title: Sabra Moore

texts:
<mask> (born January 25, 1943) is an American artist, writer, and activist. Her artwork is based on re-interpreting family, social, and natural history through the form of artist's books, sewn and constructed sculptures and paintings, and installations. She was a member of the Heresies Collective, the Women's Caucus for Art, and was a collaborator of the art collective RepoHistory. <mask> is known for her large-scale, collaborative exhibitions of women's artwork including Views by Women Artists (1982), and the collaborative shows Reconstruction Project (1984) and Connections Project/Conexus (1987). She has exhibited her artwork widely since 1969 including 18 solo exhibitions and over 130 group exhibitions. She has authored two books, Petroglyphs: Ancient Language/Sacred Art (Clear Light Publishers 1997) and Openings: A Memoir from the Women’s Art Movement, New York City 1970-1992 (New Village Press 2016). <mask> also worked for thirty years as a freelance photo editor for New York-based publishers.Her artist's books can be found in several museum collections including those of the Brooklyn Museum and the Museum of Modern Art in NYC. The feature-length documentary film The Heretics (2011) includes her artistic and political work. She currently lives in Abiquiú, New Mexico. Early life
<mask> <mask> grew up in Commerce, Texas. Her father was a railroad engineer for the Cotton Belt, and her mother was a first-grade school teacher. Her father was also an organizer for the Brotherhood of Locomotive Engineers and Trainmen. The labor meetings she witnessed as a child, where workers came together to stand up for their rights, influenced her own activism.Her first trips outside of Texas were to attend strikes. <mask> grew up around the tradition of quilt making and believes her grandmother's textile crafts have influenced her own creativity. Education
<mask> studied at the University of Texas in Austin in their liberal arts honors program called Plan II and graduated with a BA cum laude in 1964. <mask> was a finalist for a Woodrow Wilson scholarship. Peace Corps in Guinea, Africa, 1964-1966
<mask> joined the Peace Corps in 1964 and lived in Guinea, West Africa for two years. She taught English at École Technique in N’Zérékoré, Guinea. A year after returning from Guinea, <mask> was awarded a Fulbright fellowship to study African art at the Centre for West African Studies at the University of Birmingham in England.A few months into the fellowship, she returned to the United States. Life in New York City
<mask> moved to New York City in 1966 and began studying at the Brooklyn Museum Art School. Her work was first exhibited as part of the group show Fifteen Artists curated by Henry Ghent at the Brooklyn Museum's Community Gallery in 1969. She taught English as a second language at Columbia University and taught an after-school children's arts class at the Brooklyn Museum while painting and attending anti-war demonstrations in her free time. She joined the Committee of Returned Volunteers (CRV) and continued protesting the war in Vietnam and Gulf Oil in Angola. <mask> joined the Women Artists in Revolution (WAR). She also worked as a counselor for Women's Services, an abortion clinic sponsored by Judson Memorial Church and the Clergy Consultation Service.After she left the clinic, <mask> worked with fellow artist Georgia Matsumoto as a freelance house painter for seven years. She continued creating artwork independently and attended meetings for the NYC/ Women's Caucus for Art. She also contributed to the publication Heresies, a New York-based feminist journal on art and politics produced by the Heresies Collective. Counselor for Women's Services
From 1970-1972, <mask> worked as a counselor for the Clergy Consultation Service on Abortion in Manhattan's Upper East Side, a service founded in 1967 to help women find medical practitioners who would perform the procedure. <mask> had experienced an abortion herself when she was 21 years old. Heresies Collective
From 1979-1991, <mask> was a member of the Heresies Collective, which published Heresies: A Feminist Publication on Art and Politics from 1977 to 1992. <mask>'s involvement began when she started meeting regularly as part of the editorial collective of the Heresies Magazine Issue #13: Earthkeeping / Earthshaking: Feminism & Ecology 1979.She later became a member of the Mother Collective. NYC/ Women's Caucus for Art
<mask> was President of the Women's Caucus for Art from 1980-1982. She coordinated Views By Women Artists, sixteen independently curated shows in sixteen different venues showing the artworks of over 450 women artists. <mask> curated a show called Pieced Work. Women Artists Visibility Event, 1984
<mask> helped fellow artist Betsy Damon and President of the WCA Annie Shaver-Crandell organize a June 14, 1984 protest against the unequal representation of women and minorities in the New York Museum of Modern Art's exhibition An International Survey of Recent Painting and Sculpture. For the event, <mask> built and painted a small wooden replica of the museum entitled Model MoMA. Marchers wrote their names on slips of paper and placed them inside the model in order to show their symbolic inclusion in the museum.Though there was no official name of the protest, it is known as the Women Artists Visibility Event (W.A.V.E.). <mask>, Damon, and Shaver-Crandell were coordinators of the event, and the Heresies Collective, the Women's Interart Center, and the New York Feminist Art Institute became cosponsors. Slogans used in the protest included “The Museum Opens, But Not To Women Artists,” “Let MoMA Know,” and “Women’s Visibility Event.”

Other organizational involvement
Other organizations <mask> was involved with during her time in New York included the Women's Action Coalition (WAC), a feminist direct-action organization founded in 1992 to fight discrimination against women, and Repo History, an artists collective that produced collaborative art projects highlighting the histories of working class men and women, minorities and children. Professional photo editing
<mask> worked as a freelance photo editor for thirty years in NYC for publishers, including Doubleday, Harper Collins, American Heritage, and Random House. She was the sole picture editor for over 35 books including Francoise Gilot's Matisse and Picasso, Benita Eisler's O’Keeffe and Stieglitz: An American Romance, Robert Stern's Pride of Place, and Norma Mailer's Portrait of Picasso as a Young Man. <mask> was the principal photo editor for Through Indian Eyes (Readers Digest) and Bill Moyers and Joseph Campbell's The Power of Myth. She was the photo editor for five years of a magazine published by American Heritage Publishers, I&T: The American Heritage of Invention and Technology.The Heretics (2011)
<mask>'s artistic and political work is included in the feature film The Heretics. The Heretics focuses on the Heresies Collective as a microcosm of the larger movement at the time in which thousands of small, private groups of women were meeting together and devising strategies to fight for women's rights. Artistic themes

In her artwork, <mask> explores the relationship between the personal and the political. Her work is based on re-interpreting family, social, and natural history through the form of artist's books, sewn and constructed sculptures and paintings, and installations. She has referred to her work as a “kind of personal archeology” explaining that she sees herself as a literate granddaughter who has synthesized the quilt making and storytelling traditions of her rural grandmothers into new forms. She is committed to the idea of placing artwork within a social context and has consistently worked with feminist and political art groups to do that. Her role as a long-time activist in the women's art movement demonstrates her dedication to both art and activism.She has organized several large-scale women's exhibitions in New York City, Brazil, Canada, and New Mexico on themes of social concern. <mask>'s current work is in the form of boats, cages, leaves or poles, and relates to issues of water and trees. Exhibitions
1982: Views by Women Artists (coordinated): Views by Women Artists was a series of 16 shows curated independently by sixteen different curators under the sponsorship of the NYC/ Women's Caucus for Art. <mask> curated Pieced Work. 1984: The Reconstruction Project (organized and exhibited): The Reconstruction Project was a large-scale women's collaborative exhibition that was shown at Artists Space in New York City. It was part of Artists Call Against US Intervention in Central America (1984). The exhibition also traveled to Canada in 1987 where it was shown at the Powerhouse Gallery in Montreal and the Eye Level Gallery in Hailfax.It was produced in response to the 1562 burning of the Mayan codices by Fray Diego de Landa and the ongoing massacres of Mayans during 1984. For the exhibition, <mask> invited 20 women artists from diverse backgrounds including herself to re-create a codex in the format of the Dresden Codex, called Reconstructed Codex. Each artist made two pages and also made a 3-foot x 7 foot wall work in one of four directional colors. 1987: Connections Project/Conexus (co-organized and exhibited): Connections Project/Conexus, which <mask> curated with Josely Carvalho, was a collaborative exhibition between 16 pairs of women artists in Brazil and the United States. It was exhibited in 1987 at the Museum of Contemporary Hispanic Art in SoHo New York and traveled to the Museum de Arte Contemporanea in São Paulo, Brazil. 1988: Committed to Print (exhibited): Committed to Print was open from January 31 to April 19, 1988 at the Museum of Modern Art (MoMA). The exhibition featured printed works related to Governments and Leaders, Race and Culture, Gender, Nuclear Power and Ecology, War and Revolution; and Economics, Class Struggle, and the American Dream.Both Reconstructed Codex (photocopier edition) and 150 Artists Book (Connections Project/Conexus) were included. 1997: Place/Displace (exhibited): Place/Displace was exhibited at the Sanctuario de Guadalupe, Santa Fe, New Mexico. 2007: Out of the Woods (exhibited): Out of the Woods was an exhibition presented by the Harwood Museum of Art of the University of New Mexico organized by Margaret Bullock. It was open from January 12 to March 4, 2007. <mask>'s work explored ecological, political, and personal concerns through constructed and painted artworks. 2003, 2014: The Farm Show (organized): The Farm Show and The Second Farm Show were exhibits hosted at the Bond House Museum in Española, NM. They were collaborations between artists and farmers that featured the family stories of twenty area growers.The Second Farm Show featured ten artists, 18+ Farm story banners, and 2003 Farm story banners. Archive
The Sabra Moore NYC Women's Art Movement Collection, Barnard College (2016) In 2016, Barnard College acquired <mask>'s artistic and political collection. The collection showcases works regarding WAR (Women Artists in Revolution), Women's Services (the first legal abortion clinic in New York), the Heresies Collective, the 1984 MoMA demonstration, the NYC/Women's Caucus for Art, the exhibition Views By Women Artists (1982), and the collaborative show Reconstruction Project (1984). It includes letters, photographs, leaflets, artists books, catalogues, artifacts and other documents. Work from the exhibition <mask> co-organized with Josely Carvalho entitled Connection Project/Conexus (1987) is present in a separate archive. On November 1, 2016, <mask> read from her memoir Openings: A Memoir from the Women’s Art Movement, New York City 1970-1992 as part of the Barnard Center for Research on Women’s Lecture Series. Together, the collection and memoir feature over 180 different art works and 79 individual artists.Books
 <mask> illustrated books with line drawings, including Through Indian Eyes (petroglyph drawings, Readers’ Digest, 1996), Bulfinch’s Mythology, edited by Richard Martin (Harper Collins, 1991), and Lizard’s Kill by Pamela Christie (Lulu, 2015). 1997: Petroglyphs: Ancient Language / Sacred Art, Santa Fe: Clear Light Publishers. Foreword by Lucy R. Lippard. Petroglyphs features a collection of artistic renderings of ancient native art from all regions of the North American continent. Descriptions of the illustrations provide information on the location of each image, the culture from which it came, and what is known about its meaning for the people who created it. <mask>'s drawings include images of animals, objects, humans, hybrid human-animal forms, symbols, calendars and star markers, and celestial beings. The book also provides a record of many sites with Petroglyphs that are endangered, damaged, or have been recently destroyed.2016: Openings: A Memoir from the Women’s Art Movement, New York City 1970-1992, New York: New Village Press. Forewords by Lucy R. Lippard and Margaret Randall. Openings covers 22 years of <mask> <mask>'s life, art, and collaboration with other women artists. <mask>'s narrative is constructed from the numerous journals she kept over the years. It includes 949 images showcasing the artwork, exhibitions, protests, meetings, and posters that <mask> and her fellow artists created in response to war, environmental degradation, violence against women, struggles for reproductive freedom, and racial tension. Personal life
<mask> is married to artist Roger Mignon, whom she met in New York in 1975. New Mexico
In 1989, <mask> and her husband bought land on the mesa in Abiquiú, New Mexico, where they built a house using traditional adobe and a studio using straw-bale construction.<mask> and Mignon moved into their Abiquiú home in 1996. Since 1997, <mask> has helped students across the Española School District create ceramic mosaics. These mosaics can be seen outside the walls of various schools in the area. <mask> is also the Board President of the Pueblo de Abiquiú Library. In 2013, she helped organize a scholarly project to collect the oral histories of Abiquiú residents who knew Georgia O’Keeffe. She was also instrumental in developing the Abiquiú Library's series of walking tours for visitors. <mask> is in charge of operations for the Española Farmer's Market.She organized The Farm Show and The Second Farm Show, exhibits hosted at the Bond House Museum in Española, New Mexico, that were collaborations between artists and farmers featuring the family stories of area growers. <mask> has also made artist's books and yearly postcards with farmers at the Española Farmer's Market. Honors and awards
 Most Outstanding Independent Woman Student, Marjorie Darlik Memorial Award, 1964, University of Texas
 Fulbright Fellowship, 1967, Centre for West African Studies, The University of Birmingham, England
 Artist Residency, 1991, 1989, 1988, 1986, The Helene Wurlitzer Foundation of New Mexico
 Jurors Award, Second Place, 2000, First Logan Biennial National Outdoor Sculpture Exhibition, Utah State University at Logan
 Rita Bass Award, 2004, North American Sculpture Exhibition, Foothills Art Center

References

External links
  Brainstorm. "<mask> <mask> : The Heretics". heresiesfilmproject.org. Abatemarco, Michael. "Creating an opening: <mask> <mask> remembers the women's art movement".The Santa Fe New Mexican. Cowperthwaite, Wheeler. "<mask> <mask> is a Rio Arriba County staple". Rio Grande Sun. "Talking with <mask> <mask> (Guinea) | Peace Corps Worldwide". peacecorpsworldwide.org. "Openings: A Memoir by <mask> <mask> from the NYC Women’s Art Movement (Guinea)".peacecorpsworldwide.org. "<mask> <mask> Continues To Lead Feminist Art Movement". Moore Women Artists. "Book Review: Openings, A Memoir from The Women’s Art Movement, 1970-1992". womensartblog.wordpress.com. Villarreal, Ignacio. "Out of the Woods: Work by <mask> <mask> at the Harwood".artdaily.com. Santa Fe Art Institute. "SFAI 140 - November 2014 - <mask> <mask>". vimeo.com. "Nonfiction Book Review: Openings: A Memoir from the Women’s Art Movement, New York City 1970–1992 by <mask> <mask>". PublishersWeekly.com. Saunders, Heather."Artist in Transit: Openings: A Memoir from the Women’s Art Movement, New York City 1970-1992, by <mask> <mask>". Artist in Transit. "Literature: Openings by <mask> <mask>". The Original Quail Bell Magazine. Living people
American women artists
American feminist writers
20th-century American women writers
20th-century American writers
21st-century American women writers
1943 births
American activists
Feminist artists
People from Texarkana, Texas
People from Commerce, Texas
People from Abiquiú, New Mexico

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title: Peter Elbow

type: original

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<mask> (14 April 1935) is a Professor of English Emeritus at the University of Massachusetts Amherst, where he also directed the Writing Program from 1996 until 2000. He writes about theory, practice, and pedagogy, and has authored several books and papers. He is one of the pioneers of freewriting. Biography
In the introduction to the second edition of Writing Without Teachers, <mask> says that his interest in writing practices came from his own difficulty with writing. He attended Proctor Academy and Williams College from 1953 to 1957. While at Exeter College, Oxford University, on scholarship from Williams, he found himself unable to write the assigned essays. When he began his PhD in English at Harvard University, his writing difficulties persisted, causing him to leave in the first year of his studies.<mask> began teaching, first as an instructor at MIT from 1960–1963, and then as one of five founding members of Franconia College from 1963–1965. It was at Franconia where <mask> discovered he could write more easily when writing for colleagues or students rather than as an assigned piece. In 1965 he returned to graduate school, this time at Brandeis University. He had to get over beginning by trying to write "well" -- that is to write good sentences and work from an outline. He had to learn to write what he liked to call "garbage." He came to accept that he simply couldn't write right; he could only write wrong; and then try by revising to make it right. <mask> has said that the process of freewriting really came about during this time in his life.He would sit down with his typewriter and type out all his thoughts, making writing a sort of therapy. This helped him to write his graduate papers. When it came time to write a dissertation, he spent a year trying to write about metaphor -- not metaphor as linguistic decoration but metaphor as thinking. He realized that this would make the process interminable. He settled on Chaucer. He would eventually make his dissertation book-length and publish it in 1975 under the title Oppositions in Chaucer. After receiving his PhD, <mask> accepted a position at MIT in 1968, turning down an offer from Berkeley to remain in the Boston area for personal reasons.While sitting in his office one day in 1970, a representative from Oxford University Press came to show him some books that he might like to use in his classes. When the representative asked <mask> if he was writing anything, <mask> replied that he had thought about trying to write something to do with teacher-less writing groups--a process he had experimented with while teaching courses for Harvard's extension program. Soon after, he had an advance to begin a book called Writing Without Tears, which would later become Writing Without Teachers. In the nearly 40 years since then, <mask> has written more than 10 books and over 100 articles on writing--theory and practice--and the teaching of writing. His most recent book is an ambitious treatment of writing, speaking, and the theory of written and spoken language: Vernavcular Eloquence: What Can Speech Bring to Writing. Methods

Freewriting
Freewriting, a term commonly used by <mask>, coined by Ken Macrorie (who called it free writing), is a process of writing without stopping, without editing, without sharing, without worrying about grammar, without thinking, without rushing. <mask> suggests that writers write whatever they want and however they want for 10 to 15 minutes--daily.Normal freewriting can be adapted to focused freewriting and public freewriting. Focused freewriting involves trying to stay on a topic, which is particularly useful when a writer has a specific assignment to do. Public freewriting is for sharing, which makes it seem a little more risky. But it can be very useful in groups where good trust has built up. The goal is to create language that is more natural and lively, all the while making the writing process easier and more comfortable

Criterion- and reader-based feedback
Feedback techniques are also among Elbow's practices. These techniques, presented in Writing With Power, are divided into two types: criterion-based and reader-based feedback. Criterion-based feedback judges the writing against standard criteria, such as content, usage, organization, and general effectiveness.<mask> claims this is the kind of feedback that most people are used to giving and receiving. What <mask> says is quite useful about criterion-based feedback is that it allows the writer to reflect on her or his own writing as he goes along. It also allows her or him to recognize common troubles he has in writing so that he can avoid them in the future. In Writing With Power, <mask> gives a catalogue of criterion-based questions. These questions all stem from the following essential questions:

What is the quality of the content of the writing: the ideas, the perceptions, the point of view? How well is the writing organized? How effective is the language?Are there mistakes or inappropriate choices of usage?. While criterion-based feedback may seem obvious, it is the inclusion of reader-based feedback that makes this overall method fresh for teachers. <mask> claims that reader-based feedback lets the writer see what thoughts and feelings occur in a reader's mind as he or she is reading the text. <mask> calls this type of feedback "movies of the reader's mind." The list of detailed questions <mask> provides for reader-based feedback follow from the following essential questions:

What was happening to you, moment by moment, as you were reading the piece of writing? Summarize the writing: give your understanding of what it says or what happened in it. Make up some images for the writing and the transaction it creates with you.Works
While <mask> is the author of over 10 books, as well as numerous articles which largely deal with writing theory and practice, few of his works have been as critical to his career as Writing Without Teachers (Oxford UP 1973) and Writing With Power: Techniques for Mastering the Writing Process (Oxford UP 1981). Writing Without Teachers
Writing Without Teachers was <mask>'s first book about writing, and the one that has made his freewriting technique so popular as a pedagogical practice. In this book, <mask> uses two main metaphors. These are metaphors that reflect <mask>'s interest in letting one's ideas develop and change throughout the writing process. The first is to see writing as growing. It must move through stages. The first stage is to generate words before a writer can continue to "grow" a piece of writing and move through the subsequent stages.In this section <mask> stresses that it is crucial to write as much as possible because the more a writer writes, not only does he have more to work with, but he also has more to throw away, allowing him to keep moving through the growing stages of writing. The second metaphor is to see writing as cooking, letting ideas simmer and bubble until they are ready to be used. In this metaphor, <mask> emphasizes interaction, particularly between writing and reiteration. According to <mask>, growing is transformation at the macro level, cooking is transformation at the micro level. Essentially, the writing lets his ideas simmer until he can use them to interact with his writing. <mask> suggests that writers spend sufficient time writing as well as stopping completely and reflecting on what the larger picture is meant to present. Also notable in Writing Without Teachers is <mask>'s proposition of the teacher-less writing class, which is the root of today's writing groups.In these teacher-less writing classes, which meet at least once a week, all group members actively participate by contributing a piece of writing and reading each other's work. They discuss it with the goal of getting the writer to see not necessarily what is wrong or right with the piece, but instead what effect the writing has on the readers in the group, as opposed to one teacher's opinion. This is also very similar to Writing Workshops, which are also currently popular pedagogical practices. "The Believing Game"
"The Believing Game" is an appendix essay, where <mask> acknowledges the game of believing as a method that he applies to all his work. The essay defines the believing game in comparison to the doubting game – which is also more familiarly known as critical thinking. <mask> feels doubting and believing are two methods needed in order to examine and accept an idea as true. The appendix to Writing Without Teachers has a section called "The Doubting and Believing Game: An Analysis of the Intellectual Enterprise".<mask> started out simply trying to justify his "no arguing" rule for teacher-less classes, but it developed into what really is the central theoretical foundation underlying all of his work. <mask> argues that Western conceptions of good thinking are based on the doubting game or critical thinking: A process that seeks to use a methodology of skeptical doubting to find flaws in thinking that might look good. <mask> argues that really good thinking also calls on a complementary methodology: conditionally trying to believe all ideas in order to find virtues in thinking that looks wrong. (He is NOT arguing against the doubting game or critical thinking; just asking for an additional methodology.) <mask> has developed the believing game in a series of essays written throughout his career:  "Methodological Doubting and Believing: Contraries in Enquiry", in Embracing Contraries, (Oxford University Press, 1986: 253–300);  "Bringing the Rhetoric of Assent and The Believing Game Together—and into the Classroom", College English 67.4 (March 2005): 388–99;  "The Believing Game and How to Make Conflicting Opinions More Fruitful", in Nurturing the Peacemakers in Our Students: A Guide to Teaching Peace, Empathy, and Understanding. Chris Weber, editor. Heinemann, 2006, 16–25;  "The Believing Game or Methodological Believing", Journal for The Assembly for Expanded Perspectives on Learning 14 Winter 2009: 1–11.His essay "The Uses of Binary Thinking" is also crucial in this theoretical work. Writing With Power
Writing With Power was published in 1981 during an era where writing teachers were starting to try to get a sense of what it meant to be a writer teaching writing. During this time, current-traditionalism was quite popular in handbooks for writers (Strunk & White's Elements of Style, for example). This method presented writers with a very cut and dried sense of how to write. With the publication of Writing With Power, <mask> broke the current-traditionalist mold. This book proffers various techniques for writers to try, finding one that best suits them. This book takes writers through the whole writing process from generating ideas (where freewriting once more makes an appearance) to revising and editing both alone and with others.<mask> goes on to address issues when writing to different kinds of audiences and also how to seek adequate feedback. It seems to be <mask>'s goal to show writers that there is more than just one "correct" way to involve oneself in the writing process. If writers learn to interact with their writing in these ways, they have learned to write with power. The Elbow and Bartholomae debate
In the 1990s, <mask> engaged in a public debate with David Bartholomae regarding the role of the writer, as well as that of an academic in undergraduate writing. Bartholomae posits that <mask> "comes down on the side of credulity as the governing idea in the undergraduate writing course," whereas he, himself, expresses more skepticism. The debate continued with these differing views: <mask> believes that writing belongs to the writer from the beginning; Bartholomae counters that he is more dismissive, not necessarily granting the writer her own presence. He believes that <mask> is too accepting while he, himself, thinks that the writer should prove himself first.In his response, <mask> agrees with Bartholomae that training for academic writing should be a crucial part of an undergraduate's career; however, <mask> says that this training can't be completed in just one semester. <mask> says that perhaps one of their greatest differences is that Bartholomae believes the classroom to be a "'real space, not an idealized utopian space'" (88). This implies to <mask> that Bartholomae believes that "a classroom cannot be utopian, and that utopian spaces are not real spaces" (88). Another major aspect of the debate comes from the idea of writing without teachers, a concept that Bartholomae states doesn't exist. <mask> cites diaries, letters, stories, poems, and so forth as ways that students write for themselves with no teachers involved. <mask> acknowledges that unequal power, however, is ubiquitous, and not just in writing, but believes that there is still plenty of writing being done for the students' own enjoyment. The debate has, over the years, helped to shape the understanding and teaching of composition theory, especially in regard to how much power is granted the writer.It has also caused writers to consider audience in ways they may not have before. In the end, the two have essentially agreed to disagree, with Bartholomae saying that the writer should have the role of authorship to work towards, and <mask> maintaining that writers be accepted as writers from the beginning. References

Selected bibliography
 Bartholomae, David. "Writing with Teachers: A Conversation with <mask>." College Composition and Communication 46:1 (1995): 62-71. Bartholomae, David and <mask>. "Responses to Bartholomae and <mask>."College Composition and Communication 46:1 (1995): 84-92. <mask>, <mask>. "Being a Writer vs. Being an Academic: A Conflict in Goals." College Composition and Communication 46:1 (1995): 72-83. <mask>, <mask>. Selected Works of <mask>.Mar. 31, 2009. <http://works.bepress.com/peter_elbow/>. <mask>, <mask>. Writing Without Teachers. 2nd ed. New York: Oxford UP, 1973,1998.<mask>, <mask>. Writing With Power: Techniques for Mastering the Writing Process. 2nd ed. New York: Oxford UP, 1981, 1998. Further reading
 <mask>, <mask> and Pat Belanoff. A Community of Writers: A Workshop Course in Writing. McGraw-Hill, 1989.<mask>, <mask> and Pat Belanoff. Sharing and Responding. 3rd ed. McGraw Hill, 1999. <mask>, <mask>. Everyone Can Write. New York: Oxford UP, 2000.Schneider, Pat. Writing Alone and With Others. New York: Oxford UP, 2003. External links
<mask> Homepage: The Democratization of Writing
<mask>: A partial bibliography of his work
Selected Works of <mask>bow
Peter Elbow Workshop Materials courtesy Marist College
UMass Amherst Writing Program
Elbow, <mask>: The Doubting Game and the Believing Game

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title: Iwan Dacko

texts:
<mask> (Ukrainian: Івáн Дацькó; born 9 September 1947 in Velbert, North Rhine-Westphalia, Germany) is a priest of the Ukrainian Greek Catholic Church, was personal secretary of Patriarch Josyf Cardinal Slipyj, a close collaborator and Chancellor of Myroslav Ivan Cardinal Lubachivsky, President of the Institute of Ecumenical Studies at the Ukrainian Catholic University in Lviv, Ukraine, a long-time member of the Joint International Commission and its Coordinating Committee for the theological dialogue between the Catholic and Orthodox Churches. Biography
Born in the town of Velbert, the land of North Rhine-Westphalia in Germany  9 September 1947, in the family of <mask> and Kateryna née Lesczyszak, Ukrainian laborers deported to Germany during World War Two. The parents had four children, of whom the eldest son, Wolodymyr, also became a priest. In August 1948, the family moved to Great Britain, and initially lived in camps for displaced persons in the county of Stafford, and then moved to the town of Rochdale, in the Greater Manchester Area. Education
Upon completion of elementary education, in 1957–1963 <mask> studied at the Pontifical Ukrainian Minor Seminary in Castelgandolfo and Rome. In 1963–1967, he was a student at the Pontifical Ukrainian College of St. Josaphat in Rome and the  Pontifical University Urbaniana, where he obtained a bachelor's degree in Philosophy and Bachelor of Theology. From 1967–1970, he studied and obtained excellent formation at the International Theological College Canisianum and at the Theological Faculty of the University of Innsbruck.Austria, where he defended his paper Metropolitan Petro Mohyla (1596–1647) in the light of history and dogma and obtained received the master's degree in theology (15 July 1970). After becoming a priest in 1971, he specialized at the Faculty of Theology of the University of Innsbruck for another three years in the field of dogmatic theology, ecumenism and church history. On 8 June 1974, he became the doctor of theology after defending his thesis Metropolitan Andrey Sheptytsky - the Restorer of Traditional Eastern Ecclesiology and Ecumenism". Activity in the Ukrainian Diaspora
On 11 April 1971, In Castelgandolfo (Rome) the head of the Ukrainian Greek Catholic Church, Cardinal Josyf Slipyj ordained <mask> <mask> to the priesthood. In 1970–1976 he served as prefect of the College of Saint Sophia in Rome, and in 1976-1989 he was a lecturer of the Ukrainian Catholic University (then in Rome). From 1976 to 1984 he worked as secretary of the Patriarch Josyf Cardinal Slipyj. In the same period he held a number of other positions: from 14 October 1978, he became a Canon of the Lviv Archeparchial Chapter (Krylos), and on 12 July 1982 - Chancellor of the Lviv Archeparchy of the Ukrainian Greek Catholic Church.After the death of Patriarch Josyf Cardinal Slipyj on 7 September 1984, <mask> Dacko in 1984–1985 was secretary of Cardinal Myroslav Ivan Lubachivsky. On 16 April 1985, he was appointed Chancellor of the Lviv Archeparchy, and on  January 4, 1989, <mask> received the title of Monsignor. Father <mask> Dacko worked in the field of journalism for many years. In 1983–1990 he was chief editor of the monthly "News from Rome" (Visti z Rymu); in 1987–1990 - editor in chief of the Ukrainian Press Service in Ukrainian, English, French, and German. His task at that time was to bring true information to the Free World about the persecution of the religion and the Church of the USSR and its Satellite States from the socialist camp. He raised these issues in his public speeches and sermons"Nowadays in the West, one can hear about the remnants of British, American or other imperialism or colonialism, as if not noticing that the whole USSR is the last macabre empire of the twentieth century, where human rights are trampled systematically on a daily basis. We must talk about this.Martyrs and Confessors of our time are awaiting this from us! They expect from us concrete constant Christian help and solidarity! Our brothers and sisters in Ukraine are silent Church and cannot speak. And here we nobody forbids us to speak. We dare not be silent because out of opportunism or laziness. We not only can, but we must talk about such injustices. This is our sacred duty, otherwise, we are not worthy to be called Christians."<mask> <mask> greeted with enthusiasm and great energy the disintegration of the USSR, the fall of Communism and the rebirth of the Ukrainian Greek-Catholic Church in the homeland after 43 years of catacomb existence. He persistently raised the question of whether the Ukrainian Diaspora is ready to give its best people to its weakened Church and people in the Motherland. He called for sacrifice and hard work for the better future of the Church in Ukraine and its people. Since <mask> <mask> was the closest co-worker of the Head of the Ukrainian Greek Catholic Church, Myroslav Ivan Lubachivsky, and had unique contacts with various representatives of the human rights movement in the USSR, in 1986–1995 the Vatican various members of the Roman Curia and diplomats to the Holy See considered him one of the best experts on the religious question of Ukraine and throughout the USSR. In this period, he was strongly supported by the founder of the Aid to the Church in Need, Fr. Werenfried van Straaten, O. Praem., who made him his main coordinator of all projects of the Ukrainian Greek-Catholic Church in Ukraine and the diaspora.Return to Ukraine
On 30 March 1991, <mask> returned permanently to Lviv with Cardinal Myroslav Ivan Lubachivsky and from June 1991 to July 1994 served as  Protosyncellos (Vicar General) of the Lviv Archeparchy of the Ukrainian Greek-Catholic Church. From July 1993 to February 1997 he was Chancellor of the Patriarchal Curia of the Major Archbishop (Patriarch) of the Ukrainian Greek Catholic Church. On December 19, 1995, <mask> <mask> received the title of Mitred Protopresbyter. In February 1997, he was appointed Responsible for the External Affairs of the Ukrainian Greek-Catholic Church and co-chairman of the Commission on Theological Education and the Priestly Formation. From April 2000 until 2005, Dacko was president of the International Bureau for Development of the Ukrainian Greek Catholic Church in Ukraine. Since February 2003, he is a professor of ecumenical theology at the Ukrainian Free University in Munich. Since April 2003, he is also the professor of ecumenical theology and president of the UCU Ecumenical Studies Institute in Lviv and a member of the Ukrainian Catholic University's rectorate.In July 2003 <mask> <mask> was elected Dean of the Faculty of Philosophy of the Ukrainian Free University in Munich. On 14 December 2005, Dacko was appointed a member of the Joint International Commission for Theological Dialogue between the Catholic and Orthodox Churches. From March 2008 until November 2013, he served as President of the “Saint Sophia” Religious Association for Ukrainian Catholics in Italy. As of 25 October 2008, <mask> is the director of St. Clement's Institute of the Ukrainian Greek-Catholic Church and in 2008–2013 he was also the director and in charge of the Historical Archives of the Ukrainian Greek-Catholic Church in Rome. On 27 October 2016, <mask> was appointed a member of the Coordinating Committee of the Joint International Commission for the Theological Dialogue between the Catholic and Orthodox Churches. Writings
During the last years (1972–1974) of his studies at the University of Innsbruck, Fr. <mask> <mask> intended to devote himself entirely to academic work.According to the rector of UCU,  Rev. Bohdan Prach, in 1973 <mask> was offered the post of the assistant of the Institute of dogmatic theology at the University of Innsbruck. However, complying to the will of Patriarch Josyf Slipyj, he came back to Rome to assist the head of the UGCC. He became lecturer of Dogmatic Theology, History of Ecumenical Councils and Ecumenical Theology at the UCU in Rome (1974) and gradually took over the administrative work in the chancery of Cardinal Josyf Slipystanding priests and bishops of the Ukrainian Gree-Catholic Church, such as Ivan Hrynioch, Ivan Choma, Ivan Muzyczka, Lubomyr Husar and others. Nevertheless, he also found time for writing and publishing important articles and books, such as:

 Pope John Paul II and the Ukrainian Catholic Church // Bohoslovia 52 (1985) 5;
 Patriarch Josyf's Work in Translating Liturgical Books (2005);
 Cardinal Myroslav Ivan Lubachivsky: One Year After His Death;
 Closest Coworkers of Patriarch Josyf: Rev. Ivan Choma and Rev. Ivan Muzyczka;
 Ivan Hrynioch – Outstanding Priest and Theologian of the 20th Century // Bohoslovia 63: 3-4 (2003) 115–127;
 Laudatio in Honor of Dr. Anna-Halja Horbatsch (2004);
 Obituary Homily at the Funeral of Rev.Ivan Muzyczka (2016);
 The Ukrainian Catholic Church in Ukraine – 1987 (1987);
 988 – 1988: Ukrainian Greek Catholics Commemorating the Millennium of their Baptism (1989);
 The Ukrainian Catholic Church on the Eve of its Legalization (1989);
 The Ukrainian Catholic Church Today: an Encounter on Site (with Marko Tomashek), 1990;
 Relations between the Ukrainian Greek-Catholic Church with other Denominations in Ukraine, 1992;
 New Abysses in Europe? Reconciliation – Task of the Churches in Ukraine, Belarus, Poland and Germany, 1997;
 The Role of the Ukrainian Diaspora in the Rebirth of the Ukrainian Greek-Catholic Church (1946-1989), 2009;
 “Traditional” Churches in Independent Ukraine: In Search of Common Identity (with Oleh Turiy), 2012
 The Contribution of the Ukrainian Greek-Catholic Church towards Ecumenism, 1999;
 Reflections Regarding the Role of the Eastern Catholic Churches and Their Future, 2001;
 The Kyivan Church and the Union of Brest, 2002;
 Heterodoxy: How is the Dispute on Religious Truth Being Conducted? 2003;
 The Place of Eastern Churches in Catholic Communion and their Role in the Ecumenical Work of the Church, 2006;
 The Ministry of the Bishop of Rome in the 9th Century, 2008;
 Memorandum on the Conversation with Archbishop Hilarion Alfeyev, (2009);
 Greek-Catholic Churches and the Contemporary Ecumenical Dialogue with the Orthodox Church, 2009;
 Experiences from the International Orthodox-Catholic Dialogue Commission, 2012;
 Ecumenism within Religious Persecutions, 2012. The Institute of Ecumenical Studies of UCU published a large number of articles of Fr. <mask> <mask> in a separate book with the title: У пошуках єдности і правди – In Search of Unity and Truth. Lviv, 2017 (448 pages). References

1947 births
Ukrainian Eastern Catholics
Living people
People from Velbert

masks:
Iwan Dacko
Wasyl Dacko
Iwan Dacko
Iwan
Dacko
Iwan
Ivan Dacko
Iwan
Iwan
Dacko
Iwan
Dacko
Dacko
Iwan
Dacko
Iwan
Dacko
Dacko
Dacko
Iwan
Dacko
Dacko
Iwan
Dacko


title: Youssef Bey Karam

texts:
<mask> (also <mask>) (May 15, 1823 – April 7, 1889) (), was a Lebanese Maronite notable for fighting in the 1860 civil war and led a rebellion in 1866–1867 against the Ottoman Empire rule in Mount Lebanon. His proclamations have been interpreted as an early expression of Lebanese nationalism. Birth, childhood and family
<mask> was born to Sheikh <mask>, and Mariam (daughter of Sheikh Antonios Abi Khattar Al Ayntourini) in Ehden, Lebanon. Raised in a family of six children: Catherine, Teresa, Rose, Eva, Mikhail and <mask>. His mother was strong, virtuous, possessed a strong personality; and had a strong influence on her son. <mask> was a smart boy, with green eyes and fair complexion. He loved his hometown Ehden, with its majestic mountains and thick forests.He was French educated and at the age of 7, he was well versed in Arabic, French, Italian and Syriac languages. He trained in unarmed combat, horse riding, shooting and fencing. His education in French helped him establish strong links with the west, especially France. <mask> has a special appreciation of Arabic, which was exemplified in many poetic writings. His father has also decided to teach him the equestrian art. Sheikh Imad El Hachem from Aqoura, Byblos has taught him swordsmanship and shooting. According to his teachers, Karam was excellent at horsemanship, equestrian art and fighting with nude sticks of palm.He fought <mask> Agha Chantiri at Prince Bachir Square in Bekfaya, the prince Ali Mansour Abillamah and <mask> Abi Saab at the Prince Square in Broumana, and snatched victory from the three. Biography

In 1840, <mask> aged 17 years, fought alongside his father and elder brother against the Egyptian armies then occupying Lebanon in the battles of Houna and Bazoun. <mask> showed remarkable skill as a warrior and leader, and his reputation and influence in the area steadily grew; so much so that in 1846, when his father died, <mask> succeeded him as ruler instead of his elder brother. <mask> ruled with fairness, and his credibility and influence as a soldier and politician continued to grow. <mask> <mask> became the acknowledged leader of the district, and in time one of the most powerful personalities in Lebanese Politics. And although politically and militarily very powerful, he remained ever loyal to his faith and to the Church. <mask>'s loyalty to the Church and to Bkerke, the seat of the Maronite Patriarch, never wavered, and this loyalty was to have far reaching implications in future years.In 1858, when Tanyus Shahin and the farmers of the predominantly Maronite Keserwan District staged an uprising against their Maronite Sheikhs and landlords, the Khazen family, the Maronite Patriarch, conscious of Karam's influence and his loyalty to the Church, appealed to Karam to save the Sheikhs and restore peace to the area. Together, they negotiated a settlement to the conflict, but the class division in feudal Kesrawan remained. Future conflicts however, were not to be so peacefully settled. During that period, when the Ottomans ruled Lebanon, there existed a certain amount of distrust between the Druze and Maronite Communities. The Druze felt threatened by the growing presence of the Christians Maronites in their traditional area of Mount Lebanon. The suspicion and distrust between the two Communities was allowed to be fueled by petty and personal conflicts until September 1859 when finally open conflict broke out between the Druze and Maronite Communities at Beit Mery, a town of different religious denominations. Karam reacted by calling a meeting of Community leaders at the village of Baan, and concluded an agreement with the Muslim ruler of Tripoli, North Lebanon, Abed El Hamid <mask>, to keep North Lebanon free from any religious conflict.In May 1860 however, conflict again broke out between the two Communities, and a number of Maronite Monks and villagers were massacred. This time <mask> reacted by raising an army of 500 men to protect the Maronites in the Mount Lebanon area. On 2 June 1860, <mask> and his men marched to Bkerke and offered to the Maronite Patriarch their protection of Maronites. In <mask>'s mind however, there was no doubt that the conflict between the Druze and the Maronites was being nurtured by Khorshid Pasha, the Ottoman Governor. Khourshid's culpability in the massacres is debated, as he had previously urged the British to stop arming Druze groups and the French to stop arming the Maronites. Khorshid Pasha saw <mask>'s calls for Lebanese self-rule as a threat to Turkish interests in Lebanon and the area, and convinced the European Ambassadors that Turkish presence in Lebanon was essential to maintain peace between warring factions in Lebanon. The French Ambassador to Lebanon convinced Karam to halt his march at Bikfaya, near Keserwan, in return for guarantees of safety for all Christians offered by Khorshid.Several days later however, Christian villages were attacked by Druzes from Mount Lebanon and the Hawran. <mask> and his men retaliated against Druze and Turkish forces, and succeeded in saving the majority of Christian towns and villages in the Keserwan area. Christian presence in the area was therefore established. Eventually, French ships reached the port of Beirut with supplies and the Turkish sea blockade ended. Peace was then restored whilst a new constitution was drafted to provide how Lebanon was to be governed. In the interim, two provisional Governors were appointed to rule Lebanon, one to rule Christians and the other to rule the Druze and Muslims. <mask> was appointed the Christian Kaymakamate  (Kaymakam) on 17 November 1860 until the 1861 agreement of the Reglement Organique, which would establish a single governor for the whole mountain.Again, <mask> ruled with distinction, restoring law and order, re-organising public institutions and conducting an honest government. French occupied Beirut and parts of Mount Lebanon until mid-1861. As Kaymakam, <mask> tendered his resignation a number of times in protest against what the new institutional system devised the Organic Law in 1861 and 1864. The new statute created a substantial autonomy for Mount Lebanon within the Ottoman Empire. Executive powers were vested in an Ottoman governor of Catholic religion, nominated by the Sublime Porte and the representatives of European powers. First exile

Opposing the new internationally sanctioned status quo, and angered at the idea that the new governor would not be a native, Karam refused to stick to the Organic Law, insisting for complete home rule for Mount Lebanon. The first governor Daud Pasha then issued an order exiling <mask> to Turkey, where he remained until 1864.After he was allowed to return to his hometown, <mask> championed the end of the mutasarrifiya (autonomous province) system, the abolition of levies, and the redeployment of Ottoman troops out of Mount Lebanon. Many battles followed, one of the earliest being at Maameltein, Jounieh on 6 January 1866. There <mask> was attending Mass at St. Doumit Church when regular Ottoman troops attacked his men stationed outside the Church. A fierce battle followed, and <mask>, aided by neighbouring villagers, defeated the Ottoman troops. <mask> immediately wrote to Istanbul and European Governments detailing the causes of conflict, and claiming his people's right to defend themselves. Daud Pasha however, was determined to rid himself of <mask> and deal a fatal blow to the Lebanese nationalist movement. Subsequently, <mask> settled down in the village of Bnachii with his 800 armed fighters.On January 21, the commander Amine Pasha entered Zgharta leading 3800 soldiers affiliated to the regime, 300 from Dragoon and 200 from Cossacks. The Medical Commander joined Amine Pasha along with 800 Lebanese soldiers and armies from Tripoli, which follow the regime. Amine Pasha, his officers and his chiefs of staff took off the doors of <mask> <mask>'s house and resided there. On January 25, Amine Pasha left Zgharta with his soldiers, after having burnt many of its houses. The following day, Amine Pasha called <mask> to meet him in Saint Jacob in Karmsaddeh. <mask> accepted and was there in the morning of the 27th of the month. He showed his submission and put his sword between the hands of Amine Pasha as a sign of respect for the Turkish authority.The commander understood then, that <mask> was not revolting against the government. Nevertheless, this meeting did not come to a happy end, since Daoud Pasha refused all the settlements between him and Karam. Thus, Amine Pasha ordered his soldiers to eliminate Karam. Regime's armies reached Bnachii. They were around ten thousand soldiers. The first moment he saw from afar the dust caused by the horses and the sparkle of the swords, <mask> ordered his men to go hide and hole up behind rocks, so they can counterattack the enemy. <mask> and his friends were valiant, skilled and courageous.They fought desperately in a battle which lasted 12 hours; the fact that surprised the enemy. Karam defeated the army and snatched the victory. Enemies lost about a thousand soldiers, between dead and injured. As for <mask> and his friends, they took 600 rifles and 30 barrels of gunpowder. Unfortunately, seven of <mask>'s friends were killed during the combat. The Battle of Bnachii, between <mask> and Daoud Pasha's soldiers, was different from the others. A battle where courage beat the huge number of soldiers: the skilful and well trained Aramram army against a horde of Ehdeniens.This horde did not have ammunitions or new weapons, but the only thing that was encouraging it was its deep love for Lebanon and its intent to defend its rights. In Beirut however, Daud Pasha rallied support from the European ambassadors, who actively opposed Karam and refused to recognize any government he may form. Second exile
At a meeting at Bkerke, the French Ambassador ordered <mask> in the name of Napoleon III, to leave Lebanon in return for French guarantees of safety for his men and entourage. <mask> was warned that to refuse would mean to place his men and the welfare of his people in jeopardy. On Thursday 31 January 1867, <mask> left Lebanon on board a French ship bound for Algeria. <mask> traveled from Algeria to European capitals explaining the plight of the Lebanese people and stressing their desire to form a sovereign and independent state. Whilst there, he wrote many letters and memoirs in support of self-rule for Lebanon.Most of his writings have survived to this day. <mask> also traveled to European capitals seeking economic help for Lebanon. He offered to mortgage all his personal Lebanese holdings, amounting to five million francs, to French businessmen in return for the establishment of coal mines and a railroad network in Lebanon. Death

April 4, 1889, <mask> suffered from pneumonia worse than the first one. He called his private doctor Paul Shanize who examined him and declared that our hero's life is in danger. After two days he had a heart attack. It was his last hours.Doctors asked his friends to stay next to him. Karam knew that he was going to die, but what hurt him the most was that he was going to die away from his homeland. He thought of his funeral, thus he revealed to his confessor, the Father Karoubim, that he wants a decent funeral and burial. He gave him an amount of money for this purpose, he gave as well the Baroness Vetry another amount in order to buy candles and flowers and put them on his coffin and tomb. On the morning of the 7 April 1889, <mask> <mask> died near Naples, Italy. His last words were "God ... Lebanon". The Italian hosts place a placard on his grave that reads: "this is the resting place of the <mask> Boutros <mask>, the Lebanese Prince".Even though, he was never officially a prince, this title was bestowed upon him affectionately due to his stature, behavior, and moral values. The news of his death overwhelmed Lebanon in general and Zgharta and the north in particular with grief. On 14 September 1889, his body was brought back to his homeland, the land of his youth, resistance, victories and pride. He was finally in Ehden where thousands gathered to honour the hero of Lebanon. His body was later placed in a specially built coffin with a glass top inside Saint Georges Cathedral. Hundreds of thousands of Lebanese have since visited Karam's resting place. In addition to paying their respect, they pay homage to the spirit of <mask> <mask> who sacrificed himself ‘so that Lebanon shall live’.Battles

 Maameltein and Aafas - Sunday 6 January 1866
 Great Battle of Bnachii - Sunday 28 January 1866
 Sebhel - Thursday 1 March 1866
 Ehmej and Anaya - Wednesday 14 March 1866
 Wadi En Nousour  - Thursday 22 March 1866
 Aitou and Kfarfou - Friday 15 June 1866
 Hadath - Wednesday 4 July 1866
 Ayn El Jawz and Bchenata - Saturday 7 July 1866
 Ayn Karna and Wadi Miziara - Monday 20 August 1866
 Ehden - Saturday 15 December 1866
 Ejbeh and Aarjes - Thursday 10 January 1867
 Wadi El Salib - Thursday 17 January 1867

Beliefs

Many of his beliefs were extracted from among other sources:

An open letter in which <mask> calls for the establishment of a 'League of Nations' or 'Human Rights Association' as he called it. <mask> explained that this would be an International Organisation, which would work for world peace and guarantee the rights of small nations. A letter to Amir Abdul Kader Al Jazaa'iri encouraging him to liberate all Arabs from the Ottoman Empire and then establishing a form of 'Arab League', where each member State would retain sovereignty and independence. Body

In the beginning of May 1889, all the <mask> family sent a delegation to Italy in order to return their dean's body to Lebanon. After severe negotiations, in which the French ambassador in Constantinople interfered, the delegation was able to have a permit from the Sublime Porte to return <mask>'s body to Lebanon. The coffin was removed from the grave and it was in a good condition. When the coffin was opened, <mask>'s body appeared in a very good condition as well.His face was intact; his clothes, ornamented with gold, were not damaged or impaired in any way. His corpse was not mummified, because when his nephews learned about his death, they sent a telegraph with an amount of money to Shedid <mask>, the Turkish consul in Napoli, asking him to take care of mummifying their uncle's body. Many weeks passed between the death and the mummification negotiations. Therefore, Shedid Pasha replied in a telegraph saying that the doctors examined the body and decided that the mummification is absolutely impossible. In 2012, after 123 years since the death of <mask> <mask>f <mask>m Foundation called the Medical Italian Delegation, which has examined the body in 2002 after an individual initiative taken by M. Naji Kallasy and Sayed Farshakh. The Italian Delegation proposed a project for the body's restoration.The foundation along with Ehden-Zgharta Parish agreed that the Parish will take charge of supervising and implementing the plan of the body's restoration. Not to mention that coordinating with the foundation is necessary with every step the Parish is going to take. The Zghartawi emigrant M. Edmond Abshi presented a donation of 200 thousand Euros for the complete restoration of the body. The restoration workshop began in March 2013 and ended in June 2013. The body was returned to Saint George Cathedral in Ehden inside a new - air and water isolator - vitreous coffin, allowing everyone to see it. Legacy

On 11 September 1932, a bronze statue of <mask> was erected in his memory outside the Cathedral of Saint Georges, Ehden. This statue was made by his namesake <mask> Howayek.In 2008, <mask>, daughter of minister and MP Salim <mask> founded the Youssef Bey Karam Foundation. In November 2014, The Ministry of Communication in conjunction with Liban Post has finally issued formal stamps in recognition of the Hero of Lebanon <mask> <mask>m. Sami Saab designed the stamp in coordination with the Youssef Bey Karam Foundation. In 2017, a wax figure of <mask> <mask> has been installed in the Marie Baz wax museum in Deir al-Qamar. Archive Collection and Partnership with USEK
On 3 June 2013, Youssef Bey Karam Foundation signed a cooperation agreement with University of Saint Esprit – Kaslik about collecting and conserving the Archive of Youssef Bey Karam. According to the agreement, the Phoenix Center for Lebanese Studies coordinates with the Youssef Bey Karam Foundation for archive management and documents archiving and also prepares media campaign to announce the archive. See also
 Ehden
 Zgharta
 Youssef Salim Karam
 Salim <mask>m

References

External links

Youssef Bey Karam Foundation Official Website
Youssef Bey Karam Archive
Youssef <mask>m on Ehden Family Tree Website

Arabs of the Ottoman Empire
Arab Christians
Lebanese Maronites
Lebanese nationalists
Ottoman period in Lebanon
1823 births
1889 deaths
Youssef <mask>
19th-century people of the Ottoman Empire
Rebels of the Ottoman Empire
People from Zgharta

masks:
Youssef Bey Karam
Joseph Bey Karam
Youssef Karam
Boutros Karam
Youssef
Youssef
Youssef
Youssef
Hanna Bey
Youssef
Youssef
Youssef
Youssef
Youssef
Karam
Karam
Karami
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Youssef
Bey Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Karam
Youssef
Bey Karam
Youssef
Karam
Youssef
Bey Karam
Karam
Karam
Beym
Karam
Karam
Bey Hobeish
Youssef
Bey Karamsse
Bey Kara
Karam
Youssef
Rita Karam
Bey Karam
Youssef
Bey Kara
Youssef
Bey Karam
Bey Kara
Bey Kara
Bey


title: Aldous Huxley

texts:
<mask> (26 July 1894 – 22 November 1963) was an English writer and philosopher. He wrote nearly 50 books—both novels and non-fiction works—as well as wide-ranging essays, narratives, and poems. Born into the prominent <mask> family, he graduated from Balliol College, Oxford, with an undergraduate degree in English literature. Early in his career, he published short stories and poetry and edited the literary magazine Oxford Poetry, before going on to publish travel writing, satire, and screenplays. He spent the latter part of his life in the United States, living in Los Angeles from 1937 until his death. By the end of his life, <mask> was widely acknowledged as one of the foremost intellectuals of his time. He was nominated for the Nobel Prize in Literature nine times and was elected Companion of Literature by the Royal Society of Literature in 1962.<mask> was a pacifist. He grew interested in philosophical mysticism and universalism, addressing these subjects with works such as The Perennial Philosophy (1945)—which illustrates commonalities between Western and Eastern mysticism—and The Doors of Perception (1954)—which interprets his own psychedelic experience with mescaline. In his most famous novel Brave New World (1932) and his final novel Island (1962), he presented his vision of dystopia and utopia, respectively. Early life

<mask> was born in Godalming, Surrey, England, in 1894. He was the third son of the writer and schoolmaster <mask>, who edited The Cornhill Magazine, and his first wife, Julia Arnold, who founded Prior's Field School. Julia was the niece of poet and critic Matthew Arnold and the sister of Mrs. Humphry Ward. Julia named him Aldous after a character in one of her sister's novels.<mask> was the grandson of Thomas Henry <mask>, the zoologist, agnostic, and controversialist ("Darwin's Bulldog"). His brother <mask> and half-brother <mask> also became outstanding biologists. <mask> had another brother, Noel Trevenen <mask> (1889–1914), who took his own life after a period of clinical depression. As a child, <mask>'s nickname was "Ogie", short for "Ogre". He was described by his brother, Julian, as someone who frequently "[contemplated] the strangeness of things". According to his cousin and contemporary, Gervas <mask>, he had an early interest in drawing. <mask>'s education began in his father's well-equipped botanical laboratory, after which he enrolled at Hillside School near Godalming.He was taught there by his own mother for several years until she became terminally ill. After Hillside he went on to Eton College. His mother died in 1908, when he was 14 (his father later remarried). He contracted the eye disease Keratitis punctata in 1911; this "left [him] practically blind for two to three years". This "ended his early dreams of becoming a doctor". In October 1913, <mask> entered Balliol College, Oxford, where he studied English literature. He volunteered for the British Army in January 1916, for the Great War; however, he was rejected on health grounds, being half-blind in one eye. His eyesight later partly recovered.He edited Oxford Poetry in 1916, and in June of that year graduated BA with first class honours. His brother Julian wrote:

Following his years at Balliol, <mask>, being financially indebted to his father, decided to find employment. He taught French for a year at Eton College, where Eric Blair (who was to take the pen name George Orwell) and Steven Runciman were among his pupils. He was mainly remembered as being an incompetent schoolmaster unable to keep order in class. Nevertheless, Blair and others spoke highly of his excellent command of language. <mask> also worked for a time during the 1920s at Brunner and Mond, an advanced chemical plant in Billingham in County Durham, northeast England. According to the introduction to the latest edition of his science fiction novel Brave New World (1932), the experience he had there of "an ordered universe in a world of planless incoherence" was an important source for the novel.Career

<mask> completed his first (unpublished) novel at the age of 17 and began writing seriously in his early twenties, establishing himself as a successful writer and social satirist. His first published novels were social satires, Crome Yellow (1921), Antic Hay (1923), Those Barren Leaves (1925), and Point Counter Point (1928). Brave New World (1932) was his fifth novel and first dystopian work. In the 1920s, he was also a contributor to Vanity Fair and British Vogue magazines. Contact with the Bloomsbury Set

During the First World War, <mask> spent much of his time at Garsington Manor near Oxford, home of Lady Ottoline Morrell, working as a farm labourer. While at the Manor, he met several Bloomsbury Group figures, including Bertrand Russell, Alfred North Whitehead, and Clive Bell. Later, in Crome Yellow (1921), he caricatured the Garsington lifestyle.Jobs were very scarce, but in 1919, John Middleton Murry was reorganising the Athenaeum and invited <mask> to join the staff. He accepted immediately, and quickly married the Belgian refugee Maria Nys (1899-1955), also at Garsington. They lived with their young son in Italy part of the time during the 1920s, where <mask> would visit his friend D. H. Lawrence. Following Lawrence's death in 1930, <mask> edited Lawrence's letters (1932). Very early in 1929, in London, <mask> met Gerald Heard, a brilliant writer and broadcaster, philosopher and interpreter of contemporary science. Works of this period included important novels on the dehumanising aspects of scientific progress, most famously Brave New World, and on pacifist themes (for example, Eyeless in Gaza). In Brave New World, set in a dystopian London, <mask> portrays a society operating on the principles of mass production and Pavlovian conditioning.<mask> was strongly influenced by F. Matthias Alexander, and included him as a character in Eyeless in Gaza (1936). Beginning in this period, <mask> began to write and edit non-fiction works on pacifist issues, including Ends and Means (1937), An Encyclopedia of Pacifism, and Pacifism and Philosophy, and was an active member of the Peace Pledge Union. Life in the United States
In 1937, <mask> moved to Hollywood with his wife Maria, son <mask>, and friend Gerald Heard. He lived in the U.S., mainly in southern California, until his death, and also for a time in Taos, New Mexico, where he wrote Ends and Means (published in 1937). The book contains tracts on war, religion, nationalism, and ethics. Heard introduced <mask> to Vedanta (Upanishad-centered philosophy), meditation, and vegetarianism through the principle of ahimsa. In 1938, <mask> befriended Jiddu Krishnamurti, whose teachings he greatly admired.<mask> and Krishnamurti entered into an enduring exchange (sometimes edging on debate) over many years, with Krishnamurti representing the more rarefied, detached, ivory-tower perspective and <mask>, with his pragmatic concerns, the more socially and historically informed position. <mask> provided an introduction to Krishnamurti's quintessential statement, The First and Last Freedom (1954). <mask> also became a Vedantist in the circle of Hindu Swami Prabhavananda, and introduced Christopher Isherwood to this circle. Not long afterwards, <mask> wrote his book on widely held spiritual values and ideas, The Perennial Philosophy, which discussed the teachings of renowned mystics of the world. <mask>'s book affirmed a sensibility that insists there are realities beyond the generally accepted "five senses" and that there is genuine meaning for humans beyond both sensual satisfactions and sentimentalities. <mask> became a close friend of Remsen Bird, president of Occidental College. He spent much time at the college, which is in the Eagle Rock neighbourhood of Los Angeles.The college appears as "Tarzana College" in his satirical novel After Many a Summer (1939). The novel won <mask> a British literary award, the 1939 James Tait Black Memorial Prize for fiction. <mask> also incorporated Bird into the novel. During this period, <mask> earned a substantial income as a Hollywood screenwriter; Christopher Isherwood, in his autobiography My Guru and His Disciple, states that <mask> earned more than $3,000 per week (approximately $50,000 in 2020 dollars) as a screenwriter, and that he used much of it to transport Jewish and left-wing writer and artist refugees from Hitler's Germany to the US. In March 1938, <mask>'s friend Anita Loos, a novelist and screenwriter, put him in touch with Metro-Goldwyn-Mayer (MGM), which hired him for Madame Curie which was originally to star Greta Garbo and be directed by George Cukor. (Eventually, the film was completed by MGM in 1943 with a different director and cast.) <mask> received screen credit for Pride and Prejudice (1940) and was paid for his work on a number of other films, including Jane Eyre (1944).He was commissioned by Walt Disney in 1945 to write a script based on Alice's Adventures in Wonderland and the biography of the story's author, Lewis Carroll. The script was not used, however. <mask> wrote an introduction to the posthumous publication of J. D. Unwin's 1940 book Hopousia or The Sexual and Economic Foundations of a New Society. On 21 October 1949, <mask> wrote to George Orwell, author of Nineteen Eighty-Four, congratulating him on "how fine and how profoundly important the book is". In his letter to Orwell, he predicted:

In 1953, <mask> and Maria applied for United States citizenship and presented themselves for examination. When <mask> refused to bear arms for the U.S. and would not state that his objections were based on religious ideals, the only excuse allowed under the McCarran Act, the judge had to adjourn the proceedings. He withdrew his application.Nevertheless, he remained in the U.S. In 1959, <mask> turned down an offer to be made a Knight Bachelor by the Macmillan government without putting forward a reason; his brother Julian had been knighted in 1958, while another brother Andrew would be knighted in 1974. In the fall semester of 1960 <mask> was invited by Professor Huston Smith to be the Carnegie Visiting Professor of Humanities at the Massachusetts Institute of Technology (MIT). As part of the MIT centennial program of events organised by the Department of Humanities, <mask> presented a series of lectures titled, "What a Piece of Work is a Man" which concerned history, language, and art. Late-in-life perspectives
Biographer Harold H. Watts wrote that <mask>'s writings in the "final and extended period of his life" are "the work of a man who is meditating on the central problems of many modern men". <mask> had deeply felt apprehensions about the future the developed world might make for itself. From these, he made some warnings in his writings and talks.In a 1958 televised interview conducted by journalist Mike Wallace, <mask> outlined several major concerns: the difficulties and dangers of world overpopulation; the tendency towards distinctly hierarchical social organisation; the crucial importance of evaluating the use of technology in mass societies susceptible to persuasion; the tendency to promote modern politicians to a naive public as well-marketed commodities. In a December 1962 letter to brother Julian, summarizing a paper he had presented in Santa Barbara, he wrote, "What I said was that if we didn't pretty quickly start thinking of human problems in ecological terms rather than in terms of power politics we should very soon be in a bad way." <mask>'s engagement with Eastern wisdom traditions was entirely compatible with a strong appreciation of modern science. Biographer Milton Birnbaum wrote that <mask> "ended by embracing both science and Eastern religion". In his last book, Literature and Science, <mask> wrote that "The ethical and philosophical implications of modern science are more Buddhist than Christian...." In "A Philosopher's Visionary Prediction," published one month before he died, <mask> endorsed training in general semantics and "the nonverbal world of culturally uncontaminated consciousness," writing that "We must learn how to be mentally silent, we must cultivate the art of pure receptivity.... [T]he

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title: Aldous Huxley

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 individual must learn to decondition himself, must be able to cut holes in the fence of verbalized symbols that hems him in." Association with Vedanta
Beginning in 1939 and continuing until his death in 1963, <mask> had an extensive association with the Vedanta Society of Southern California, founded and headed by Swami Prabhavananda. Together with Gerald Heard, Christopher Isherwood and other followers, he was initiated by the Swami and was taught meditation and spiritual practices.In 1944, <mask> wrote the introduction to the "Bhagavad Gita: The Song of God", translated by Swami Prabhavananda and Christopher Isherwood, which was published by the Vedanta Society of Southern California. From 1941 until 1960, <mask> contributed 48 articles to Vedanta and the West, published by the society. He also served on the editorial board with Isherwood, Heard, and playwright John Van Druten from 1951 through 1962. <mask> also occasionally lectured at the Hollywood and Santa Barbara Vedanta temples. Two of those lectures have been released on CD: Knowledge and Understanding and Who Are We? from 1955. Nonetheless, <mask>'s agnosticism, together with his speculative propensity, made it difficult for him to fully embrace any form of institutionalised religion.Psychedelic drug use and mystical experiences

In the spring of 1953, <mask> had his first experience with the psychedelic drug mescaline. <mask> had initiated a correspondence with Doctor Humphry Osmond, a British psychiatrist then employed in a Canadian institution, and eventually asked him to supply a dose of mescaline; Osmond obliged and supervised <mask>'s session in southern California. After the publication of The Doors of Perception, in which he recounted this experience, <mask> and Swami Prabhavananda disagreed about the meaning and importance of the psychedelic drug experience, which may have caused the relationship to cool, but <mask> continued to write articles for the society's journal, lecture at the temple, and attend social functions. <mask> later had an experience on mescaline that he considered more profound than those detailed in The Doors of Perception. <mask> wrote that "The mystical experience is doubly valuable; it is valuable because it gives the experiencer a better understanding of himself and the world and because it may help him to lead a less self-centered and more creative life." Eyesight

Differing accounts exist about the details of the quality of <mask>'s eyesight at specific points in his life. Circa 1939, <mask> encountered the Bates method, in which he was instructed by Margaret Darst Corbett.In 1940, <mask> relocated from Hollywood to a  ranchito in the high desert hamlet of Llano, California, in northern Los Angeles County. <mask> then said that his sight improved dramatically with the Bates Method and the extreme and pure natural lighting of the southwestern American desert. He reported that, for the first time in more than 25 years, he was able to read without glasses and without strain. He even tried driving a car along the dirt road beside the ranch. He wrote a book about his experiences with the Bates Method, The Art of Seeing, which was published in 1942 (U.S.), 1943 (UK). The book contained some generally disputed theories, and its publication created a growing degree of popular controversy about <mask>'s eyesight. It was, and is, widely believed that <mask> was nearly blind since the illness in his teens, despite the partial recovery that had enabled him to study at Oxford.For example, some ten years after publication of The Art of Seeing, in 1952, Bennett Cerf was present when <mask> spoke at a Hollywood banquet, wearing no glasses and apparently reading his paper from the lectern without difficulty: "Then suddenly he faltered—and the disturbing truth became obvious. He wasn't reading his address at all. He had learned it by heart. To refresh his memory he brought the paper closer and closer to his eyes. When it was only an inch or so away he still couldn't read it, and had to fish for a magnifying glass in his pocket to make the typing visible to him. It was an agonising moment." Brazilian author João Ubaldo Ribeiro, who as a young journalist spent several evenings in the Huxleys' company in the late 1950s, wrote that <mask> had said to him, with a wry smile: "I can hardly see at all.And I don't give a damn, really." On the other hand, <mask>'s second wife, Laura Archera, later emphasised in her biographical account, This Timeless Moment: "One of the great achievements of his life: that of having regained his sight." After revealing a letter she wrote to the Los Angeles Times disclaiming the label of <mask> as a "poor fellow who can hardly see" by Walter C. Alvarez, she tempered her statement: "Although I feel it was an injustice to treat <mask> as though he were blind, it is true there were many indications of his impaired vision. For instance, although Aldous did not wear glasses, he would quite often use a magnifying lens." <mask> proceeded to elaborate a few nuances of inconsistency peculiar to <mask>'s vision. Her account, in this respect, agrees with the following sample of <mask>'s own words from The Art of Seeing: "The most characteristic fact about the functioning of the total organism, or any part of the organism, is that it is not constant, but highly variable." Nevertheless, the topic of <mask>'s eyesight has continued to endure similar, significant controversy.American popular science author Steven Johnson, in his book Mind Wide Open, quotes <mask> about his difficulties with visual encoding: "I am and, for as long as I can remember, I have always been a poor visualizer. Words, even the pregnant words of poets, do not evoke pictures in my mind. No hypnagogic visions greet me on the verge of sleep. When I recall something, the memory does not present itself to me as a vividly seen event or object. By an effort of the will, I can evoke a not very vivid image of what happened yesterday afternoon ..."

Personal life
<mask> married on 10 July 1919 Maria Nys (10 September 1899 – 12 February 1955), a Belgian epidemiologist from Bellem, a village near Aalter, he met at Garsington, Oxfordshire, in 1919. They had one child, <mask> (19 April 1920 – 10 February 2005), who had a career as an author, anthropologist, and prominent epidemiologist. In 1955, <mask> died of cancer.In 1956, <mask> married Laura Archera (1911–2007), also an author, as well as a violinist and psychotherapist. She wrote This Timeless Moment, a biography of <mask>. She told the story of their marriage through Mary Ann Braubach's 2010 documentary, Huxley on Huxley. <mask> was diagnosed with laryngeal cancer in 1960; in the years that followed, with his health deteriorating, he wrote the Utopian novel Island, and gave lectures on "Human Potentialities" both at the UCSF Medical Center and at the Esalen Institute. These lectures were fundamental to the beginning of the Human Potential Movement. <mask> was a close friend of Jiddu Krishnamurti and Rosalind Rajagopal and was involved in the creation of the Happy Valley School, now Besant Hill School of Happy Valley, in Ojai, California. The most substantial collection of <mask>'s few remaining papers, following the destruction of most in the 1961 Bel Air Fire, is at the Library of the University of California, Los Angeles.Some are also at the Stanford University Libraries. On 9 April 1962 <mask> was informed he was elected Companion of Literature by the Royal Society of Literature, the senior literary organisation in Britain, and he accepted the title via letter on 28 April 1962. The correspondence between <mask> and the society is kept at the Cambridge University Library. The society invited <mask> to appear at a banquet and give a lecture at Somerset House, London, in June 1963. <mask> wrote a draft of the speech he intended to give at the society; however, his deteriorating health meant he was not able to attend. Death
On his deathbed, unable to speak owing to advanced laryngeal cancer, <mask> made a written request to his wife Laura for "LSD, 100 µg, intramuscular." According to her account of his death in This Timeless Moment, she obliged with an injection at 11:20 a.m. and a second dose an hour later; <mask> died aged 69, at 5:20 p.m. (Los Angeles time), on 22 November 1963.Media coverage of <mask>'s death, along with that of fellow British author C. S. Lewis, was overshadowed by the assassination of American President John F. Kennedy on the same day, less than seven hours before <mask>'s death. In a 2009 article for New York magazine titled "The Eclipsed Celebrity Death Club", Christopher Bonanos wrote:

This coincidence served as the basis for Peter Kreeft's book Between Heaven and Hell: A Dialog Somewhere Beyond Death with John F. Kennedy, C. S. Lewis, & <mask> <mask>, which imagines a conversation among the three men taking place in Purgatory following their deaths. <mask>'s memorial service took place in London in December 1963; it was led by his elder brother Julian. On 27 October 1971, his ashes were interred in the family grave at the Watts Cemetery, home of the Watts Mortuary Chapel in Compton, Guildford, Surrey, England. <mask> had been a long-time friend of Russian composer Igor Stravinsky, who dedicated his last orchestral composition to <mask>. What became Variations: <mask> <mask> in memoriam was begun in July 1963, completed in October 1964, and premiered by the Chicago Symphony Orchestra on 17 April 1965. Awards
 1939: James Tait Black Memorial Prize
 1959: American Academy of Arts and Letters Award of Merit .1962: Companion of Literature

Film adaptations of <mask>'s work
 1950: Prelude to Fame based upon Young Archimedes
 1968: Point Counter Point
 1971: The Devils
 1980: Brave New World
 1998: Brave New World
 2020: Brave New World

Bibliography

See also
List of peace activists

References

Sources

 . Reprinted in Perspectives on Schoenberg and Stravinsky, revised edition, edited by Benjamin Boretz and Edward T. Cone. New York: W. W. Norton, 1972. Further reading

 Anderson, Jack. 4 July 1982. "Ballet: Suzanne Farrell in Variations Premiere". The New York Times.Atkins, John. Aldous <mask>: A Literary Study, J. Calder, 1956
 Barnes, Clive. 1 April 1966. "Ballet: Still Another Balanchine-Stravinsky Pearl; City Troupe Performs in Premiere Here Variations for Huxley at State Theater". The New York Times, p. 28. Firchow, Peter. <mask> <mask>: Satirist and Novelist, U of Minnesota P, 1972
 Firchow, Peter.The End of Utopia: A Study of <mask> <mask>'s Brave New World, Bucknell UP, 1984

 <mask>, <mask>. The Human Situation: <mask> <mask> Lectures at Santa Barbara 1959, Flamingo Modern Classic, 1994,
 <mask>, Laura Archera. This Timeless Moment, Celestial Arts, 2001,

 Meckier, Jerome. <mask> <mask>: Modern Satirical Novelist of Ideas, Firchow and Nugel editors, LIT Verlag Berlin-Hamburg-Münster, 2006,
 Morgan, W. John, 'Pacifism or Bourgeois Pacifism? <mask>, Orwell, and Caudwell', Chapter 5 in Morgan, W. John and Guilherme, Alexandre (Eds. ),Peace and War-Historical, Philosophical, and Anthropological Perspectives, Palgrave Macmillan, 2020, pp, 71–96. .
 Murray, Nicholas. Aldous Huxley, Macmillan, 2003,
 Poller, Jake.Aldous <mask>, Reaktion Critical Lives, 2021. .
 Poller, Jake. Aldous Huxley and Alternative Spirituality, Brill, 2019. .
 Rolo, Charles J. (ed.). The World of Aldous Huxley, Grosset Universal Library, 1947. Shaw, Jeffrey M. Illusions of Freedom: Thomas Merton and Jacques Ellul on Technology and the Human Condition. Eugene, Oregon: Wipf and Stock. 2014. .
 Shadurski, Maxim.The Nationality of Utopia: H. G. Wells, England, and the World State. New York and London: Routledge, 2020. (Chapter 5)
 Watt, Conrad (ed.). <mask> <mask>, Routledge, 1997,

External links

<mask> <mask> full interview 1958: The Problems of Survival and Freedom in America

 Portraits at the National Portrait Gallery

 Raymond Fraser, George Wickes (Spring 1960). "Interview: <mask> <mask>: The Art of Fiction No. 24". The Paris Review.BBC discussion programme In our time: "Brave New World". <mask> and the novel. 9 April 2009. (Audio, 45 minutes)
 BBC In their own words

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title: Richard Pierpoint

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<mask> (Bundu c. 1744 – Canada c. 1837), also known as Black Dick, Captain Dick, <mask>, Pawpine, and Parepoint was a British soldier of Senegalese descent. Brought to America as a slave, he was granted freedom to fight on the side of the British in the American Revolution. After the war he settled in a Black community in Upper Canada, where he was given some land. He also participated in the War of 1812. Butler's Rangers

<mask> was born about 1744 in Bundu in what is now Senegal. When he was about sixteen he was captured and sold into slavery. Surviving the Middle Passage across the Atlantic, <mask> was sold to a British officer in colonial North America named Pierpoint, probably in one of the New England Colonies.<mask> would have acted as his personal servant. In 1776, with the outbreak of the American Revolution, many African American slaves were offered freedom in exchange for fighting on the side of the British. By at least 1780 <mask> was one of about a dozen Africans fighting with the Butler's Rangers regiment. Some members of the regiment were former black slaves, which enlisted blacks only as non-combatant laborers or sappers. The total number of black soldiers in Butler's Rangers is unknown. <mask>'s Settlement
Following the British defeat the Rangers settled in Niagara. Among the Loyalists who came to Upper Canada (where they were given the name United Empire Loyalists) were several hundred Blacks (the "Black Loyalists").Blacks represented about 10% of the total Loyalist emigration. Communities such as Buxton and the Queen's Bush Settlement were examples of how Blacks created communities and helped develop many of the communities in Southern Ontario. Blacks were entitled to the same proportion of land as their fellow Loyalists only if they fought for the British as a freeman. Others of African descent were not included as Loyalists. In 1788 Pierpoint was located on  of land in present-day St. Catharines. The City of St. Catharines was first settled by Loyalists in the 1780s. Early histories credit Serjeant Jacob Dittrick and Private John Hainer formerly of Butler's Rangers, among the first to come to the area taking up their Crown Patents where Dick's Creek and 12 Mile Creek merge, now the city centre of St. Catharines.Although never documented, some St. Catharines' historians have concluded that Dick's Creek was named after <mask>, a Black Loyalist. Under normal circumstances, a private would have only received a grant of  so the reason for the additional  of the grant is open to speculation. His commanding officer John Butler may have considered him to have been an NCO (non-commissioned officer), such men being entitled to . Additionally, he might have been considered a United Empire Loyalist and thereby entitled to an additional . Alternatively, he may have had family with him, each family member being allotted an additional . There is some evidence that <mask> did not arrive alone as victualling records from 1786 indicate that a woman accompanied him. <mask> didn't appear on either an assessment or census and no documentary evidence exists to explain the situation.Conversely, his participation in the Petition of Free Negroes and subsequent sale or abandonment of his grant suggests he may have been single, at least by 1794. In 1794 Pierpont signed the Petition of Free Negroes to Lieutenant Governor John Graves Simcoe requesting that freed Blacks who had served as soldiers be given land grants adjacent to each other so that the former comrades could help each other with land clearing as many lacked the large families necessary to clear the land on their own. The Petition was read by the Executive Council of Upper Canada Government on July 8, 1794, and dismissed. <mask> subsequently abandoned or sold his grant and supported himself as a labourer. The War of 1812
Following the outbreak of the War of 1812, <mask> proposed to organize a Corps of Men of Colour on the Niagara frontier. His offer was refused, but a small Black corps was raised locally by a white officer, Jordan tavern-owner Robert Runchey. <mask> volunteered immediately for Captain Runchey's Company of Coloured Men even though he was in his sixties.The corps served with distinction at the Battle of Queenston Heights, the siege of Fort George and the Battle of Lundy's Lane as well as other engagements. They were also instrumental in the construction of Fort Mississauga. For the remainder of the war the corps was used for labour and garrison duty. Petition
<mask>'s unit was honourably disbanded in 1815. As a veteran, <mask> was entitled to a 100-acre grant of old growth forest. In his late 70s, in 1821 <mask> petitioned Lieutenant Governor Maitland for passage back to his homeland in Senegal instead of the land grant. A certificate from the Adjutant General Nathaniel Coffin was attached.The Petition of <mask>, now of the Town of Niagara, a Man of Colour, a native of Africa, and an inhabitant of this Province since the year 1780. Most humbly showeth,

That Your Excellency's Petitioner is a native of Bondu in Africa; that at the age of Sixteen Years he was made a Prisoner and sold as a Slave; that he was conveyed [transported] to America about the year 1760, and sold to a British officer; that he served his Majesty [King George III] during the American Revolutionary War in the Corps called Butler's Rangers; and again during the late American War in a Corps of Colour raised on the Niagara Frontier. That Your Excellency's Petitioner is now old and without property; that he finds it difficult to obtain a livelihood by his labour; that he is above all things desirous to return to his native Country; that His Majesty's Government be graciously pleased to grant him any relief, he wishes it may be by affording him the means to proceed to England and from thence to a Settlement near the Gambia or Senegal Rivers, from whence he could return to Bondu ...

York Upper Canada
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His request was denied and instead <mask> and several other Coloured Corps veterans, were given land grants in Garafraxa, just outside present-day Fergus. Grant to <mask> of the Township of Grantham in the County of Lincoln in the Niagara District, farmer -- as a private in the Coloured Corps under Captain Runchey and Lieutenant Robertson -- the easterly half of Lot No. 6 in the 1st Concession of the Township of Garafraxa -- containing one hundred acres. A "land ticket" was issued to him on July 30, 1822. <mask> would only get full ownership of the plot once he had cleared at least  of trees, cleared a road to the plot and built a house:

Location Ticket grant on fulfilment of settling duties req'd by Order in Council of 20 Oct. 1818: to clear and fence  for every  granted; to erect a dwelling house of ; to clear one half of the Road in front of each lot.The whole to be performed within two years from the date of the ticket. Note The Settlement duty performed as attested & admitted. 15 Sept. 1826. Sig. T. Ridout. The farm was probably a settlement for a number of Black settlers, but the exact number is unknown. Very few records were left and even orally transmitted history is limited.<mask> died sometime before September 1838, leaving no family or heirs. It is not known where he was buried. His will left the Garafraxa property to Lemuel Brown. Brown, who lived in the Guelph area at the time of <mask>'s death, sold the land to the neighbouring farmer. References

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