One of Arendt’s early articles, the 1943 essay “We Refugees,” based on her personal experiences of statelessness, raises fundamental questions. When she speaks of “dark times” and warns of the “exhortations, moral and otherwise, that under the pretext of upholding old truths degrade all truth in meaningless triviality” we can hear not only a critique of the horrors of 20th-century totalitarianism, but also a warning about forces pervading the politics of the United States and Europe today.Īrendt was one of the first major political thinkers to warn that the ever-increasing numbers of stateless persons and refugees would continue to be an intractable problem. She was remarkably perceptive about some of the deepest problems, perplexities and dangerous tendencies in modern political life, many of them still with us today.
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She is best known for her major works, including “The Human Condition,” “On Violence,” “Truth and Politics,” “The Origins of Totalitarianism” and especially “Eichmann in Jerusalem: A Report on the Banality of Evil,” which grew out of her coverage of the trial of the Nazi Adolf Eichmann for The New Yorker. In the preface to her 1968 collection of essays, “Men in Dark Times,” Hannah Arendt wrote: “Even in the darkest of times we have the right to expect some illumination.” Today, in our own dark time, Arendt’s work is being read with a new urgency, precisely because it provides such illumination.īorn in Germany in 1906, Arendt studied with prominent philosophers of her time, but fled the country in 1933, living for a time in Paris, and later, in the United States. This month, print sale proceeds going to the NILC will be matched dollar-for-dollar by other NILC donors, so the NILC will get 100% of the value of any prints you order in December! We’ve updated it this year, as the organizations we’re supporting continue to need your help. This photo essay was originally published on December 7, 2016, the 75th anniversary of the attack on Pearl Harbor. Their fight seems especially important today given the current tide of anti-immigrant rhetoric, Muslim immigration bans, and the United States terminating DACA, which-if Congress does not pass the Dream Act-means 800,000 immigrants could lose their protected status.
I’ve also made a limited number of prints of her photos available for sale at Anchor Editions, and I’m donating 50% of the proceeds to two organizations fighting to protect immigrants: the NILC and the ACLU. I wrote more about the history of Lange’s photos and President Roosevelt’s Executive Order 9066 initiating the Japanese Internment in another post on the Anchor Editions Blog.īelow, I’ve selected some of Lange’s photos from the National Archives-including the captions she wrote-pairing them with quotes from people who were imprisoned in the camps, as quoted in the excellent book, Impounded: Dorothea Lange and the Censored Images of Japanese American Internment. The photos were quietly deposited into the National Archives, where they remained largely unseen until 2006. The military commanders that reviewed her work realized that Lange’s contrary point of view was evident through her photographs, and seized them for the duration of World War II, even writing “Impounded” across some of the prints. It gives us a glimpse fifty years into the past of this incredible working band,” he says. “It’s kind of like a little time capsule. The younger Coltrane, who is also a saxophonist, helped put the album together. “To have an entire album of music surface, this is definitely a rare thing,” Ravi Coltrane, John Coltrane’s son, explains in a conversation with NPR’s Audie Cornish and Jazz Night In America host Christian McBride.
The album includes unique renditions of the Coltrane classic “Impressions” and several other tracks that the quartet would release down the line. Both Directions at Once: The Lost Album is being released by Impulse! Records on June 29 and features two Coltrane compositions that have never been heard before from a time when the quartet was at the height of its musicianship. They were at the tail end of a two-week residency at the Birdland jazz club in Manhattan, and the very next day they would record an album with singer Johnny Hartman.īut the recordings from that March afternoon session never saw the light of day - until now. It was a busy time for the group, which featured pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones. On March 6, 1963, John Coltrane and his quartet arrived at Van Gelder Studios in New Jersey to record an album.
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