#Evaristo Morales

[quotespile]

They sold their lefty student principles, if they ever had them, as soon as they left university and accepted an overpaid starter-salary in a morally objectionable corporate job offering lucrative career prospects and inflated annual bonuses which soon turned them into filthy-rich Tories with a hatred of the social welfare infrastructures they’re actively not contributing to through tax avoidance and evasion while hypocritically scorning the underclasses as the scourge of society who sponge off the state when they’re the ones who are the biggest scroungers on society with no sense of community responsibility other than a very self-aggrandizing, tax-deductible form of fashionable charity they like to call philanthropism!

Bernardine Evaristo, Girl, Woman, Other

[religion-is-a-mental-illness]

By: Tomiwa Owolade

Published: May 13, 2024

Zadie Smith seems like the poster girl for progressive ideology. She is mixed-race. She was born and raised in London. The characters in her fiction are ethnically and religiously diverse. She hates Brexit. She is deeply worried about climate change. She thinks a ceasefire in Gaza is necessary and has condemned Binyamin Netanyahu’s Israeli government. Tick, tick, tick.

Smith published an essay in The New Yorker last week in which she praised the “brave students” in Columbia University and elsewhere who demand that Israel should end its military attacks on Gaza. She argued that to “send the police in to arrest young people peacefully insisting upon a ceasefire represents a moral injury to us all. To do it with violence is a scandal. How could they do less than protest, in this moment?”

She argues that just as “there was no way to ‘win’ in Vietnam” in the 1960s, Hamas will not be “eliminated” today. That a ceasefire is not just politically wise, it is also an “ethical necessity”.

This did nothing to stop many people on Twitter/X from denouncing Smith as an apologist for Israel. This is because she also argued in her essay that words like “Zionist” should not be treated as a “monolith”. That Jewish students should not be made to feel unsafe on university campuses. And that the conflict can’t be reduced to rhetoric and buzzwords: it is too grave and complex for that.

Smith was castigated for ignorant fence-sitting, for undermining the cause of justice, for being a stooge of the establishment. We have lost Zadie, some of them moaned, as though she belonged to their tribe and has now run away. Others proclaimed that she has always been a liberal, not a progressive, as if this constitutes a definitive mark against her. But the most striking responses were from those who argued that Smith had betrayed her racial identity.

“I am not quite sure why people are shocked,” one account said about Smith’s article. “This is the price of admission into elite white literary and institutional circles.” (The person who posted this, Priyamvada Gopal, is a professor of postcolonial studies at that famously marginalised institution the University of Cambridge.)

Another individual, mentioning Smith along with the head teacher Katharine Birbalsingh and the novelist Bernardine Evaristo, affirmed “there is a very specific reason why the British establishment selects these women”. The “establishment will never select anyone who will quake the foundation”.

Smith’s liberal politics — with her novelistic taste for nuance — thus renders her unfit to be at the vanguard of progressive politics. Someone of her race, it is implied, should know better.

But no one should be a poster girl or boy for left-wing ideology, or any other kind of politics, simply on the basis of their racial identity. The prime minister is an Asian man and leader of the Conservative Party. The mayor of London, Sadiq Khan, is an Asian man who represents the Labour Party. Until very recently, the first minister of Scotland was an Asian man who led the Scottish National Party. None of these men are any more or any less Asian than the other.

The majority of ethnic minority people in Britain support the Labour Party but before Jeremy Hunt the last four chancellors of the exchequer were called Kwasi, Nadhim, Rishi and Sajid. The favourite to be the next leader of the Tory party was born Kemi Adegoke and spent most of her childhood in Nigeria.

Diversity and progressivism are not the same thing. London is one of the most diverse cities in the UK but it is also one of the most socially conservative: polling for the Christian think tank Theos found that 29 per cent of Londoners, for instance, believe that same-sex relationships are wrong in some cases; only 23 per cent in the rest of the country think the same. London is conservative because of its diversity, not in spite of it.

Rather than being progressive and secular, many ethnic minority people in the UK are more socially conservative and religious than the rest of the population. This is true elsewhere: 92 per cent of black Americans who voted in the 2020 presidential election supported Joe Biden. But this does not mean that black Democrats constitute the most left-wing base within the party. They are on the right of the Democratic Party, not the left.

The overwhelming majority of black Americans support the Democrats but Donald Trump increased his vote share among black Americans between 2016 and 2020, particularly among younger and male black voters. These trends are holding up for the election this year.

Inferring political opinions exclusively from someone’s background is an abdication of curiosity. Anyone who cares about diversity ought also to care about pluralism: the principle that people who share a cultural background can nevertheless differ in their beliefs.

We should never assume that someone is, or ought to be, progressive by virtue of their race. Some black and brown people are progressive. Others are liberal or conservative. Some are ideologically indifferent. Others shift from one position to another. But this is not because of their race. It is because of their personality, their upbringing, their interests: that irreducible quality inherent in all of us that should never be forsaken for a narrow fixation on group identity.

Eldridge Cleaver was a spokesman for the Black Panthers in the 1960s. He called for a militant revolution and described Ronald Reagan (at that time the governor of California) as a pig. By the 1980s Cleaver was a Mormon and endorsed Reagan to be president of the United States — a fascinating narrative arc worthy of exploration by a novelist as finely attuned to the ironies and complexities of life as Zadie Smith.

[portalimaranhao]

Um mês após posse como ministra, Macaé Evaristo ainda tenta montar equipe e acelerar apuração sobre assédio na pasta

Um mês após tomar posse oficialmente no Ministério dos Direitos Humanos, em meio a uma denúncia de importunação sexual no governo no governo, a ministra Macaé Evaristo ainda tenta encontrar substitutos para a equipe do antigo titular da pasta, Silvio Almeida, e acelerar investigações sobre assédio moral envolvendo servidores. Sem ainda ter anunciado novos planos, seu foco nesse período foi…

[considerandos]

A Imoralidade Cristã

Há uma estranha moralidade, que grassa na cinematografia nacional de antanho, que impede os filhos de terem pais ou, pelo menos, mais do que um, desde que viúvo.

Não é uma coincidência, porque o exemplo se repete ad nauseam. Senão vejamos.

Na Canção de Lisboa (no original de 1933, não falo dos trágicos remakes modernos dos nossos clássicos) o personagem Vasco (Vasco Santana) não tem pais, mas, em compensação, tem duas tias na província, ainda por cima ricas. Já a namorada Alice (Beatriz Costa) tem um pai austero, o alfaiate ganancioso Caetano (António Silva), mas é viúvo, pelo que Alice é órfã de mãe.

No famoso Pátio das Cantigas, de 1942, há muitas famílias, mas o princípio mantém-se. O inesquecível Evaristo (tens cá disto) interpretado por António Silva, é pai da Celeste (Laura Alves), mas é viúvo, tal como a Dona Rosa (Maria das Neves), mãe da Maria da Graça e o Sr. Narciso Fino (Vasco Santana}, pai do Rufino Fino Filho (Ribeirinho). Alfredo e Carlos (Carlos Otero e António Vilar) são órfãos de pai e mãe, tal como Amália e Suzana (Maria Paula e Graça Maria), a quem, porém, talvez por serem mulheres e precisarem de um guardião, sobrou um av�� para as criar, Heitor (João Silva). Moram ainda três irmãos musicais no pátio, Ernesto, Vicente e Sebastião Marcos (Armando Machado, Reginaldo Duarte e Pereira Saraiva), mas ninguém lhes conhece país.

No célebre Pai Tirano, de 1941, a famosa Tatão (Leonor Maia), a paixão de Chico (Ribeirinho), vive na pensão da tia (Emília de Oliveira), sem que se lhe conheçam progenitores. Parentescos só na peça, e mesmo esses disfuncionais. Na realidade narrativa só se conhece um parentesco além da tia da Tatão, o da prima Teresa (Teresa Gomes) do Sr. Santana (Vasco Santana), que por sinal gosta de copos e do contra regra, porteiro do Grandella (Armando Machado).

Na Aldeia da Roupa Branca, outro clássico de 1939, o Tio Jacinto (Manuel Santos Carvalho) tem uma sobrinha, a Gracinda (Beatriz Costa), que cria como filha, na ausência de descendência dele e de ascendência dela.

No Costa do Castelo, de 1943, a Luisinha (Milú) é órfã, de pai e mãe, e o seu pretendente Daniel (Curado Ribeiro), apesar de titular, também, criado pelos tios brasonados, Mafalda da Silveira (Maria Matos) e Dom Simão (Manuel Santos Carvalho).

Na Maria Papoila, de 1937, a pobre Papoila (Mirita Casimiro) é órfã e o seu nemesis Carlos (Alves da Costa) só tem mãe, a dona da pensão D. Efigénia (Emília d'Oliveira), que para não variar, é viúva.

Na Vizinha do Lado, de 1945, o jovem estudante Eduardo Mesquita (António Vilar) que vive maritalmente com uma atriz de teatro ciumenta, Isabel (Madalena Sotto), apaixona-se pela beleza serena de Mariana (Carmen Dolores) que, para não destoar, é órfã e vive com uma tia, a D. Gertrudes (Emília de Oliveira). Mesmo Eduardo é órfão de pai e quando calha vir alguém da província, certificar-se do bom curso dos seus estudos, não vem a mãe, mas um tio professor de moral, Plácido Mesquita (Nascimento Fernandes).

Na Menina da Rádio, de 1944, quer Cipriano Lopes {António Silva), pai da Geninha (Maria Eugénia), candidata a cantora, quer a sua rival Rosa Gonçalves (Maria Matos), mãe de Óscar (Óscar de Lemos), candidato a compositor e a namorado de Geninha, são viúvos.

Finalmente, e como a lista já vai longa, cito ainda o Comissário de Polícia, farsa tardia, já de 1953, mas em que, para não fugir à moral, Arcângela (Irene Velez) não é filha do casal Maria (Cremilda de Oliveira) e Faustino (António Silva), mas sim sobrinha, sem que se lhe conheçam os pais.

A bem da verdade, tenho de reconhecer que existe um clássico, o Leão da Estrela, de 1947, em que a regra é quebrada. Ambos os casais têm filhos, quer o lisboeta (António Silva e Maria Olguim), com as suas filhas Juju (Milú) e Branca (Maria Eugênia), quer os Baratas portuenses (Erico Braga e Cremilda de Oliveira), com um filho varão Eduardo (Curado Ribeiro). É a excepção que confirma a regra. Como será que passou na censura, é caso para perguntar?

Mas não se espantem, porque a regra não era nacional, nem salazarista.

Eu cresci a ler os livros aos quadradinhos da Disney, de origem norte-americana, e quer o Pato Donald, quer a sua namorada Margarida, quer ainda o Rato Mickey e a sua namorada Minnie só têm sobrinhos e muitos. Alegadamente, o Pato Donald, o Peninha e o sortudo Gastão são primos, mas não se lhe conhecem país, apenas um tio solteirão e rico, o Tio Patinhas. Há uma vovó Donalda, é certo, mas ninguém lhe conhece filhos. Será mãe do Tio Patinhas e avó dos primos Donald e companhia? Acho que nunca iremos saber. Se calhar é apenas uma tia avó distante, única sobrevivente de uma geração ainda anterior à do velho Patinhas.

E já agora que falamos de comics americanos, será coincidência que tanto o Super Homem, o Homem Aranha como ainda o Batman sejam todos órfãos? E eu nem gosto de super heróis, senão começava a desfiar um rol interminável de outros homens e mulheres maravilha, que sofreram a tragédia da orfandade. Tanto os heróis como os vilões.

Este horror da moralidade cristã ao sexo, mesmo abençoado pelo matrimónio e para fins exclusivamente procriadores, fez as delícias do cinismo anticlerical de Eça de Queiroz, que aproveitou a moda da orfandade, real ou imaginária, para construir as suas tragédias incestuosas. Pois não será verdade que, quem não sabe quem são os pais e os filhos, corre um risco efetivo de se meter na cama com um deles, por melhores intenções que tenha?

Enfim, o que mais me pasma nesta moralidade duvidosa, é a apologia da orfandade. Parece que, para a moralidade cristã, o sexo é apenas pecado, por isso extingam-se os casamentos por óbito, para não pecarem mais, e entreguem-se os órfãos aos cuidados da parentela caridosa e casta.

Paradoxalmente, nada parece obstar ao relacionamento extra conjugal. Namore-se à vontade, solteiros, viúvos e até casados. Mas sem malícia, como diria o famoso personagem de Herman José, Diácono Remédios.

Os bastardos que se fizerem às criadas e coristas desta sociedade cristã e hipócrita, são bem-vindos ao seio da Igreja. Serão outros anjinhos órfãos, a entregar à caridade da gente de bem, fiel a Cristo, a Deus Pai e aos seus mandamentos.

A bem da imoralidade cristã.

5 de Maio de 2024

[bulacanwantedsuspects]

People of the Philippines vs. Carlet et. al. (Criminals)

People of the Philippines v. Ana Carla Bernardo Cortes, Georgina Leaño Francisco, Flordeliza Torres Pasia, Samson Sambilay Yap Wong Bustamante Ramil Raul Ramirez, Miyuki Estabillo Fernandez Ramirez Tan Fernando Dela Cruz Martin Hernandez Cayanan Garcia Gonzales Del Rosario Vilma Muñoz Cruz Ocampo Bernabe Morales Donato Reyes Maricel Santiago Baluyot Sison Robes Sayoto Pineda Padilla De Leon Valencia Cristobal Carandang Hilario Pangan Bravo Cueva Borlongan Marcelino Gatdula Bayrante Bayonito Esquilona Valdes Sevilla Poblete Zamora Sadang Dawana Fino Marquez Lopez Gonowon Moll Japan France Isogawa Malabanan Dazo Tanghal Catanghal Manuel Cayetano Estinos Barro Amarillo Pichay Juco Gaza Edusada Rios Rimando Yu Pacelo Aquino Jose Bilasano Zafra Bote Paguio Alonday Alday Bernal Etrata Hontiveros Domingo Pascual Bercero Barcelo Bernabe Cunanan Vicente Peña Lagazon Diolata Evaristo Espeleta Salonga Bartolome Crisostomo Jardiolin Ruallo David Hipolito Mallari Catacutan Calalang Tejada Rivera Terrado Juat Candelaria Castro Toledo Lajara Baltazar Leoncio Villanueva Trias Roberto Ballila Ortega Sacdalan Celiz Herrera Quetua Acuña Saur Isidoro Velasquez Bagtas Gozon Pamiloza Miranda Quillamor Natividad Ayaay Bacani Manahan Manalaysay Manalastas Concepcion Canlas Escalante Ilagan Lansang Misiona Veloso Valbuena Capule Sobrepeña Sadsad Vasquez Mata Arceo Alejo Unite Javier valenzuela Hiwatig Madrigal Casimiro Teodoro Mateo Yco Faustino Faustinos Faundo Lim Yabut Yakit Uy Abe Sobrepeña Miramar John Carlo Caladiao Enrico Soco Siocon Vivar Pasia Fontanilla Tiongson Famorca Fajardo Guttierez Calmerin Lozano Lorenzo Lorenzana Senense Pondang Robles Molina Acain Haw Quitalig Manaloto Eustaquio Halili Principe Centino Delos Reyes Magnaye Crespo Serrano Sunga Espiritu Manalili Nicodemus Tautho Caluag Cantor Ignacio Buenaventura Ventura Jusayan Calma Panganiban Sierra Musni Navarro Yambao Mangalindan Nacpil Esperancilla Beltran Sarmiento Lacap Chua Buan David Tolentino Mananquil Guevarra Cabalquinto Pinto Amigo Valmonte Hibo Punzal Piscacio Daclison Viray Flores Doctolero Cortes Torres Felipe Francisco Ferdinand Abon Guanzon Antonio Reyes GMA ABS-CBN TV5 TAPE VIVA employees

[thewebinsider]

People of the Philippines vs. Carlet et. al. (Criminals)

People of the Philippines v. Ana Carla Bernardo Cortes, Georgina Leaño Francisco, Flordeliza Torres Pasia, Samson Sambilay Yap Wong Bustamante Ramil Raul Ramirez, Miyuki Estabillo Fernandez Ramirez Tan Fernando Dela Cruz Martin Hernandez Cayanan Garcia Gonzales Del Rosario Vilma Muñoz Cruz Ocampo Bernabe Morales Donato Reyes Maricel Santiago Baluyot Sison Robes Sayoto Pineda Padilla De Leon Valencia Cristobal Carandang Hilario Pangan Bravo Cueva Borlongan Marcelino Gatdula Bayrante Bayonito Esquilona Valdes Sevilla Poblete Zamora Sadang Dawana Fino Marquez Lopez Gonowon Moll Japan France Isogawa Malabanan Dazo Tanghal Catanghal Manuel Cayetano Estinos Barro Amarillo Pichay Juco Gaza Edusada Rios Rimando Yu Pacelo Aquino Jose Bilasano Zafra Bote Paguio Alonday Alday Bernal Etrata Hontiveros Domingo Pascual Bercero Barcelo Bernabe Cunanan Vicente Peña Lagazon Diolata Evaristo Espeleta Salonga Bartolome Crisostomo Jardiolin Ruallo David Hipolito Mallari Catacutan Calalang Tejada Rivera Terrado Juat Candelaria Castro Toledo Lajara Baltazar Leoncio Villanueva Trias Roberto Ballila Ortega Sacdalan Celiz Herrera Quetua Acuña Saur Isidoro Velasquez Bagtas Gozon Pamiloza Miranda Quillamor Natividad Ayaay Bacani Manahan Manalaysay Manalastas Concepcion Canlas Escalante Ilagan Lansang Misiona Veloso Valbuena Capule Sobrepeña Sadsad Vasquez Mata Arceo Alejo Unite Javier valenzuela Hiwatig Madrigal Casimiro Teodoro Mateo Yco Faustino Faustinos Faundo Lim Yabut Yakit Uy Abe Sobrepeña Miramar John Carlo Caladiao Enrico Soco Siocon Vivar Pasia Fontanilla Tiongson Famorca Fajardo Guttierez Calmerin Lozano Lorenzo Lorenzana Senense Pondang Robles Molina Acain Haw Quitalig Manaloto Eustaquio Halili Principe Centino Delos Reyes Magnaye Crespo Serrano Sunga Espiritu Manalili Nicodemus Tautho Caluag Cantor Ignacio Buenaventura Ventura Jusayan Calma Panganiban Sierra Musni Navarro Yambao Mangalindan Nacpil Esperancilla Beltran Sarmiento Lacap Chua Buan David Tolentino Mananquil Guevarra Cabalquinto Pinto Amigo Valmonte Hibo Punzal Piscacio Daclison Viray Flores Doctolero Cortes Torres Felipe Francisco Ferdinand Abon Guanzon Antonio Reyes GMA ABS-CBN TV5 TAPE VIVA employees

[fredborges98]

Bom dia!

Por: Fred Borges

Hoje o texto é de utilidade pública.

Faça parte do Clube de Leitura e não tenha a idade como referência ou referencial de inclusão social, mas a sapiência e a maturidade das escolhas e decisões.

Este texto é dedicado a Maria da Conceição Evaristo de Brito (Belo Horizonte, 29 de novembro de 1946) é uma linguista e escritora brasileira.Estreou na literatura em 1990.Entre 1992 e 1996 cursou mestrado em letras-literatura brasileira pela Pontifícia Universidade Católica do Rio de Janeiro (PUC-Rio).Em 2008 ingressou no doutorado em letras-literatura comparada da Universidade Federal Fluminense, concluindo os estudos em 2011. No dia 18 de junho de 2018, Conceição Evaristo oficializou sua candidatura à Academia Brasileira de Letras, entregando a carta de auto apresentação para concorrer à cadeira de número 7, originalmente ocupada por Castro Alves e não foi eleita recebendo 1 único voto( fotografia de uma academia ou da sociedade brasileira?)

Cabeça branca ou etarismo.

Cabeça Branca

Canção de Tierry

Um, dois

Ah, ah, 'tá valendo?

Então vamo' lá

Cabeça branca é um cidadão de bem

Um empresário que precisa relaxar

Fim de semana ele pega as novinhas

E patrocina um churrascão em alto-mar

A mulherada de copo na mão, biquíni fio dental

Postando foto na sua rede social

Cheia de pose de patroa, ela é da zona

Quem vê de longe pensa que ela é a dona

Mas o dono da lancha é o cabeça branca

A champanhe, quem banca é o cabeça branca

Porque, novinha, na hora da selfie

Junto com as amiga o coroa nunca aparece

O dono da lancha é o cabeça branca

A champanhe, quem banca é o cabeça branca

Porque, novinha, na hora da selfie

Junto com as amiga o coroa nunca aparece

Essa é a seresta do pai das crianças

DG, Batidão Stronda

Chama, fi' (Chama, fi')

E a mulherada de copo na mão, biquíni fio dental

Postando foto na sua rede social

Cheia de pose de patroa, ela é da zona

Quem vê de longe pensa que ela é a dona

Mas o dono da lancha é o cabeça branca

A champanhe, quem banca é o cabeça branca

Porque, novinha, na hora da selfie

Junto com as amiga o coroa nunca aparece

O dono da lancha é o cabeça branca

A champanhe, quem banca é o cabeça branca

Porque, novinha, na hora da selfie

Junto com as amiga o coroa nunca aparece

Dg, Batidão Stronda

Chama, fi' (Chama, fi')

Fonte: LyricFind

Assim o cabeça branca é aceito pela sociedade por ser rico.

E se fosse uma mulher a" cabeça branca" a sociedade aceitaria ou acataria ou a chamaria de prostituta ou estar cometendo prostituição ou mesmo prática de pedofilia, apesar de a maioria dos " meninos" serem de maior e bem vacinados?

Um peso duas medidas. A sociedade de maneira geral valoriza o jovem, a forma, o corpo malhado, a estética perfeita, mulheres e homens correm atrás do " prejuízo" ético e moral da marginalização pela idade, as mulheres são ás maiores vítimas.

Leonardo DiCaprio tem até gráfico nos EUA demonstrando seu envelhecimento e as idades de suas namoradas que permanecem jovens e lindas.

Não importa!

Importa sim! Pois ás consequências do etarismo são avassaladoras; doenças da mente, do corpo em geral pela somatização, depressão, ansiedade, síndromes, fobias, isolamento social, suicídios em faixas de idade que até pouco tempo eram consideradas de alta produtividade, competitividade e efetividade são consideradas hoje : " cartas fora do baralho", num poker de "cartas marcadas" em recrutamentos e seleções por indicação ou meritocracia.

Após enviar o currículo se candidatando a uma vaga sem limite de idade, a pessoa recebeu como resposta: "Cancelaaaaaaaa, passou da idade [sic]".

Este fato foi assunto que rendeu mais de 450 mil comentários.

O Disque 100. Segundo o levantamento, de janeiro a 2 de junho de 2022 foram registradas mais de 35 mil denúncias de violações de direitos humanos contra pessoas idosas.

Em 87% das denúncias (30.722), as violações ocorrem na casa onde o idoso mora. Destas, 16 mil ocorreram na casa onde residem a vítima e o suspeito.

Uma pesquisa do Infojobs, feita com 4.588 profissionais, revelou que 70% dos profissionais com mais de 40 anos já sofreram preconceito por causa de sua idade.

Além disso, 78% dos pesquisados disseram que o mercado não oferece as mesmas oportunidades para quem está acima dos 40, em comparação com os mais jovens e, para 61%, o principal desafio profissional é não encontrar empresas que deem chances para que os mais velhos mostrem seu potencial.

Na contramão desta prática violenta, agressiva, ignorante, depreciativa, preconceituosa,uma pesquisa da Harvard Business revela que os conflitos são reduzidos em 50% em comparação com organizações que não investem na diversidade etária, na mistura de gerações que aprendem e ensinam e vice- versa, isto constituindo no ciclo virtuoso da vida, da educação e respeito aos mais idosos, velhos, "cabeças brancas" sejam eles homens ou mulheres.

No Estatuto do Idoso-LEI No 10.741, DE 1º DE OUTUBRO DE 2003 diz no Art. 96:

"Discriminar pessoa idosa, impedindo ou dificultando seu acesso a operações bancárias, aos meios de transporte, ao direito de contratar ou por qualquer outro meio ou instrumento necessário ao exercício da cidadania, por motivo de idade: Pena – reclusão de 6 (seis) meses a 1 (um) ano e multa."

Cidadania- esta é a palavra chave!

O preconceito, na intolerância, na discriminação contra pessoas com idade avançada.

Nos Estados Unidos, o termo é discutido desde a década de 60 e, na Europa, recentemente novas leis foram criadas contra a discriminação etária na esfera profissional.

Infelizmente, no Brasil, o termo: Etarismo, ainda é pouco conhecido.

Mas quando garotas imbecis fazem uma filmagem criticando terem uma colega de 40 em sala de aula como aconteceu na semana passada em artigo do Estadão com o seguinte título: 'Etarismo na universidade: Alunas que debocharam de colega com mais de 40 anos desistem de graduação." Observamos e quem não é analfabeto funcional caso de muitos " jovens" empregados nos RHs das empresas, que sabem ler, mas não sabem analisar e pior não sabem criticar o mundo ao seu redor, e enxergarem que eles estão cavando a própria sepultura, pois os mesmos que são jovens hoje, no futuro, caso não morram pela própria ignorância ou destino das "estrelas decadentes"; hoje brilham, amanhã apagam, debocham, e desmerecem os cabelos brancos, brancos ficarão crespos e lisos cabelos não importa classe social, todos nascemos e morreremos um dia, e o que realmente importa é sua capacidade de ser íntegro, sincero, recíproco, empático, educado e polido.

Estatísticas estão aí, não é retórica! É dado! É real! É dialética! É tese, antítese e síntese;uma pesquisa de 2019, do Instituo Brasileiro de Geografia e Estatística ( IBGE), apontou que a população entre 60 e 64 anos é a mais afetada pela depressão, que atinge 13,2% dos idosos do Brasil.

50% da violência contra os mais velhos é praticada pelos filhos e 10% pelos netos.

Em 87% das denúncias (30.722), as violações ocorrem na casa onde o idoso mora.

Destas, 16 mil ocorreram na casa onde residem a vítima e o suspeito.

XINGAMENTOS RELACIONADOS À CONDIÇÃO DE IDOSO – CRIME DE INJÚRIA QUALIFICADA.

Xingamentos proferidos com o propósito de desmerecer a vítima em razão da sua condição etária caracterizam crime de injúria qualificada.

Injúria, violência, agressão, preconceitos de todas ás formas; "tio", "véi", "véio' , "cabeça branca " e por último, mas com certeza não será a última tática dos " gatilhos mentais" : o domínio https://meuvelhorico.net/ que foi registrado nos Estados Unidos, e não no Brasil.

É comum que fraudadores registrem sites em países estrangeiros.

Sem dar mais detalhes, o detector ainda salienta ter encontrado “algumas características padrões na URL que indicam que o site tem maiores chances de ser fraudulento”.

Uma fraude em decorrência dos vários formatos da prostituição nas redes sociais; o ato de se tornar ou fazer- se de " sugar-baby" onde velhos supostamente ricos patrocinam prostitutas nada virtuosas, cuja principal tarefa é explorar supostos idosos imbecis que alimentam o ciclo do dinheiro fácil que vai fácil, vida difícil é ser idoso aqui no Brasil!

[gustavoinmobiliariaaguamar]

Una propuesta nueva para ti, ubicado en la mejor zona del exclusivo sector Evaristo Morales.📍 Cuenta con apartamentos desde 534 mts2 a 192 mts2. 1, 2 y 3 dormitorios, con 1 o 2 parqueos techados y con áreas interiores con buena ventilación e iluminación natural. Multiples áreas de esparcimiento social las cuales incluyen: - Rooftop con piscina - Sport Bar - Lounge con billar - Gimnasio - Play ground climatizado para niños Terminaciones Terminación lisa en paredes (aplican ciertas restricciones). Pisos generales de porcelanato Cerámica importada en baños Terminación de techos y cornisas en yeso Puertas y closets de ingeniería en madera preciosa Gabinetes de cocina modular, con tope Forma de pago Separacion 10% Inicial 50% Completivo Inicial 40% Pago contra entrega 50% Fecha límite pago inicial: Enero 2025 Fecha de entrega: Mayo 2025 #propiedad #inmobiliaria #bienesraices #casa #venta #propiedades #inmuebles #realestate #inmueble #n #vivienda #alquiler #departamento #inversion #casas #hogar #apartamento #agenteinmobiliario #compra #propiedadesenventa #realtor #inmobiliarias #familia #casaenventa #ventas #oportunidad #asesorinmobiliario #apartamentos #home #realstate https://www.instagram.com/p/CnuKPqSONiP/?igshid=NGJjMDIxMWI=

[oscarcoria]

Es Córdoba sede de la entrega de 571 equipos a escuelas campesinas del programa “Capacitación y asesoría técnica para productores agropecuarios” #EnContrasteVeracruz #Córdoba @encontrastever Córdoba, Ver.- A instrucción del alcalde, Juan Martínez Flores de brindar todo el apoyo al campo, el municipio de Córdoba fue sede de la entrega de 571 equipos a escuelas campesinas, como parte del programa de la Secretaría de Desarrollo Agropecuario, Rural y Pesca (Sedarpa), “Capacitación y Asesoría Técnica para Productores Agropecuarios”, beneficiando al agro de 10 municipios de la región. El regidor primero, Daniel Vázquez Hernández afirmó que es grato contar con el respaldo de la Secretaría de Agricultura del Estado, que tiene como objetivo la recuperación del campo, por lo que "nuestro presidente Juan Martínez Flores, nos ha instruido sumar esfuerzos para generar un cambio en el campo”. Asimismo, agradeció a las autoridades estatales de la Secretaría, haber elegido a este municipio como sede para llevar a cabo la entrega de equipos y apoyos del programa, capacitación y asesoría técnica para productores agropecuarios. Por su parte, Evaristo Ovando Ramírez, Secretario de Sedarpa hizo un llamado a las autoridades municipales a unir esfuerzos con las autoridades del estado para sacar adelante al campo veracruzano. Se beneficiaron los municipios de; Córdoba, Ixhuatlán del Café, Amatlán, Atzacan, Coetzala, Fortín, Ixtaczoquitlán, Naranjal, Rafael Delgado y Tezonapa, quienes recibieron productos como; despulpadoras, fertilizantes y bidones para almacenamiento de producto, entre otros artículos. Estuvieron presentes tambien los regidores Jonathan Francisco Rosas Blanco; Olga Leticia Luz López, Erick Alberto Gasca Morales y María del Carmen Aguilar, y la Subsecretaria de Desarrollo Agrícola, Patricia Córdoba Arguello; el titular de la Oficina Administrativa de Sedarpa, Antonio Salazar Leal y el Coordinador de la Agenda 2030, Alejandro Baizabal González. https://www.instagram.com/p/ClJU16nuH08/?igshid=NGJjMDIxMWI=

[prensard]

Mueren dos personas y cuatro están heridas por explosión en torre en construcción en el Evaristo Morales anoche “Recibimos una llamada próximo a las 10:00 de la noche porque había una explosión e inmediatamente despachamos varias unidades, dentro de ellas la Unidad de Rescate Hurón del Distrito Nacional que se encargó del rescate de las personas heridas, cuatro en total, que fueron entregadas al personal de salud, y dos fallecidos que fueron entregadas al Inacif”.

[lecafedezola]

GIRL, WOMAN, OTHER

This book is, more than twelve short stories put one after the other, a whole novel divided in five chapters, subdivided in three parts, each one connected in one way or another to the preceding or following one. I feel like this describes the book better because it is a book about coherence, finding coherence, finding adherence, and roots, to our own story, whether it’s in work, love, family life or friendship, or anything in-between. But the tour de force of this book is that it leaves you picking up pieces, and respects the complexity of the characters to not wrap them up once they’re done : they continue to exist and expand even after the chapter ends. Amma’s chapter ends with her speculating on her daughter :

she hopes she comes home after university

most of them do these days, don’t they?

they can’t afford otherwise

Yazz can stay forever

really.

But it's never told if Yazz actually comes full circle and goes back home. Leaves you wondering, keeps the characters alive and never kills their intricacy. In Yazz’s case, it ends with another beginning for her mother :

and so it begins

The Last Amazon of Dahomey

the play

I appreciated Penelope’s chapter, not so much for the character she is in herself which I found so despicable —but the goal is not to make loveable characters but relatable and realer, logically-built ones (even though I don’t think the latter is an absolute rule at all and we should rather be careful with morally wrong writing and author becoming acceptable for the sake of a good characterisation and popular style), I appreciated it for the work on characterisation : Penelope yearns to be an author and writes and sees the world as such : 

The lie was bad enough, although in years to come she came to understand their reasoning, rather, it was the cruelty in their telling of it

This is Evaristo’s incredible flexibility and realistic, observation-based creativity that transpires in this chapter. She incarnates her characters. Penelope has a way with words, for example :

her brain cells were popping like stars dying off into irretrievable oblivion

Each chapter is different style-wise. Of course she keeps the punctuation-free rhythm-orientated, free verse narration that characterises a lot of her books (the emperor’s babe is entirely written in verse).

the evarisonian portrayal

How does Evaristo build a character?

I. accumulation as a description paragraph

Penelope, on the other hand, was tall for a girl at almost five-nine, with the full natural pout and hazel eyes that sealed her reputation as a glamorous beauty at school, she wore her curly, strawberry-blonde hair in a style à la Marilyin Monroe, had  ‘a light dusting of freckles’ around her nose, and acquired an easily-won suntan in summer, considered très chic because it gave her a St Tropez glow 

à la jet set

II. gives away names and references

quickly scrolling down the reading list for her ‘gender, race and class’ module on her phone, what about Kwame Anthony… Aimé Césaire, Angela Davis, Simone de Beauvoire… Cornel West and the rest?

III. adapts her style to fit the character’s way of thinking, their state of minds.

The rhythm adapts to Shirley’s, we imagine, strict, passive-aggressive, tense tone voice after being interrupted by a younger female teacher she thinks is going to replace her and is her rival : 

now 

as

I

was

saying

She does so without abandoning her own political statement, that she knows how to make catchy. Indeed, sometimes we depart from the character’s very stream of consciousness and own inner thoughts as the backbone of the text to small hints here and there yet visible through the punctuation or the rhythm flow of the sentence : 

she and other young women, bonded by motherhood and little else, exchanged advice on how to manage their children, husbands and cook the latest must-have new dishes

Penelope later gets introduced to the Feminine Mystique and reads it often.

The scattered, one-word-per-line writing matches Penelope’s hazzy state of mind after being revealed a family secret. This is not Evaristo’s invention, but she mastered it :

there was no paper trail

she was a foundling

anonymous

unidentified

mysterious

putting art at the centre

The common thread of the book is most probably the first character introduced, Amma, and her play, “the last Amazon of Dahomey”, which ends the book too. While you read, you get to know a lot of different characters (12) who, depending on the chapters, are either blood-related (Amma, Yazz), friends (Amma, Dominique), were teacher-pupils (Carole and LaTisha with Shirly, or Mrs King), but it’s not excluded you see a unexpected but familiar chapter one name pop out, almost out of the blue, in the third chapter. But Evaristo leaves nothing to chance : even though her free verse writing and free-flowing storytelling can discourage some, or lose others in this warren-like narrative scheme (countless names and character developments, or rather details-deepenings, going from one period of time to another, going from the grandchildren to the children to the mother of a 90-something farm-owner with a big family), there’s a beginning and an ending, something to wrap the whole thing : Amma’s play. I loved that Evaristo put the play as the common thread, the linear goal of all these stories. In the last chapter, we see lots of the characters interacting at the opening night after-party, analysing and debating over the play, without ever giving one easy answer that’d stand as the truth. Each character, whether you agree with their opinion or not, adds something to the whole picture. But the wrapping ending is also one of many messages of the book i.e finding your true family, your true self, your people. 

I’ve seen critiques saying that this book is “exuberant” “sexy” and “bold” and I agree, but I think I would add that this book is also genuine and cherished. It may be a pretty bland thing to say about a piece of work, but I haven't exactly felt this level of passion and attention in an author before. But it is because Evaristo writes logically-built, coherent, realistic characters whom she seems to care for deeply and by doing so, she achieves the ultimate goal for an author : to put your reader in your characters’ shoes, even when they do and say things you’d hate, or simply when you don’t agree with them. Her complex character’s building and intricate storytelling are more than enough to make every single character interesting and outstanding, and to take something out of their stories for you to carry with you. Because another thing about girl, woman, other is that it’s generous : it gives you art, queer experience and healthy and unhealthy lesbian love, details, black womanhood and black identity, poetry, humour and literary experience, so much so that you’ll never want to drop the book, and you’ll be left with an overwhelming, fuzzy feeling once you’re done. And before you know it, you’re back at it re-reading your favourite characters’ life stories!

the sixteenth of august twenty twenty-two

[zeiashtar]

El baile de los 8x5+1 (La película)

Cuando eres una persona LGBT, la fiesta tiene una dimensión política. Para nosotrxs, la fiesta es un espacio de emancipación, una celebración de deseos e identidades que históricamente han sido objeto de humillación y de persecución; deseos e identidades que todavía hoy son motivo de castigo --a veces castigos fatales-- alrededor del mundo . La Fiesta --sí, con mayúsculas-- es un espacio casi sagrado. Tan sólo asistir a una fiesta temática con las amistades, a una reunión gaymer, a un ball, a una fiesta en una locación misteriosa con cuota de acceso y diferentes DJs --por no hablar de organizar semejantes eventos-- es casi un ritual para nosotrxs; esperamos estos eventos con emoción, generamos grandes expectativas, preparamos atuendos y planeamos gastos con anticipación, todo para disfrutar de una noche donde podamos gozar siendo lo que somos de manera libre, sin vergüenza, sin miedo al odio, a la persecución y al castigo. Quizás el ejemplo más obvio sea lo que la Marcha del Orgullo de la Ciudad de México representa para la gente LGBT que vive en otros estados y que año con año realiza el peregrinaje veraniego a la capital (gay) del país para celebrar el día (y la noche) más jota del calendario. En México, esta tradición tiene como referente más antiguo el mítico Baile de los 41 maricones.

Uno puede pensar que el Baile de los 41 maricones es un evento histórico nacional, un suceso que pertenece a todos los mexicanos, pero mi impresión personal es que no es así. Este evento forma parte de la historia LGBT en México y, para ser sincero, lo considero propiedad nuestra; no del "pueblo" de México sino de sus desviadxs. Quisiera pensar que muchas otras personas estarán más o menos de acuerdo conmigo. Es desde esta perspectiva que me fue casi imposible disfrutar de la película El baile de los 41. No voy hablar aquí de sus méritos técnicos o de la ausencia de ellos, sino de la manera en la cual este mítico evento fundacional para la cultura LGBT mexicana queda reducido a una película sobre maricones para el consumo heterosexual. Adelante con los spoilers.

Para empezar, hay que decir que El baile de los 41, de hecho, no trata sobre el baile de los 41 maricones sino sobre la relación entre el maricón no. 42, el diputado Ignacio de la Torre, y su esposa Amada, hija de Porfirio Díaz. Esta no es la historia de un baile, ni de 41 maricones --de hecho, el baile dura en pantalla menos de 4 minutos, incluyendo el vestuario, el peinado y el maquillaje-- es la historia de un closetero que hace sufrir a su esposa por homosexual y mentiroso. La película nos muestra a un Ignacio que maltrata a su esposa de manera reiterada, ya sea teniendo relaciones de mala gana, forcejeando por arrebatarle una llave, arrastrándola fuera del cuarto, mintiéndole o simplemente distanciándose de ella. Nos muestra también un Ignacio que intenta pasarse de listo para avanzar su carrera política, que es terco, inmaduro y deshonesto. Por otro lado, la película nos presenta una Amada que inicia como una esposa entusiasta y amorosa, pero que se vuelve violenta al darse cuenta no tan gradualmente de que su esposo es homosexual. La película se esfuerza tanto por hacernos empatizar con Amada (y tan poco con Ignacio) que el intento de abuso sexual por parte de ella pasa casi inadvertido al ser visualmente menos dramático que la manera en que él la empuja y arrastra fuera del cuarto para resguardarse. Podría decirse que la parte central de la trama consiste en retratar cómo una mujer heterosexual sufre por culpa de un maricón. Malditos maricones.

La otra parte de la trama es el romance entre Ignacio y Evaristo, un abogado que Ignacio integra en el club de los 41 maricones. El trágico romance culmina en un hermoso cuadro al final de la película en el que Ignacio llora en silencio al enterarse que Evaristo murió estando preso, resultado de la redada en el baile. Esta parte de la trama pretende ser una especie de Brokeback Mountain llevada al Porfiriato. El problema con esto es que, por un lado, la película jamás se preocupa por hacernos empatizar con Ignacio y, por el otro, el romance entre ambos hombres no es verosímil. La película muestra a Ignacio y a Evaristo teniendo relaciones sexuales en repetidas ocasiones, pero no los muestra construyendo la intimidad que se asume entre ellos hacia el final de la película. Resulta difícil creer que estos dos personajes realmente están enamorados; quizás sería más fácil pensarlo si al menos se besaran de lengüita, pero no lo hacen. En fin, la falta de desarrollo de ese romance en pantalla provoca que el último cuadro de la película no sea tan conmovedor como pretende serlo (a diferencia del cuadro final de las dos camisas colgadas en la puerta del armario en, de nuevo, Brokeback Mountain). No sé, a lo mejor para los malditos maricones el amor se reduce sólo a coger.

Quizás el punto que me parece más crítico de "El baile de los 41" es que, a diferencia de lo que mencioné arriba sobre lo que la Fiesta representa para las personas LGBT, esa parte gozosa de la celebración de nuestros deseos e identidades está ausente en la mayor parte de la película. Es cierto que la película tiene escenas de maricones bebiendo, riendo, cogiendo, travestidos, cantando y representando comedias, pero la manera en que estas imágenes están retratadas a menudo resulta en incomodidad y desconcierto, si no es que en una completa caricaturización. A mi parecer, esto es resultado de la iluminación, de la fotografía, del movimiento de la cámara, de la musicalización y del comportamiento de los actores secundarios. Como mencioné antes, el baile tal cual tiene una duración menor a 4 minutos en la pantalla, lo cual corresponde a dos secuencias. En la primera de ellas vemos a los maricones preparándose para el baile: comienza con un primer plano de un maricón maquillándose y que parece llorar de felicidad --todo bien ahí-- pero esto es seguido por un movimiento de cámara que muestra a otros maricones empelucados tratando de ajustarse el corset, no vemos sus caras porque están en la penumbra, sólo alcanzamos a distinguir las pelucas, las uñas largas y las formas del corset entre las siluetas; a continuación tenemos un primer plano de Ignacio, pensativo y visiblemente triste mientras se maquilla; toda la secuencia va acompañada de una desconcertante melodía de piano. La segunda parte del baile muestra a los 42 maricones bailando, la mitad en vestidas, sí, pero con los cuerpos y las caras rígidos la mayor parte del tiempo. No es sino hasta que esa desconcertante música de piano se acelera y la escena comienza a intercalar imágenes de la policía acercándose que vemos a algunos maricones reír y disfrutar --menos de 20 segundos--. Esta no es la emoción que sentimos los LGBT cuando nos preparamos para la fiesta más esperada del año, ni la euforia que nos inunda cuando ya estamos ahí. 

No hay goce, afirmación, ni reivindicación. Al contrario, la película parece mirar a los maricones con extrañeza, retratándolos como seres humanos superficiales, insulsos, ridículos e incapaces de ser felices. Algo similar a lo descrito en el párrafo anterior ocurre en las escenas que mostraban las actividades típicas del club de los maricones en partes previas de la película. En una de ellas incluso hay un contrapunteo muy particular: se escucha una conversación fuera de cuadro de uno de los maricones en torno a sus obligaciones familiares con su esposa e hijos mientras vemos a los hombres pasándola bien y jugando billar, hasta que la cámara se centra otra vez en el rostro acongojado de Ignacio. Este club no es un espacio de libertad y emancipación, de celebración de las identidades, es un circo de lo extraño bajo el yugo de la heterosexualidad obligatoria, escrito y filmado desde la mirada heterosexual. Miren a estos malditos maricones.

Después de ver la película, encontré una entrevista donde la guionista afirma que su objetivo era "contar, rescatar y resignificar" el baile de los 41 maricones "o sea, dejar de hablar de este suceso histórico como si fuera un chisme y empezar a darle la importancia que tiene dentro de la historia de nuestro país." Aquí surge la pregunta "¿Quiénes son ese "nosotros" cuando la guionista habla sobre "nuestro país"? Al hacer una película cuya trama se centra en un matrimonio heterosexual (entre un hombre y una mujer), que retrata a los hombres homosexuales de manera superficial, incluso llegando a caricaturizarlos, que muestra a estos hombres como incapaces de ser felices y que deja de lado lo que el mito de los 41 representa para la gente LGBT en mexico, la película está muy lejos de resignificar este suceso histórico. Al contrario, me atrevería a decir que la película reproduce (quizás de una manera más sutil, pero no por ello poco perniciosa) el escándalo moral que la prensa nacional propagó a partir de este suceso a lo largo de varias décadas.

Quizás los realizadores de la película asumen, como lo hacía la prensa al hablar del baile de los 41 maricones, que ese "nosotros" al que se refieren cuando hablan de "nuestro país" no somos nosotrxs --las lenchas, los maricones y demás desviadxs--. Piensan en nosotrxs como el tema, pero no como el público. No se les ocurre que el mito de los 41 maricones pueda formar parte de uns cultura y una tradición de resistencia, disidencia y sobrevivencia; ignoran que nuestra Fiesta tiene una dimensión política. Tal vez no se percatan que, como público, lxs desviadxs queremos y necesitamos otras narrativas, otros enfoques y perspectivas. O lo mejor sí se dan cuenta, pero por alguna razón prefieren atender al público heterosexual, o quizás piensen que por poner hombres guapos cogiendo y desnudos frontales en la pantalla, los maricones nos vamos a dar por bien servidos. Ojalá algún día tengamos la película sobre el baile de los 41 maricones que los maricones y desviadxs verdaderamente merecemos. Rescato, eso sí, la escena donde Ignacio, Evaristo y sus amigos caminan borrachos a altas horas de la noche por las calles del ahora centro histórico de la Ciudad de México haciendo desfiguros; ese sí fue un buen homenaje a una muy bonita tradición de maricones que espero podamos retomar pronto.

[thereturnofsidsid03]

My HotGirl™️ Books Wishlist <3

Your Silence Will Not Protect You | Audre Lorde | Essays & Poems                                                                                                          “Lorde kept speaking up by writing about the ongoing struggle to define and seek a world in which we can all flourish” - RO Kwon

Valley of the Dolls | Jacqueline Susaan | Novel                                  “About the most fun you can have without a prescription!” - Julie Burchill

Girl, Woman, Other | Bernardine Evaristo | “Fusion Fiction”         “Girl, Woman, Other is about struggle, but it is also about love, joy and imagination” - Micha Frazer-Carroll

Bunny | Mona Awad | Novel                                                                  “Jon Swift + Witches of Eastwick + Kelly 'Get In Trouble' Link + Mean Girls + Creative Writing Degree Hell! No punches pulled, no hilarities dodged, no meme unmangled! O Bunny you are sooo genius! --Margaret Atwood            

Talking As Fast As I Can | Lauren Graham | Autobiographical & Essays                                                                                                      “This book is like a cozy night in, catching up with your best friend, laughing and swapping stories, and, of course, talking as fast as you can”- Booktopia

Trick Mirror | Jia Tolentino | Non-Fiction Essays                           “There is one guarantee with this book: it will make you stop and think ... Tolentino's writing will leave you feeling a bit more humble, and a bit more intelligent” -Independent

Her Body And Other Parties | Carmen Maria Machado | Short-Story Collection                                                                                         “Deliciously weird and dark and erotic and queer and smart and full of desire, and profoundly original, this is about the alienation of being a woman in a way you've never read before”- The Pool        

Little Weirds | Jenny Slate | Essay Collection                                       “This book is like a stovetop goulash, delicious and varied ingredients, prepared perfectly and excellent with bread...I'm sorry, I lost track of the simile” -Amy Sedaris

Boy Parts | Eliza Clark | Novel                                                               “The novel, a debut by the 26-year-old from Newcastle, will make most readers howl with laughter and/or shut their eyes in horror”- Chloë Ashby

Normal People + Conversations Between Friends | Sally Rooney | Novels                                                                                                 “What makes Rooney's books so captivating and impossible to put down is the way she crafts characters and dialogue-at times, the conversations in her books can seem so real that you almost feel like you're eavesdropping on something you shouldn't be” - Vanity Fair

Homesick for Another World + Death in Her Hands + Eileen | Ottessa Moshfegh | Short-Story Collection/Novels                           "Dark, confident, prickling stories . . . . Moshfegh uses ugliness as if it were an intellectual and moral Swiss Army knife . . . Her stories veer close to myth in a manner that can resemble fiction by the English writer Angela Carter. There's some Flannery O'Connor, Harry Crews and Katherine Dunn in her interest in freaks and quasi-freaks . . . At her best, she has a wicked sort of command. Sampling her sentences is like touching a mildly electrified fence. There is a good deal of humor in "Homesick for Another World," and the chipper tone can be unnerving. It's like watching someone grin with a mouthful of blood." - Dwight Garner, New York Times

Everything I Know About Love | Dolly Alderton | Memoir          “Steeped in furiously funny accounts of one-night stands, ill-advised late-night taxi journeys up the M1, grubby flat-shares and the beauty of female friendships, as Alderton joyfully booze-cruises her way through her twenties”- Metro     

Black Swans + Sex & Rage + LA Woman | Eve Babitz | Stories/Novels                ��                                                                          "On the page, Babitz is pure pleasure--a perpetual-motion machine of no-stakes elation and champagne fizz . . . A mesmerizing account of a young woman trying to decide what to do about her own premonitions"- The New Yorker

Play It As It Lays + The White Album | Joan Didion | Novel/Essay Collection                                                                              “A pioneer of New Journalism, she brilliantly chronicled America's cultural and political life”- Guardian                  

[tlbodine]

Literary vs Genre Fiction

The divide between literary and genre fiction is one of those topics that gets endlessly debated in writer circles. You’ll see it making the rounds on social media every time a book gets some buzz for busting out of its category. You’ll hear it in MFA programs across the country. But what even is literary fiction? How is it actually different from genre fiction? Is one better than the other? Why does anybody care?

A lot of smart people before me have thrown their hat in this particular ring, but I’m going to try tackling this one anyway. 

First Off: What Do We Mean When We Say “Literary Fiction”? 

Defining the thing is almost the hardest part of this whole discussion, and that may be part of the reason why people argue so endlessly about the literary vs genre divide -- if you don’t have a clear definition of the categories, that divide can be drawn up just about anywhere. 

So before we dig into characteristics of literary fiction, let’s look at some clear examples. The Booker Prize is a literary award specifically given to works of literary fiction, so it stands to reason that winners of that award would be the best examples of the category, right? Here are some recent Booker Prize winners (as pulled from Powell’s bookstore): 

Margaret Atwood - The Testaments The sequel to A Handmaid's Tale, told as testaments from three female narrators in Gilead, a dystopian setting where women have been stripped of their rights.

Bernardine Evaristo - Girl, Woman, Other Twelve central characters, mostly black British women, lead intersecting lives with struggles of identity, race, sexuality, class, etc.

Anna Burns - Milkman A girl identified as "middle sister" catches the unwanted attention of "the milkman," a local paramilitary, and has to deal with the threat of violence and spread of rumors.

George Saunders - Lincoln in the Bardo A father-and-son story about Abraham Lincoln and the 11-year-old son who died of illness in the midst of the civil war, leading to them both struggling in a type of purgatory.

Paul Beatty - The Sellout A satire about an isolated young man who ends up at a Supreme Court race trial after trying to reinstate slavery and segregate the local high school in an attempt to put his town back on the map.

One thing becomes immediately clear about literary fiction when skimming through the titles and summaries of these award-winning books: These novels are well-nigh impossible to summarize in a way that actually sounds enticing. 

So okay. What are some genre fiction books, for comparison? There are genre fiction awards, like for example the Hugo award for Sci-Fi/Fantasy: 

Mary Robinette Kowal - The Calculating Stars A cataclysmic meteor collision in 1952 causes an accelerated effort to colonize space, leading to a woman fighting to join the astronaut team in this alternate-history book.

N. K. Jemisin - The Stone Sky The third in a trilogy of post-apocalyptic novels about two women with the power to avert destruction of mankind.

Cixin Liu - The Three-Body Problem Against the backdrop of China's Cultural Revolution, a secret military project makes contact with aliens whose civilization is on the brink of destruction, leading them to plan a takeover of earth.

There’s also the Edgar Award, which is given to mystery fiction (it’s named after Edgar Allan Poe): 

James A McLaughlin - Bearskin A man on the run takes a job as a park ranger, but runs the risk of being found by the men he's hiding from when he tries to expose some poachers.

Walter Mosley - Down the River Unto the Sea After spending a decade in prison for a crime he was framed for, former-detective King works as a private investigator whose investigation of his own frame-up leads him to cross paths of a journalist with a similar story.

Sujata Massey - Widows of Malabar Hill In 1920s India, Bombay's only female lawyer investigates a suspicious will on behalf of three Muslim widows, a case that takes a murderous turn.

These aren’t the best summaries in the world, but there does seem to be a stronger sense of both plot and character in the story concepts. At least, when someone asks, “What’s that book you’re reading about?” the genre fiction ones will have a somewhat easier time explaining it. 

So What REALLY Separates Literary From Genre Fiction? 

There are a lot of battle lines drawn between genre and literary fiction. I’ve heard it argued that literary is about character while genre is about plot; that literary is about the quality of the prose while genre is about the story; that literary is about experimenting while genre is about adhering to formulas. That literary is about expanding horizons while genre is about escapism and comfort. That literary is about realism and genre fiction is about fabulism. 

I think there’s a nugget of truth in all of these, but I’m not really happy with any of them. 

So I’m going to toss out my own hypothesis: I think the difference between literary and genre fiction is the way tropes are employed. 

“Okay, great, but what are tropes?” 

I’m so glad you asked. Fiction tropes are a type of shorthand. They are things that we the audience have seen before, so we know immediately what they mean. Tropes exist in characters, plot points, settings, concepts -- you name it. Here’s a sampling of tropes you might be familiar with: 

The tough lady-cop whose dad was a police officer 

Thanks to a mix-up, two people with hidden romantic feelings book the last available room at a hotel but there’s only one bed 

A man goes on a quest for vengeance but destroys himself in the process

The wise old man who teaches the young hero valuable lessons but then dies before the pivotal battle

And so on, and so forth. Every genre has its own tropes -- a formula, if you will. In that sense, genre fiction is formulaic, but that doesn’t make it easier to write; actually, a big part of the challenge is in giving fresh twists to familiar tropes. Readers of genre stories demand certain tropes; the author has to deliver on those demands in a fresh way.

By comparison, I would argue that literary fiction does not rely upon tropes. There certainly are tropes and conventions that emerge in literary fiction -- a middle-aged academic struggling through divorce, for example -- but these tropes are more often than not met with irritation, not delight. Readers of literary fiction are looking for fresh insights and innovations, not familiarity. 

Tropes are powerful tools. They are the mythic seed of storytelling. They are the archetypes that pass down through generations. They are a sacred backbone of mythology and folklore. Genre fiction, at the end of the day, carries the torch for storytelling in a long and (ha, ha) storied tradition from our prehistoric days huddled around a campfire. 

Literary fiction, on the other hand, eschews tropes -- with their agreed-upon meanings -- in favor of assigning fresh meanings to things. Literary fiction is chock full of metaphors, but it’s the author, not convention, that determines what those metaphors mean and how they’re employed. Literary fiction reinvents the wheel. When it succeeds, it hits on depth and emotional resonance that can be life-changing for the reader. When it fails, it comes off like so much navel-gazing nonsense. So it goes. 

Fiction Wars and Gatekeeping

The problem with the literary vs genre fiction divide is that it never stops with “This is how these categories are defined.” The problem is that people will insist on ascribing moral significance and hierarchy to them. 

Literary fiction is viewed as being smarter, deeper, more meaningful or more valuable than genre fiction. If a genre fiction story manages to break out and gain wider appeal, suddenly people will start ascribing to it literary attributes (whether or not the book and many others in the genre had them all along). And that is all a bunch of nonsense. 

It’s the exact same thing that happens in horror fiction -- when a horror story goes mainstream, suddenly it becomes a “psychological thriller” or a “dark drama” or anything other than horror, because “horror” is an inferior genre. 

The fact of the matter is that literary fiction gets elevated over genre fiction for systemic reasons: 

Most MFA programs focus on writing literary fiction, which means that a lot of lit-fic authors come out of those programs, which means that literary fiction is often the domain of upper-middle-class, frequently white, people who can afford to graduate from those programs

A focus on dense prose and “difficult” writing means lit-fic books must be analyzed and interpreted; it’s hard to read, making it exclusionist to people who lack formal education 

Lit-fic dominates awards, gets pushed heavily onto book clubs, is talked about more often on daytime TV and so forth (because it is perceived as being better/more important, thus creating the ongoing cycle)

Basically, lit-fic gets held up as an example of Fine Culture. And any time something is designated as Fine Culture and High Art, it is subject to a completely arbitrary classist distinction meant primarily to keep out an undesirable element (women, BIPOC, poor people, you name it). 

That’s not a problem endemic to lit-fic itself. It’s really a problem of the culture surrounding it, and attempts to hold it to a higher esteem than genre work. 

Cross-Pollination Is Inevitable and Desirable 

How do tropes get made? 

Someone comes up with a new metaphor, concept, character, or idea that resonates so deeply that others who follow borrow that same thing and its meaning, and it gets repeated enough times that it becomes a stock trope. 

In other words, every single piece of genre fiction exists because someone writing in some other established tradition decided to experiment and go off on a tangent to create something really fresh and new -- and knocked it so far out of the park that people were compelled to follow. 

People like to pretend that the overlap and blurred lines between genre and literary fiction are somehow a new trend, but the fact is that this has been the trajectory of fiction-writing for the whole history of storytelling. 

Literary agents have a term for this: Upmarket fiction. Books that “transcend” genre definitions to appeal to readers on either side of the aisle. And those are highly sought-after books, because they have the potential of bringing in double the readers. 

So, snobby gatekeeping aside, is there any real reason to argue about the definition of literary vs genre fiction? 

I’d say...no. Not even a little bit. I’ve got a mix of both on my shelves. I incorporate a mix of both in my writing. And I don’t see that changing any time soon. 

A Final Note 

I mentioned above that lit-fic tends to be written by people in MFA programs, and I wanted to touch on that again as an MFA drop-out and someone who was once warned by a teacher not to bring “any more of that genre nonsense” into the classroom. 

I can understand, from a teaching perspective, why writer’s workshops would want to focus on lit-fic. From the perspective of learning how to write, forcing writers to derive stories from their experiences, to dig deep into themselves and ascribe unique meaning to things, to develop their own metaphors and hone their craft at the sentence level -- all of that makes a lot of sense. Banning genre tropes is a way to force writers to hone their craft without leaning on the work of generations of storytellers before them, and as a teaching tool I think that’s actually really valuable. 

But I think it’s pretty important that we keep that in context. The lit-fic focus in writing classes should be a teaching tool first and foremost. It should not be the end-all and be-all of writing classes.

This post topic was voted on by my Patreon subscribers. If you would like to vote for future posts and get early access to posts before they go live on tumblr, you can become a patron here: https://www.patreon.com/tlbodine

[jadelotusflower]

November Roundup

Some writing success this month - I finished and posted a new chapter for Against the Dying of the Light, and made progress on The Lady of the Lake and Turn Your Face to the Sun. I didn’t work much on my novel, but I did do some editing on the first third so that’s progress.

Words written this month: 6647

Total this year: 67,514

November books

Girl, Woman, Other by Bernadine Evaristo - joint winner of the 2019 Booker Prize (with The Testaments by Margaret Atwood) this was an engrossing and interesting read. Stylistically unusual formatting and scant use of punctuation that is a bit jarring at first, but you quickly adapt as you read. There’s no plot as such - instead the story is formed by vignettes of twelve black women and their disparate yet interconnected lives. We have mothers and daughters, close friends, teachers and students, although the connections aren’t always obvious at first - we can be exposed to a character briefly in the story of another with no idea that she will be a focus later on. It’s very skillfully done, to the point whereupon finishing I wanted immediately to re-read (but alas, it was already overdue back to the library). There is so much ground covered that we are really only given a glimpse into the characters lives, but there is a diversity of intergenerational perspectives of the African diaspora in the UK, and I highly recommend.

The Evening and the Morning by Ken Follett - after finishing The Pillars of the Earth I had intended to read the sequel, but this was available on the library shelf and I had to place a hold on World Without End, so the prequel came first. Set sixty years before the Conquest (150 before Pillars) it primarily addresses the growth of the hamlet of Dreng’s Ferry into the town of Kingsbridge, through the lives of a monk with a strong moral code, a clever and beautiful noblewoman, and a skilled builder, working against the machinations of an evil bishop. Sound familiar? This is Follet’s most recent work, and I do wonder if he’s running out of ideas as this covers very similar thematic ground.

Ragna is a compelling female character, but once again the romance-that-cannot-be with Edgar is tepid, Aldred is a very watered down version of Prior Philip, and there’s no grand framing device such as building the cathedral to really tie to all together (although things do Get Built, and it’s interesting but not on the level of Pillars). This is the tail end of the Dark Ages and it shows - Viking raids, slavery, infanticide - and while it seems Follett’s style is to put his characters through much tragedy and tribulation before their happy ending, I wish writers would stop going to the rape well so readily. But at least the sexual violence isn’t as...lasciviously written as in Pillars? Scant praise, I know. But Follett’s strength in drawing the reader into the world and time period is on display, made even more interesting in this era about which we know very little.

Women and Leadership by Julia Gillard and Ngozi Okonjo-Iweala - I have a great deal of respect for Julia Gillard, Australia’s first female Prime Minister who was treated utterly shamefully during her tenure and never got the credit she deserved, perhaps excepting the reaction to her iconic “misogny speech” whichyou can enjoy in full here:

Ngozi Okonjo-Iweala was the first woman to be Minister of Finance and Foreign Affairs in Nigeria, was also the former Managing Director of the World Bank, and currently a candidate for Director-General of the WTO.

This is an interesting examination of women in leadership roles, comparing and contrasting the lives and experiences of a select few including (those I found the most interesting) Ellen Sirleaf, the first female President of Liberia, Joyce Banda, the first female President of Malawi, New Zealand’s current Prime Minister Jacinda Ardern, and of course, Gillard and Okonjo-Iweala themselves.

November shows/movies

The Vow and Seduced: Inside the NXIVM Cult - I’ve been following the NXIVM case for a while now, when the news broke in 2017 I was surprised and intrigued that it involved actresses from some of my fandom interests - Alison Mack (Smallville), Grace Park and Nikki Clyne (Battlestar Galactica), and Bonnie Piasse (Star Wars). Uncovered: Escaping NXIVM is an excellent podcast from that point in time that’s well worth a listen. There’s been a lot of discussion comparing these two documentaries and which one is better, but I feel they’re both worthwhile.

The Vow gives a primer of NXIVM as a predatory “self improvement” pyramid scheme/cult run by human garbage Keith Reniere, from the perspective of former members turned whistleblowers Bonnie Piasse, who first suspected things were wrong, her husband Mark Vicente who was high up in the organisation, and Sarah Edmondson who was a member of DOS, the secret group within NXIVM that involved branding and sex trafficking. Seduced gives more insight into the depravity and criminality of DOS from the pov of India Oxenburg, just 19 when she joined the group and who became Alison Mack’s “slave” in DOS - she was required to give monthly “collateral” in the form of explicit photographs or incriminating information about herself or her family, had to ask Mack’s permission before eating anything (only 500 calories allowed per day), was ordered to have sex with Reniere, and other horrific treatment - Mack herself was slave to Reniere (as was Nikki Clyne) and there were even more horrific crimes including rape and imprisonments of underage girls.

Of course each show has an interest in portraying its subjects as less culpable than perhaps they were (there were people above and below them all in the pyramid after all) - Vicente and Edmondson in The Vow and Oxenburg in Seduced, but what I did appreciate about Seduced was the multiple experts to explain how and why people were indoctrinated into this cult, and why it was so difficult to break free from it. This is a story of victims who were also victimisers and all the complications that come along with that, although I’m not sure any of these people are in the place yet to really reckon with what happened and all need a lot of therapy.

Focusing on individual journeys also narrows the scope - there are other NXIVM members interviewed I would have liked to have heard a lot more from. There is also a lot of jumping back and forth in time in both docos so the timeline is never quite clear unless you do further research. I would actually like to see another documentary one day a bit further removed from events dealing with the whole thing from start to finish from a neutral perspective. The good news is that Reniere was recently sentenced to 120 years in prison so he can rot.

I saw value in both, but you’re only going to watch one of these, I would say go for Seduced - if you’re interested in as much information as possible, watch The Vow first to get a primer on all the main players and then Seduced for the full(er) story.

The Crown (season 4) - While I love absolutely everything Olivia Coleman does, I thought it took a while for her to settle in as the Queen last season and it’s almost sad that she really nailed it this season, just in time for the next cast changeover (but I also love everything Imelda Staunton does so...) This may be an unpopular opinion, but I wasn’t completely sold on Gillian Anderson as Thatcher - yes I know she sounded somewhat Like That, but for me the performance was a little too...affected? (and someone get her a cough drop, please!) 

It is also an almost sympathetic portrayal of Thatcher - even though it does demonstrate her classism and internalised misogyny, it doesn’t really explore the full impact of Thatcherism, why she was such a polarising figure to the extent that some would react like this to her death:

But I suppose it’s called The Crown, not The PM.

Emma Corrin is wonderful as Diana, and boy do they take no prisoners with Charles (or the other male spawn). I was actually surprised at how terrible they made Charles seem rather than both sidesing it as I had expected (but perhaps that’s being saved for season 5). It does hammer home just how young Diana was when they were married (19 to Charles’ 32), how incompatible they were and the toxicity of their marriage (standard disclaimer yes it’s all fictionalised blah blah). The performances are exceptional across the board - Tobias Menzies and Josh O’Conner were also standouts and it’s a shame to see them go.

I was however disappointed to see that the episode covering Charles and Di’s tour of Australia was not only called “Terra Nullius” but the term was used as a very tone deaf metephor that modern Australia was no longer “nobody’s land/country”. For those who aren’t aware, terra nullius was the disgraceful legal justification for British invasion/colonisation of Australia despite the fact that the Indigenous people had inhabited the continent for 50,000 years or more. While the tour was pre-Mabo (the decision that overturned the doctrine of terra nullius and acknowledged native title), there was no need to use this to make the point, especially when there was no mention at all of the true meaning/implication of the term.

The Spanish Princess (season 2, episodes 4-8)- Sigh. I guess I’m more annoyed at the squandered potential of this show, since the purpose ostensibly was to focus on the time before The Great Matter and give Katherine “her due” - and instead they went and made her the most unsympathetic, unlikeable character in the whole damn show. (Spoilers) She literally rips Bessie Blount’s baby from her body and, heedless to a mother’s pleas to hold her child, runs off to Henry so she can present him with “a son”. I mean, what the actual fuck?

I’m not a stickler for historical accuracy so long as it’s accurate to the spirit of history (The Tudors had its flaws, but it threaded this needle most of the time), but this Katherine isn’t even a shadow of her historical figure - she’s not a troubled heroine, she’s cruel and vindictive, Margaret Pole is a sanctimonious prig, and Margaret Tudor does little but sneer and shout - the only one who comes out unscathed is Mary Tudor (the elder), and it’s only because she’s barely in it at all. It’s a shame because I like all of these actresses (especially Georgie Henley and Laura Carmichael) but they are just given dreck to work with.

This is not an issue with flawed characters, it’s the bizarre presentation of these characters that seems to want to be girl power rah rah, and yet at the same time feels utterly misogynistic by pitting the women against each other or making them spiteful, stupid, or crazy for The Drama. I realise this is based on Gregory so par for the course, but it feels particularly egregious here. (Spoilers) At one point Margaret Pole is banished from court by Henry, and because Katherine won’t help her (because she cant!) she decides to spill the beans about Katherine’s non-virginity. Yes, her revenge against the hated Tudors is...to give Henry exactly what he wants? Even though it will result in young Mary, who she loves and cares for, being disinherited? Girlboss!

This season also missed the opportunity to build on its predecessors The White Queen/Princess and show why it was so important to Henry to have a male heir - the Tudor reign wasn’t built on the firmest foundations and so needed uncontested transfer of power, at the time there was historic precedent that passing the throne to a daughter led to Anarchy, and wars of succession were very recent in everyone’s memory. At least no one was bleating about The Curse this time, which is actually kind of surprising, because the point of the stupid curse is the Tudor dynasty drama.

But it’s not all terrible. Lina and Oviedo are the best part of the show, and (spoilers) thankfully make it out alive. Both are a delight to watch and I wish the show had been just about them.

Oh well. One day maybe we’ll get the Katherine of Aragon show we deserve - at least I can say that the costumes were pretty, small consolation though it is.

[notimundo]

New Post has been published on https://notimundo.com.mx/politica/mesa-directiva-dio-cuenta-de-oficios-de-diputadas-y-diputados/

Mesa Directiva dio cuenta de oficios de diputadas y diputados.

Mesa Directiva dio cuenta de oficios de diputadas y diputados que participarán en elección consecutiva.

La diputada Sauri Riancho dijo que en términos del último párrafo del sexto resolutivo del “Acuerdo de los órganos de gobierno de la Cámara de Diputados, por el que se establecen disposiciones internas aplicables a diputadas y diputados federales que opten por la elección consecutiva en el proceso electoral 2020-2021”, manifiestan su voluntad de renunciar a los apoyos económicos a los que tienen derecho.

Enseguida, pidió a la secretaría de la Mesa Directiva dar lectura a los nombres de las diputadas y los diputados.

Por MC, Mario Alberto Rodríguez Carrillo y Juan Martín Espinoza Cárdenas.

Del PVEM, Leticia Mariana Gómez Ordaz, Lilia Villafuerte Zavala y Roberto Antonio Rubio Montejo.

De Encuentro Social, Manuel de Jesús Baldenebro Arredondo, Irma María Terán Villalobos, Jorge Arturo Argüelles Victorero, Esmeralda de los Ángeles Moreno Medina, Leticia Arlett Aguilar Molina y Nancy Claudia Reséndiz Hernández.

Por Acción Nacional, Justino Eugenio Arriaga Rojas, Juan Carlos Romero Hicks, Luis Alberto Mendoza Acevedo, Karen Michel González Márquez, José Salvador Rosas Quintanilla, Gloria Romero León y Patricia Terrazas Baca.

Del PRI, Alfredo Villegas Arreola, Frinné Azuara Yarzábal, Brasil Alberto Acosta Peña, Cynthia Iliana López Castro, Pablo Guillermo Angulo Briceño, Laura Barrera Fortoul, Ricardo Aguilar Castillo, María Ester Alonzo Morales e Ismael Alfredo Hernández Deras.

Por el PT, Ana Karina Rojo Pimentel, María de Jesús Rosete Sánchez, José Gerardo Rodolfo Fernández Noroña, Francisco Favela Peñuñuri, Alfredo Porras Domínguez, Claudia Angélica Domínguez Vázquez, Margarita García García, Luis Enrique Martínez Ventura, Jesús Fernando García Hernández, Alfredo Femat Bañuelos, Clementina Marta Dekker Gómez, Óscar González Yáñez y Dionicia Vázquez García.

También, José Luis Montalvo Luna, Elba Lorena Torres Díaz, María Teresa Marú Mejía, José Luis García Duque, Francisco Javier Huacus Esquivel, Armando Reyes Ledesma, Santiago González Soto, Olga Juliana Elizondo Guerra, Maribel Martínez Ruiz, Ángel Benjamín Robles Montoya, Hildelisa González Morales, Ana Laura Bernal Camarena, Mauricio Alonso Toledo Gutiérrez y Nelly Maceda Carrera.

Por Morena, Heriberto Marcelo Aguilar Castillo, Maribel Aguilera Cháirez, Aleida Alavez Ruiz, María Isabel Alfaro Morales, Karla Yuritzi Almazán Burgos, Guillermina Alvarado Moreno, José Guadalupe Ambrocio Gachuz, Socorro Irma Andazola Gómez, Carol Antonio Altamirano, Reyna Celeste Ascencio Ortega, María del Carmen Bautista Peláez, Rosa María Bayardo Cabrera, Francisco Javier Borrego Adame, Wendy Briceño Zuloaga, Susana Cano González, Olegaria Carrazco Macías, Alejandro Carvajal Hidalgo, Katia Alejandra Castillo Lozano, María Chávez Pérez, Miguel Ángel Chico Herrera, Gustavo Contreras Montes y Flora Tania Cruz Santos.

Asimismo, Diego Eduardo del Bosque Villarreal, Rosalinda Domínguez Flores, Roberto Ángel Domínguez Rodríguez, José Luis Elorza Flores, Brenda Espinoza López, María Bertha Espinoza Segura, Melba Farías Zambrano, Lidia García Anaya, Martha Olivia García Vidaña, Pablo Gómez Álvarez, Sandra Paola González Castañeda, Erasmo González Robledo, Juanita Guerra Mena, Yolanda Guerrero Barrera, Óscar Eugenio Gutiérrez Camacho, Daniel Gutiérrez Gutiérrez, Sergio Carlos Gutiérrez Luna, César Agustín Hernández Pérez, María Eugenia Hernández Pérez, Arturo Roberto Hernández Tapia, Rafael Hernández Villalpando, Javier Hidalgo Ponce, Benjamín Saúl Huerta Corona y María de los Ángeles Huerta del Río.

También, Miguel Pável Jarero Velázquez, Irma Juan Carlos, Claudia López Rayón, Adriana Lozano Rodríguez, Mirna Zabeida Maldonado Tapia, Sergio Mayer Breton, Jorge Luis Montes Nieves, Carmen Mora García, Alma Delia Navarrete Rivera, Manuela del Carmen Obrador Narváez, Aracely Ocampo Manzanares, Sandra Simey Olvera Bautista, Alejandra Pani Barragán, Inés Parra Juárez, Jaime Humberto Pérez Bernabe, Beatriz Dominga Pérez López, Laura Imelda Pérez Segura, Miguel Ángel Prado de los Santos, Verónica Ramos Cruz, Guadalupe Ramos Sotelo y Valentín Reyes López.

Además, Fortunato Rivera Castillo, Beatriz Robles Gutiérrez, Martha Robles Ortiz, Manuel Rodríguez González, Ana María Rodríguez Ruiz, María Guadalupe Román Ávila, Carlos Sánchez Barrios, Graciela Sánchez Ortiz, Juan Pablo Sánchez Rodríguez, Azael Santiago Chepi, Yadira Santiago Marcos, Claudia Tello Espinoza, Rosalba Valencia Cruz, Lorenia Iveth Valles Sampedro, Víctor Gabriel Varela López, Teresita de Jesús Vargas Meraz, Julieta Kristal Vences Valencia, Alberto Villa Villegas y Silvia Lorena Villavicencio Ayala.

También, Dulce María Corina Villegas Guarneros, Casimiro Zamora Valdez, Erika Vanessa del Castillo Ibarra, Evaristo Lenin Pérez Rivera, Paola Tenorio Adame, Emmanuel Reyes Carmona, Irán Santiago Manuel, Nayeli Salvatori Bojalil, Vicente Alberto Onofre Vázquez, Francisco Elizondo Garrido, Ulises Murguía Soto, Laura Mónica Guerra Navarro, Nayeli Arlen Fernández Cruz, Moisés Ignacio Mier Velazco y Alfonso Ramírez Cuéllar.

Conforme a dichos oficios, renuncian al apoyo económico correspondiente a asistencia legislativa, atención ciudadana, transporte y hospedaje y al informe de actividades legislativas, por el periodo que comprende del 1 de abril al 15 de junio del año en curso.