Tweed’s, Issue 2

cover #2 tweed's (1)Nicole Treska — Mainahs
Reza Aslan — Who We Are
Lipika Pelham — Breaking the Code of Silence
Siri Hustvedt — The Drama of Perception
Juan Pablo Roncone — Geese
Dale Jamieson — The Interesting Divide
C.K. Williams — At What Time on the Sabbath Do Vultures Awake?
Lydia Davis — Energy in Color: On the Recent Paintings of Alan Cote
Amy Grace Loyd — Fighting Against the Dying of the Light
Daniel Bevacqua — The Complex
Artwork by: Lisa Alonzo, Matthew Brandt, Kevin Cooley, and Alan Cote


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Reza Aslan
on religion and extremism:

“Those whose minds are most in need of changing are precisely the ones that aren’t going to change their minds based on information, because bigotry is not a result of ignorance, as much as we like to think it is. Bigotry is a result of fear, and fear is impervious to data.”

Lydia Davis
on the paintings of Alan Cote:

“Though his paintings are not figurative, not about phenomena, do not depict things in the world, for him they nevertheless relate to human emotions via the life and energy in color itself.”

Siri Hustvedt
on perception and gender bias:

“Although I do think of the novel as a feminist text in many ways, its perspective is broader than that. There is definitely a masculine enhancement effect at work in the arts, which is accompanied by a feminine pollution effect. Maleness elevates; femaleness deflates. Nevertheless, none of this is simple.”

Dale Jamieson
on the failure to prevent climate change:

“Here’s an interesting thing about human psychology: we don’t like to believe there’s a problem unless we know the solution. In fact, we like to have the solutions before we have the problems: I’ve got a solution: less government. Now, what’s the problem? Give me a problem, and I’ll impose the solution on it. The problem with climate change is that people don’t see solutions. That makes them want to deny the problem.”

Amy Grace Loyd
on writing and editing in the 21st century:

“Both at Playboy and at Byliner, I found that the mandate when I first arrived was to find as much literary work as possible, to reach for more than celebrity culture, to associate ourselves with thoughtful, engaged, innovative writers. But then the demands of commerce and fear crowd in, and suddenly my bosses want as commercial a name as I can get them. It’s suddenly about bottom lines and eyeballs and traffic and traffic and traffic.”

Lipika Pelham
on honor killings in Israel:

“When an eighth girl was murdered in as many years in the notorious Abu Ghanem family in Ramle, near Tel Aviv, I contacted Layla Hassan. Layla runs an Arab women’s organization in the northern Israeli city of Haifa called Assewar Al Badeel, which works with the victims of honor killing and domestic abuse among Israel’s Arab population. I wanted to interview her for a documentary film on crimes against women in the name of family honor. Over the phone she told me that her English was not good and that she was the nervous type before the microphone. She asked if I would like to meet a real victim. I was taken aback, not comprehending how one could meet a victim of honor killing. Then I realized that she meant a survivor.”

stories by:
Daniel Bevacqua

“Billy was big and strong then. This was before things got bad, before Mom and me saw him in front of the Cumberland Farms, asking strangers for gas money even though he didn’t have a car.”

Juan Pablo Roncone

“The island drove me to write. The slow mornings dragged over the dry grass, among the trees and the animals. The nights didn’t change much. I had time to go out walking, to smoke and think about the life I had left in Santiago—Fernanda and the child she was expecting.”

Nicole Treska

“I remember dark nights and country roads with no lights and steep drops and our daddy saying that in the case of a moose in the road, the thing to do was hit it hard. Everyone swerved, he said; a foolish instinct to save a stupid animal. You swerve and you hit tree, or you drive off a cliff. You see a moose, you speed up and hope to knock it clean out the way. Thing is, with legs that high a moose is liable to drop right on top of you. A moose in the road means trouble is already upon you. Someone’s getting hurt, only question is who.”

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