| According to Merriam-Webster, the Anglo-French word pelfre, defined as "booty" or "stolen goods," transformed into English as "pelf" in the 14th century. Frances Glessner Lee is known today as the “mother of forensic science.” Her contributions to the field are varied, but she’s often remembered specifically for her interest in making grisly dioramas like the one depicting poor Robin above. During her lifetime, Lee crafted 20 painstakingly detailed domestic crime scenes, measuring a foot or two in length and width. They were based on actual crimes, culled from photos, witness statements and other telling ephemera, and they are still used to train officers. "If there’s one thing to take away from this book," author Paul Anthony Jones told HuffPost, "it’s that the language is always changing. It’s easy to think that once a word finds its way into the dictionary it’s set in stone, but that’s of course not the case. Not only are new words being coined and old words being lost every day, but existing words are being molded and mutated, and knocked into different shapes to better fit what we need them to mean. If this book only serves to prove that the English language is still very much active and alive, then it’s done its job. Halloween snacks you can finish during your lunch break — as long as you keep those pants on, including: In the fashion and art worlds ― realms that have historically celebrated bohemian, subversive and amoral ideas ― reportedly predatory behavior like Richardson’s can get covered up by a veneer of glamorous transgression. Artists like Richardson are cast as renegade heroes, able to pierce through societal niceties and politically correctness to capture something raw and true. As Purple editor (and Richardson defender) Olivier Zahm claimed in an interview with The Cut, “You’re not exploited in front of an artist, you’re exploited when you have to work in a boring job.” A recent media controversy threatens to overshadow the problem a group of Cambridge students originally hoped to highlight ― a foundational problem with the English literary canon. Even as we correctly point out that the students' open letter, “Decolonising the English faculty,” didn’t make any demands or force the university to dropkick white male authors into the dumpster of history, we should note that the suggestions therein were not only reasonable, but urgently necessary ― not just in the U.K., but here in the United States. Never Use Futura author Douglas Thomas thinks we need to have a more positive conversation about typefaces.  In 1985, Cuban-born, Mexico-based artist Marta María Pérez held a knife to her naked, pregnant stomach and took a picture. The resulting black-and-white photo shows the knife-wielding mother-to-be, her face cropped out, her individuality erased. It’s a jarring representation of motherhood, a far cry from the sunny, idealized images that flood social media and lifestyle magazines. Images that suggest mothers are ― and should be ― docile, domestic, faultless and, more often, white.“I immediately thought of the movie ‘Psycho’ when I saw this photo,” writer NeKelia Henderson wrote in 2010 of Pérez’s work. “Well, the maternity version anyway.”Pérez’s photo is part of “Radical Women: Latin American Art, 1960-1985,” an expansive survey of work by Latinx women now on view at the Hammer Museum in Los Angeles. Together, the women paint a picture that diverges from the endorsed model of motherhood, blissful and devoid of complications or conflict. Instead, their moms are political, angry, salacious, outspoken, spiritual and experimental. Their images of motherhood welcome pain as well as love, truth as well as fantasy, horror as well as tranquility. |
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