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Unity Starts with U: A Case Study of a Counter-Hate Campaign Through the Use of Social Media Platforms
Get PDFHate has been a growing concern with hate-groups and individuals using the Internet, or more specifically, social media platforms, to globalize hate. Since these social media platforms can connect users around the world, hate-organizations are using these connections as opportunities to recruit candidates and spread their propaganda. Without opposing views, these extreme viewpoints can establish themselves as legitimate and then be used to incite hate in individuals. Thus, these extreme viewpoints must be countered by similar messages to discourage this online hate, and one such way is to use the same platforms through grassroots movements. This paper presents a case study which was conducted on a class of Criminology students who implemented a grassroots community-based campaign called Unity Starts with U (USwithU) to counter-hate in a community by using social media platforms to spread messages of inclusion and share experiences. The results from the campaign showed improvements on people’s attitude towards hate at the local community level. Based on literature and this campaign, policy recommendations are suggested for policymakers to consider when creating or making improvements on counter-narrative programs
Prioritizing Language, Voice, and Authenticity: An Interview with James McNulty and Jerrod Schwarz, Editors of Driftwood Press
Get PDFDriftwood Press is a bi-annual literary magazine founded in Tampa, FL in 2013. The editors search for artists who care about doing it right, or better. The magazine publishes fiction, poetry, photography, graphic narrative, and interviews, but the editors are also open to experimental and hybrid forms. James McNulty is the fiction editor; Jerrod Schwarz is the poetry editor
Revise in Haste; Repent at Leisure
Get PDFJust when you think you’re done with revision, guess what? There’s room to do one more (or maybe two, or three.) The smartest thing my agent did for me recently (uh, except for selling my book) was suggesting that one more revision on my current work-in-progress would be beneficial. (Her words were a little more pointed, actually. But that’s why I love her.) I don’t know about you, but I read books with an eye towards how well they were revised. Not just well written, but well revised, because it’s between the first flashes of imagination and the last comma switching that the magic occurs
Breathe the Fresh Air; Review of Georgia Review, Fall 2008
Get PDFThe Fall 2008 issue of The Georgia Review contains five essays, two short stories, ten poems (including the latest by Albert Goldbarth), reviews by three contributors, artwork by Judy Pfaff, and excerpts from a new book featuring the correspondence between Robert Lowell and Elizabeth Bishop
Just Because You\u27re Alone, Doesn\u27t Mean You Have to Be Lonely; Review of Isthmus, Spring/Summer 2018
Get PDFTinder is meant to act as a bridge, an isthmus, if you will, between two (or more) strangers, and like any social interaction, it has its own customs and traditions. No one is at home on Tinder—although some do seem more comfortable than others—and generally, it\u27s not a place you want to stay for long. It’s a place to meet and then, ideally, leave together. More often than not, though, who you actually end up getting to know better is yourself and, probably, your own loneliness. Isthmus Review does something quite similar in its seventh issue. Already on the front cover we\u27re confronted with a pram chugging down a crystalline river in the middle of nowhere North America. The scene is majestic, the picture is black-and-white, and the pram is filled to the brim with passengers. We, however, are left standing on the shore
Justice is Served--Review of J Journal, Fall 2009
Get PDFFor the second volume of a literary journal, J Journal is off to a good start. Published by John Jay College of Criminal Justice, J calls itself “a journal of new creative writing that poses questions about justice, directly and tangentially.” Receiving it in the mail, I wasn’t sure what to expect – how much mileage could they get out of just one topic? Would it be filled exclusively with essays about the criminal justice system, or would fiction be a part? Could this really be called “literary”
Freedom of Expression: A Chat with David Haglund, Editor of PEN America
Get PDFDavid Haglund is the Managing Editor of PEN America, the literary magazine published by PEN American Center. He has written articles and reviews for Slate, The London Review of Books, The New York Times Book Review, Bookforum, and other publications, and serves on the board of the National Book Critics Circle and as the poetry editor of Dialogue. He studied English and American literature at the University of Chicago and Oxford and he has taught literature and writing at Harvard, Oxford, and Hunter College
Global Connectivity and Multiculturalism in Publishing: A Roundtable Chat With the Editors of Chattahoochee Review, Waxwing , and Manoa: A Pacific Journal of International Writing
Get PDFA Roundtable Chat With the Editors of Chattahoochee Review, Waxwing, and Manoa: A Pacific Journal of International Writing
A Journal that Serves “To Provide a Home for Creative Work Inspired by Journeys to Places Where There Are No Roads”: A Chat with Rick Kempa, Editor of Deep Wild
Get PDFDeep Wild: Writing from the Backcountry, is a not-for-profit journal, published annually, whose mission is to provide a home for creative work inspired by journeys to places where there are no roads. The second issue, forthcoming this summer, will include work by 41 writers and 2 artists, representing five countries
“I’ve Learned from Every Contributor, and for That I’m Thankful”: A Chat with Craig Ledoux, Editor-in-Chief of Madcap Review
Get PDFAlong with a group of his grad school friends, Craig Ledoux co-founded Madcap Review in 2014. They are a “semiannual online journal of literature and art” that encourages “the impulsive, the reckless, and the lively, but we also have great respect for form and restraint.” As explored in this interview, Madcap has very few submission restrictions because they believe that great writing isn’t easily categorized. Their reading period is Sept 1. To Oct. 31