prescient is the mirror it continues to hold up to American life.

“From fame and celebrity to death and disaster, Warhol allowed the viewer to examine our interests and values from new perspectives,” says Hermann.

Andy Warhol, “Triple Elvis [Ferus Type],” 1963. Acrylic, spray paint, and silkscreen ink on linen.Photo: © Andy Warhol Foundation for the Visual Arts Inc., Artists Rights Society(ARS) New York

Which means he might be the reason we have the Kardashians.“It’s hard to imagine Kim Kardashian without the groundwork Warhol laid down,” says Garrels. “Warhol was reflective of the culture at the moment and distilled where the culture was. I can’t think of another visual artist in touch in that same way.”

“Andy Warhol — From A to Z and Back Again”: 11 a.m.-6 p.m. Friday-Tuesday; 10-5 p.m. Thursday 10-9 p.m. Through Sept. 2. $19-$25; ages 18 and younger free. San Francisco Museum of Modern Art, 151 Third St., S.F. 415-357-4000. www.sfmoma.org

  • Tony BravoTony Bravo is a San Francisco Chronicle staff writer. Email: tbravo@sfchronicle.com

When the Body Says No — Caring for ourselves while caring for others. Dr. Gabor Maté


SCSASmithers
Published on Mar 6, 2013

Stress is ubiquitous these days — it plays a role in the workplace, in the home, and virtually everywhere that people interact. It can take a heavy toll on individuals unless it is recognized and managed effectively and insightfully. This is even more true for parents, family members and caregivers of individuals with neuro-behavioural disorders such as FASD, and if left unchecked, accumulated stress goes on to undermine immunity, disrupts the body’s physiological milieu and can prepare the ground for a multitude chronic diseases and conditions.
This presentation, adapted for this conference, is based on When The Body Says No, a best-selling book that has been translated into more than twelve languages on five continents.

SUNDAY NIGHT TRANSLATION GROUP – 5/19/19

Translators:  Melissa Goodnight, Richard Branam, Mike Zonta, Alex Gambeau

SENSE TESTIMONY:  Degeneration and degeneracy of our bodies and our cities appear inevitable due to attrition and entropy.

5th Step Conclusions:

1)  Truth is the inevitable, unavoidable womanish man of peace, an organism preordained and predictable in its spontaneous, reasonable usefulness.

2)  The One Infinite Consciousness Being, is relentlessly and assuredly expressing, in every individuation and variety/multiplicity arising thereof, the wholeness/order/integrity that absolutely sustains and maintains universally.

3)  Infinite Truth in its Noble and Ethics is a Principle of the Thinker that precedes thought, always doing the Right Action in grace of the I Thou Consciousness.

4)  Truth Being Purely Unchangeable Absoluteness, This Abstract Acts with Universally Principled Integrity, The Only Qualities, Attributes of its Super Genius Developed, this Innate Genus Framework is the I THOU, AMNESS, Being Especially Creative Autismiscal Embodiment Is the Androgynous Identity, Using All the Available Energy, Piercing the Mind’s Heart with Happiness.

Biography: Margaret Fuller

Margaret Fuller

From Wikipedia, the free encyclopedia
Margaret Fuller
The only known daguerreotype of Margaret Fuller (by John Plumbe, 1846)

The only known daguerreotype of Margaret Fuller (by John Plumbe, 1846)
Born Sarah Margaret Fuller
May 23, 1810
Cambridgeport, Massachusetts, U.S.
Died July 19, 1850 (aged 40)
Off Fire Island, New York, U.S.
Occupation Teacher
Journalist
Critic
Literary movement Transcendentalism

Signature

Sarah Margaret Fuller Ossoli (May 23, 1810 – July 19, 1850), commonly known as Margaret Fuller, was an American journalist, editor, critic, and women’s rights advocate associated with the American transcendentalism movement. She was the first full-time American female book reviewer in journalism. Her book Woman in the Nineteenth Century is considered the first major feminist work in the United States.

Born Sarah Margaret Fuller in Cambridge, Massachusetts, she was given a substantial early education by her father, Timothy Fuller. She later had more formal schooling and became a teacher before, in 1839, she began overseeing her Conversations series: classes for women meant to compensate for their lack of access to higher education.[1] She became the first editor of the transcendentalist journal The Dial in 1840, before joining the staff of the New York Tribuneunder Horace Greeley in 1844. By the time she was in her 30s, Fuller had earned a reputation as the best-read person in New England, male or female, and became the first woman allowed to use the library at Harvard College. Her seminal work, Woman in the Nineteenth Century, was published in 1845. A year later, she was sent to Europe for the Tribune as its first female correspondent. She soon became involved with the revolutions in Italy and allied herself with Giuseppe Mazzini. She had a relationship with Giovanni Ossoli, with whom she had a child. All three members of the family died in a shipwreck off Fire Island, New York, as they were traveling to the United States in 1850. Fuller’s body was never recovered.

Fuller was an advocate of women’s rights and, in particular, women’s education and the right to employment. She also encouraged many other reforms in society, including prison reform and the emancipation of slaves in the United States. Many other advocates for women’s rights and feminism, including Susan B. Anthony, cite Fuller as a source of inspiration. Many of her contemporaries, however, were not supportive, including her former friend Harriet Martineau. She said that Fuller was a talker rather than an activist. Shortly after Fuller’s death, her importance faded; the editors who prepared her letters to be published, believing her fame would be short-lived, censored or altered much of her work before publication.

Biography

Early life and family

Birthplace and childhood home of Margaret Fuller

Sarah Margaret Fuller was born on May 23, 1810,[2] in CambridgeportMassachusetts, the first child of Congressman Timothy Fuller and Margaret Crane Fuller. She was named after her paternal grandmother and her mother, but by age nine she dropped “Sarah” and insisted on being called “Margaret.”[3] The Margaret Fuller House, in which she was born, is still standing. Her father taught her to read and write at the age of three and a half, shortly after the couple’s second daughter, Julia Adelaide, died at 14 months old.[4] He offered her an education as rigorous as any boy’s at the time and forbade her to read the typical feminine fare of the time, such as etiquette books and sentimental novels.[5] He incorporated Latin into his teaching shortly after the birth of the couple’s son Eugene in May 1815, and soon Margaret was translating simple passages from Virgil.[6] Later in life Margaret blamed her father’s exacting love and his valuation of accuracy and precision for her childhood nightmares and sleepwalking.[7] During the day Margaret spent time with her mother, who taught her household chores and sewing.[8] In 1817, her brother William Henry Fuller was born, and her father was elected as a representative in the United States Congress. For the next eight years, he spent four to six months a year in Washington, D.C.[9] At age ten, Fuller wrote a cryptic note which her father saved: “On 23 May 1810, was born one foredoomed to sorrow and pain, and like others to have misfortunes.”[10]

Fuller began her formal education at the Port School in Cambridgeport in 1819[7] before attending the Boston Lyceum for Young Ladies from 1821 to 1822.[11] In 1824, she was sent to the School for Young Ladies in Groton, on the advice of aunts and uncles, though she resisted the idea at first.[12] While she was there, Timothy Fuller did not run for re-election, in order to help John Quincy Adams with his presidential campaign in 1824; he hoped Adams would return the favor with a governmental appointment.[13] On June 17, 1825, Fuller attended the ceremony at which the American Revolutionary War hero Marquis de Lafayette laid the cornerstone of the Bunker Hill Monument 50 years after the battle.[14] 15-year-old Fuller introduced herself to Lafayette in a letter which concluded: “Should we both live, and it is possible to a female, to whole the avenues of glory are seldom accessible, I will recal my name to your recollection.” Early on, Fuller sensed herself to be a significant person and thinker.[15]

Fuller left the Groton school after two years and returned home at 16.[16] At home she studied the classics and trained herself in several modern languages and read world literature.[17] By this time, she realized she did not fit in with other young women her age. She wrote, “I have felt that I was not born to the common womanly lot.”[18] Eliza Farrar, wife of Harvard professor John Farrar and author of The Young Lady’s Friend (1836), attempted to train her in feminine etiquette until the age of 20,[19] but was never wholly successful.[20]

Early career

Fuller was an avid reader. By the time she was in her 30s, she had earned a reputation as the best-read person, male or female, in New England.[21] She used her knowledge to give private lessons based on the teaching style of Elizabeth Palmer Peabody.[22] Fuller hoped to earn her living through journalism and translation; her first published work, a response to historian George Bancroft, appeared in November 1834 in the North American Review.[23] When she was 23, her father’s law practice failed and he moved the family to a farm in Groton.[24] On February 20, 1835, Frederic Henry Hedge and James Freeman Clarke asked her to contribute to each of their periodicals. Clarke helped her publish her first literary review in the Western Messenger in June: criticisms of recent biographies on George Crabbe and Hannah More.[25] In the fall of that year, she suffered a terrible migraine with a fever that lasted nine days. Fuller continued to experience such headaches throughout her life.[26] While she was still recovering, her father died of cholera on October 2, 1835.[27] She was deeply affected by his death: “My father’s image follows me constantly”, she wrote.[28] She vowed to step in as the head of the family and take care of her widowed mother and younger siblings.[29] Her father had not left a will, and two of her uncles gained control of his property and finances, later assessed at $18,098.15, and the family had to rely on them for support. Humiliated by the way her uncles were treating the family, Fuller wrote that she regretted being “of the softer sex, and never more than now”.[30]

The Greene Street School where Fuller taught from 1837 to 1839

Around this time, Fuller was hoping to prepare a biography of Johann Wolfgang von Goethe, but felt that she could work on it only if she traveled to Europe. Her father’s death and her sudden responsibility for her family caused her to abandon this idea.[23] In 1836, Fuller was given a job teaching at Bronson Alcott’s Temple School in Boston,[31] where she remained for a year. She then accepted an invitation to teach under Hiram Fuller (no relation) at the Greene Street School in Providence, Rhode Island, in April 1837 with the unusually high salary of $1,000 per year.[32] Her family sold the Groton farm and Fuller moved with them to Jamaica Plain, Massachusetts.[33] On November 6, 1839, Fuller held the first of her Conversations,[34]discussions among local women who met in the Boston home of the Peabodys.[35] Fuller intended to compensate for the lack of women’s education[36] with discussions and debates focused on subjects including the fine arts, history, mythology, literature, and nature.[37] Serving as the “nucleus of conversation”, Fuller also intended to answer the “great questions” facing women and encourage women “to question, to define, to state and examine their opinions”.[38] She asked her participants, “What were we born to do? How shall we do it? Which so few ever propose to themselves ’till their best years are gone by”.[39] In Conversations, Fuller was finally finding equal intellectual companions among her female contemporaries.[40] A number of significant figures in the women’s rights movement attended these gatherings, including Sophia Dana RipleyCaroline Sturgis,[41] and Maria White Lowell.[34]

The Dial

In October 1839, Ralph Waldo Emerson was seeking an editor for his transcendentalist journal The Dial. After several declined the position, he offered it to Fuller, referring to her as “my vivacious friend.”[42] Emerson had met Fuller in Cambridge in 1835; of that meeting, he admitted: “she made me laugh more than I liked.” The next summer, Fuller spent two weeks at Emerson’s home in Concord.[43] Fuller accepted Emerson’s offer to edit The Dial on October 20, 1839, and began work in the first week of 1840.[44] She edited the journal from 1840 to 1842, though her promised annual salary of $200 was never paid.[45] Because of her role, she was soon recognized as one of the most important figures of the transcendental movement and was invited to George Ripley’s Brook Farm, a communal experiment.[46] Fuller never officially joined the community but was a frequent visitor, often spending New Year’s Eve there.[47] In the summer of 1843, she traveled to Chicago, MilwaukeeNiagara Falls, and Buffalo, New York;[48] while there, she interacted with several Native Americans, including members of the Ottawa and the Chippewa tribes.[49] She reported her experiences in a book called Summer on the Lakes,[48] which she completed writing on her 34th birthday in 1844.[50] The critic Evert Augustus Duyckinckcalled it “the only genuine book, I can think of, this season.”[51] Fuller used the library at Harvard College to do research on the Great Lakes region,[48] and became the first woman allowed to use Harvard’s library.[52]

Fuller’s “The Great Lawsuit” was written in serial form for The Dial. She originally intended to name the work The Great Lawsuit: Man ‘versus’ Men, Woman ‘versus’ Women;[53] when it was expanded and published independently in 1845, it was entitled Woman in the Nineteenth Century. After completing it, she wrote to a friend: “I had put a good deal of my true self in it, as if, I suppose I went away now, the measure of my footprint would be left on earth.”[54] The work discussed the role that women played in American democracy and Fuller’s opinion on possibilities for improvement. It has since become one of the major documents in American feminism.[55] It is considered the first of its kind in the United States.[54][56] Soon after the American publication of Woman in the Nineteenth Century, it was pirated and published by H.G. Clarke in England.[57][58] Despite never receiving commissions due to a lack of international copyright laws,[59][58] Fuller was “very glad to find it will be read by women” around the world.[60]

New York Tribune

Engraving of Margaret Fuller

Fuller left The Dial in 1844 in part because of ill health but also because of her disappointment with the publication’s dwindling subscription list.[61] She moved to New York that autumn and joined Horace Greeley’s New York Tribune as a literary critic, becoming the first full-time book reviewer in American journalism[62] and, by 1846, the publication’s first female editor.[63] Her first article, a review of a collection of essays by Emerson, appeared in the December 1, 1844, issue.[64] At this time, the Tribune had some 50,000 subscribers and Fuller earned $500 a year for her work.[65] In addition to American books, she reviewed foreign literature, concerts, lectures, and art exhibits.[66] During her four years with the publication, she published more than 250 columns, most signed with a “*” as a byline.[65] In these columns, Fuller discussed topics ranging from art and literature to political and social issues such as the plight of slaves and women’s rights.[67] She also published poetry; her poems, styled after the work of Emerson, do not have the same intellectual vigor as her criticism.[68]

Around this time, she was also involved in a scandal involving fellow literary critic Edgar Allan Poe, who had been carrying on a public flirtation with the married poet Frances Sargent Osgood.[69] Another poet, Elizabeth F. Ellet, had become enamored of Poe and jealous of Osgood[70] and suggested the relationship between Poe and Osgood was more than an innocent flirtation.[71] Osgood then sent Fuller and Anne Lynch Botta to Poe’s cottage on her behalf to request that he return the personal letters she had sent him. Angered by their interference, Poe called them “Busy-bodies”.[72] A public scandal erupted and continued until Osgood’s estranged husband Samuel Stillman Osgood stepped in and threatened to sue Ellet.[73]

Assignment in Europe

The house in Rieti, Italy where Margaret Fuller lived and gave birth to her son (the one on the left side of the arch, not where the plaque has been placed).

 

In 1846 the New York Tribune sent Fuller to Europe, specifically England and Italy, as its first female foreign correspondent.[74]She traveled from Boston to Liverpool in August on the Cambria, a vessel that used both sail and steam to make the journey in ten days and sixteen hours.[75] Over the next four years she provided the Tribune with thirty-seven reports.[76] She interviewed many prominent writers including George Sand and Thomas Carlyle—whom she found disappointing because of his reactionary politics, among other things. George Sand had previously been an idol of hers, but Fuller was disappointed when Sand chose not to run for the French National Assembly, saying that women were not ready to vote or to hold political office.[77] Fuller was also given a letter of introduction to Elizabeth Barrett by Cornelius Mathews, but did not meet her at that time, because Barrett had just eloped with Robert Browning.[78]

In England in the spring of 1846, she met Giuseppe Mazzini, who had been in exile there from Italy since 1837.[79] Fuller also met the Italian revolutionary Giovanni Angelo Ossoli, a marquis who had been disinherited by his family because of his support for Mazzini.[80] Fuller and Ossoli moved in together in Florence, Italy, likely before they were married, though whether they ever married is uncertain.[17][81][82] Fuller was originally opposed to marrying him, in part because of the difference in their religions; she was Protestant and he was Roman Catholic.[83] Emerson speculated that the couple was “married perhaps in Oct. Nov. or Dec” of 1847, though he did not explain his reasoning.[84] Biographers have speculated that the couple married on April 4, 1848, to celebrate the anniversary of their first meeting[85] but one biographer provided evidence they first met on April 1 during the ceremony called “Lavanda degli Altari” (Altars Lavage).[86]By the time the couple moved to Florence, they were referred to as husband and wife, though it is unclear if any formal ceremony took place.[87] It seems certain that at the time their child was born, they were not married. By New Year’s Day 1848, she suspected that she was pregnant but kept it from Ossoli for several weeks.[88] Their child, Angelo Eugene Philip Ossoli, was born in early September 1848[89] and nicknamed Angelino. The couple was very secretive about their relationship but, after Angelino suffered an unnamed illness, they became less so.[90] Fuller informed her mother about Ossoli and Angelino in August 1849 in a letter that explained that she had kept silent so as not to upset her “but it has become necessary, on account of the child, for us to live publicly and permanently together.”[90] Her mother’s response makes it clear that she was aware that the couple was not legally married.[91] Even so, she was happy for her daughter, writing: “I send my first kiss with my fervent blessing to my grandson.”[92]

Plaque placed in 2010 on the house in Rieti

 

The couple supported Giuseppe Mazzini’s revolution for the establishment of a Roman Republic in 1849. Ossoli fought in the struggle while Fuller volunteered at a supporting hospital.[93] When the republicans they supported met defeat,[94] they had to flee Italy and decided to move to the United States.[95] En route, they returned to Paris, where she finally met Elizabeth Barrett Browning.[96] Fuller used her experience in Italy to begin a book about the history of the Roman Republic—a work she may have begun as early as 1847—[97] and hoped to find an American publisher after a British one rejected it.[98] She believed the work would be her most important, referring to it in a March 1849 letter to her brother Richard as, “something good which may survive my troubled existence.”[99]

Death

In the beginning of 1850, Fuller wrote to a friend: “It has long seemed that in the year 1850 I should stand on some important plateau in the ascent of life … I feel however no marked and important change as yet.”[100] Also that year, Fuller wrote: “I am absurdly fearful and various omens have combined to give me a dark feeling … It seems to me that my future upon earth will soon close … I have a vague expectation of some crisis—I know not what”.[101] A few days after writing this, Fuller, Ossoli, and their child began a five-week return voyage to the United States aboard the ship Elizabeth, an American merchant freighter carrying cargo that included mostly marble from Carrara.[102] They set sail on May 17.[103] At sea, the ship’s captain, Seth Hasty, died of smallpox.[104] Angelino contracted the disease and recovered.[105]

Possibly because of the inexperienced first mate, now serving as captain, the ship slammed into a sandbar less than 100 yards from Fire Island, New York, on July 19, 1850, around 3:30 a.m.[106] Many of the other passengers and crew members abandoned ship. The first mate, Mr. Bangs, urged Fuller and Ossoli to try to save themselves and their child as he himself jumped overboard,[107] later claiming he believed Fuller had wanted to be left behind to die.[108] On the beach, people arrived with carts hoping to salvage any cargo washed ashore. None made any effort to rescue the crew or passengers of the Elizabeth,[109] though they were only 50 yards from shore.[108] Most of those aboard attempted to swim to shore, leaving Fuller and Ossoli and Angelino some of the last on the ship. Ossoli was thrown overboard by a massive wave and, after the wave had passed, a crewman who witnessed the event said Fuller could not be seen.[110]

Henry David Thoreau traveled to New York, at the urging of Emerson, to search the shore but neither Fuller’s body nor that of her husband was ever recovered. Angelino’s had washed ashore.[111] Few of their possessions were found other than some of the child’s clothes and a few letters.[112] Fuller’s manuscript on the rise and fall of the 1849 Roman Republic, which she described as, “what is most valuable to me if I live of any thing”,[113] was also lost.[114] A memorial to Fuller was erected on the beach at Fire Island in 1901 through the efforts of Julia Ward Howe.[115] A cenotaph to Fuller and Ossoli, under which Angelino is buried, is in Mount Auburn Cemetery, Cambridge, Massachusetts.[116] The inscription reads, in part:[117]

By birth a child of New England
By adoption a citizen of Rome
By genius belonging to the world

Within a week after her death, Horace Greeley suggested to Emerson that a biography of Fuller, to be called Margaret and Her Friends, be prepared quickly “before the interest excited by her sad decease has passed away”.[118] Many of her writings were soon collected together by her brother Arthur as At Home and Abroad (1856) and Life Without and Life Within (1858). He also edited a new version of Woman in the Nineteenth Century in 1855.[119] In February 1852, The Memoirs of Margaret Fuller Ossoli was published,[120] edited by Emerson, James Freeman Clarke, and William Henry Channing, though much of the work was censored or reworded. It left out details about her love affair with Ossoli and an earlier relationship with a man named James Nathan.[121] The three editors, believing the public interest in Fuller would be short-lived and that she would not survive as a historical figure, were not concerned about accuracy.[122] For a time, it was the best-selling biography of the decade and went through thirteen editions before the end of the century.[120] The book focused on her personality rather than her work. Detractors of the book ignored her status as a critic and instead criticized her personal life and her “unwomanly” arrogance.[123]

Beliefs

Fuller was an early proponent of feminism and especially believed in providing education to women.[124] Once equal educational rights were afforded women, she believed, women could push for equal political rights as well.[125] She advocated that women seek any employment they wish, rather than catering to the stereotypical “feminine” roles of the time, such as teaching. She once said, “If you ask me what office women should fill, I reply—any … let them be sea captains if you will. I do not doubt that there are women well fitted for such an office”.[126] She had great confidence in all women but doubted that a woman would produce a lasting work of art or literature in her time[127] and disliked the popular female poets of her time.[128] Fuller also warned women to be careful about marriage and not to become dependent on their husbands. As she wrote, “I wish woman to live, first for God’s sake. Then she will not make an imperfect man for her god and thus sink to idolatry. Then she will not take what is not fit for her from a sense of weakness and poverty”.[53] By 1832, she had made a personal commitment to stay single.[129] Fuller also questioned a definitive line between male and female: “There is no wholly masculine man … no purely feminine” but that both were present in any individual.[67] She suggested also that within a female were two parts: the intellectual side (which she called the Minerva) and the “lyrical” or “Femality” side (the Muse).[130] She admired the work of Emanuel Swedenborg, who believed men and women shared “an angelic ministry”, as she wrote, as well as Charles Fourier, who placed “Woman on an entire equality with Man”.[56] Unlike several contemporary women writers, including “Mrs. Sigourney” and “Mrs. Stowe“, she was familiarly referred to in a less formal manner as “Margaret”.[131]

Fuller also advocated reform at all levels of society, including prison. In October 1844, she visited Sing Sing and interviewed the women prisoners, even staying overnight in the facility.[132] Sing Sing was developing a more humane system for its women inmates, many of whom were prostitutes.[133] Fuller was also concerned about the homeless and those living in dire poverty, especially in New York.[134] She also admitted that, though she was raised to believe “that the Indian obstinately refused to be civilized”, her travels in the American West made her realize that the white man unfairly treated the Native Americans; she considered Native Americans an important part of American heritage.[135] She also supported the rights of African-Americans, referring to “this cancer of slavery”,[136] and suggested that those who were interested in the abolition movement follow the same reasoning when considering the rights of women: “As the friend of the Negro assumes that one man cannot by right hold another in bondage, so should the Friend of Woman assume that Man cannot by right lay even well-meant restrictions on Woman.”[137] She suggested that those who spoke against the emancipation of slaves were similar to those who did not support the emancipation of Italy.[138]

Fuller agreed with the transcendental concern for the psychological well-being of the individual,[139] though she was never comfortable being labeled a transcendentalist.[140] Even so, she wrote, if being labeled a transcendentalist means “that I have an active mind frequently busy with large topics I hope it is so”.[141]She criticized people such as Emerson, however, for focusing too much on individual improvement and not enough on social reform.[142] Like other members of the so-called Transcendental Club, she rebelled against the past and believed in the possibility of change. However, unlike others in the movement, her rebellion was not based on religion.[143] Though Fuller occasionally attended Unitarian congregations, she did not entirely identify with that religion. As biographer Charles Capper has noted, she “was happy to remain on the Unitarian margins.”[144]

More at:  https://en.wikipedia.org/wiki/Margaret_Fuller