Apply for a quick loan before starting a business

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If you want to start a business with a quick credit, you should keep in mind that you can also choose government grants, which are available for entrepreneurs and enterprising women. For example, to know the discounts of the self-employed quota or to know the possibility of charging all unemployment at once.

When applying for a small loan to start a business, the business is usually small and usually based on only a self-employed person, that is, without employees.

Business ideas to start a new activity.

If what you want to set up the business in a local, it is advisable that you know the franchises that are most successful. So that you take advantage of the fame of a brand and the facilities offered by setting up a franchise, such as the support of workers with experience in starting businesses and having suppliers from the first day.

Using the search engine of this website, you can also access other franchise listings, such as the most profitable franchises or franchise listings, of certain niche markets.

Warnings before asking for a quick credit.

From this website we do not advertise scams or recommend sites that make scams, however, on the internet and anywhere, there are always people or organizations that try to scam people. If you want to know how not to fall for the scam of a lender, visit the following link.

The most frequent scam in the loan sector are the financial or advisors who charge before applying for a loan and finally do not get any solution. Some companies do it legally, since according to these companies, they charge for the study they carry out. Another one of the major disadvantages of the urgent financing, is the increase of the quotas in the case of making defaults.

Finance a commercial establishment.

Entrepreneurs who want to buy a place with a mortgage, should know that in most cases, loans for premises, do not have the ability to pay in more than 15 years. Although that is general and does not remove exceptions.


The majority of entrepreneurs who use the quick credits, is because they do not have a payroll and resort to entrepreneurship as a way of looking for life. Therefore, it is necessary to know all the types of scams in the business world, so that they are aware and also know the advantages of setting up a franchise.

Two wise mothers and a writer’s meeting

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What happens if two authors read each other’s book? Do they notice anything other than other readers? Do they live as much in the books? We invited the authors Mikkel Bugge and Monica Isakstuen to read and talk about their two new books, You are new and Rase .

When the rage governs

Monica Isakstuen got his breakthrough with the Bragepris winning Be kind to the animals in 2016. In this year’s book, Rase, we meet again the same protagonist, but she has gone from one child to three and beneath the surface bubbles a fierce mind.

” Rase started in the previous novel, but it took some time before I realized that I had the same protagonist to do,” says Monica Isakstuen. Because she was so angry and it’s enough her crisis that she does not recognize herself in that mind.

The book follows the nameless protagonist through a daily life characterized by upbringing, expectations and inadequacy. She does not get enough time, and she pushes her into a rage that hits her closest to her: two, little twins, an older daughter and a beloved man.

The reader meets a fragile woman who is increasingly burrowing into worries and her own fear of the rage she knows. Bugge calls the mind an unpleasant cousin of weariness, and that’s exactly what makes her everyday so difficult, but at the same time recognizable. For what grandchildren have not known how frustration grows when you never get to sleep?

Fear of himself

– A crazy fine, strong and bad novel about a mother and her boyfriend who cooks, says Bugge’s book. It is driven by how much man, I, recognize me in the protagonist, he continues.
That recognition balances sharply between the everyday mind all parents know and what bumps into violence. If the latter is the case, it throws a completely different light on the story and it becomes important to distance.
“But then I’m so far into the book that I’m not getting it,” Bugge admits.

Also the author himself has known about a closeness to reality. There is no autobiographical book Isakstuen has delivered, but she is not afraid that people should read it like that. She emphasizes that she is not alone in thinking or feeling what she is writing about. It was nevertheless an unpleasant book to write, and being in the main character’s own reflections about her mind was demanding but important.
“I had to show that she reflects on the situation, otherwise she will not sympathize with her,” explains Isakstuen.
“A woman who practices mental and physical violence is more scary, cheating and taboo-tolerated than men,” the author says. The man is mapped while the woman drives more with manipulation and is creepy when she becomes angry – perhaps most of herself.

An unfamiliar world

Mikkel Bugge also has several books behind him, including the bargain-priced novel collection Tauet . This fall is he back with a novel, You’re New , that’s about a hairdresser and a craftsman. They are young, inexperienced and get children quickly after they have joined together. The novel concentrates on the time around the pregnancy and the first moment of the child.

“I’ve always been busy writing something that is very close to myself, and at the same time far away,” says Bugge. I am writing from perspective that I completely do not understand or who I’m curious about, but in landscapes or worlds I have some knowledge. I did not write it at all to figure out what it’s like to feed through text.
In this book, it was the birth that became the catalyst. The opening sequence, just before the birth, where the protagonist is in a situation where the body wants one thing while his head is not in it, Bugge gave a thrill he wanted to work with.

Monica Isakstuen read Bugge’s book with great joy and admiration.
“You do something that not so many others do and move us away from a traditional middle class environment we writers often write from,” she explains. The look of the novel is original because it is a different socio-cultural layer than what we are used to reading from.

The young girl we meet in You are new is as a hairdresser and the author goes handy to work when writing his literary universe. He found an apartment in a street crossing in Old Oslo where he imagined that the couple lived, and he visited hair salons and clipped to observe the surroundings and those who worked there.

Unsafe mothers

As the Isaac’s main character, Bugge’s new-born mother does not take the role of crushing calm and self-assurance.
“She’s so afraid of not getting it,” he says. She has little resources and help to get it done.
Much of what we think about our own actions is regulated by the people we surround. Whether we get confirmation or not being met, it forms our view of what we do. In Bugge’s book, the mother’s insecurity stands in stark contrast to the relaxed dad, who may not have so much eyes aimed at. Nor does the man in Rase doubt his ability as a caregiver, and apparently he does everything we want from a modern man. Bugge notes that the man is still short and once again the problem returns to the woman who does not open up to him.

Is there another common feature between the books? They are both about mothers who are unsure of that particular role. In addition, if we are to believe the Isakstuen itself, we get a good conclusion:
– The last pages are absolutely amazing, in both books!


Groruddalen’s first literary festival

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Groruddalen litterature festival is the festival for everyone who loves both our city and the books that come from it. This will be a great collection of some of Norway’s foremost authors at a whole new festival that will bring literature to the people, “says Helene Heger Voldner, festival director.

The festival takes place at Deichman Stovner, Deichman Bjerke, Deichman Nordtvet and Furuset library and activity house. In total, the festival offers 30 author interviews, lectures and other events.

Osso love, hip hop, language and embarrassment

Cultural Council Rina Mariann Hansen opens the festival on Tuesday, September 11th. The same evening, it is the tune of a master’s meeting in Oslo literature when Zeshan Shakar, Lars Saabye Christensen and Tove Nilsen circle the theme of “oslokjærlighed” from each side of the city.

Anne Bitsch

The rest of the week are highlights: There are talks with Niels Fredrik Dahl, Wasim Zahid, Ruth Lillegraven, Soudabeh Alisashi, Ketil Bjørnstad and several others.

It is booed with some of the biggest talks from the autumn harvest, like Trude Marstein and Simon Stranger. Øyvind Holen, Jonathan “Castro” and the rapper Nalband meet to talk about Norwegian hip hop, and there will be music, food and mingling at “Language Café Festivalspesial”.

Tom Egeland, Linn Strømsborg and Anne Bitsch face a very special challenge when Deichman and the literary concept “We wrote as a child” release them on stage. Here is the introduction of old school styles, classmates, or diary notes that were never meant for adult ears.

Incredibly proud

This is the first time the Groruddalen literature festival goes by the way, but Deichman hopes to be able to repeat the literary folklore festival in 2019.

“The whole Groruddalen sits of life and literature, and we at Deichman are incredibly proud to invite all who live in our city to participate in this,” says library director in Oslo, Knut Skansen.


The author of the year: Ruth Lillegraven

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“It was a bit like coming home for me to write poems after writing a novel.”

In the new book, URD , you write ” I wove me / a cheeky / blanket of arguments / and complaints and requirements / smear and dust”. Do you know what you’re looking for and how are you in your own great textbook?

Net this poem depicts quite clearly about the day of marriage in a cohabitation. The writing of a poem is about a interplay between one idea / one thought and one kind of intuitive sense of the rhythm in the poem, etc. When it comes to the collection of holiness, I like inspiration in different places. Perhaps first and foremost, I invite myself, but also from nature, from other literature and art, from people I meet, etc. After a quarter, when the collection begins to take shape, it generates itself new poems, it becomes easier to see what is missing the holiness, a poem can be created in the extension of an anna etc.

The major lines of the URD are birth, life, death. The composition seems to be more tight than in the debut collection. Nevertheless, the new collection is well over a hundred pages. Between these two poems, you have to write a novel. Does it affect the writing process URD ?

Both of my poems have been over a hundred pages, yes. It is a good thing to do with dictation, which is long and long-standing, and with the holiness I wish they would form (although I have had clearer thoughts about this book than in the past, I agree that the composition is much more tight gongen). When it came to Urd, I realized after a quarter that the story of two women, Seselja and Cecilie, yes, even “whole story of life” to Seselja, had to be explained by a slightly different approach. It required a little space, but surprisingly little space was found. I’m telling her about her life from a vogue to a tomb of less than 40 pages, fascinating me to draw big portraits in few words. But eager to the question: yes, I will certainly threaten the writing. Between us , affecting the process of writing Urd in one way or another, it is difficult to seie exactly the truth. Perhaps I have gained an understanding of pastel techniques and dramaturgy, I do not know.

You have released six books to no. Page 2011 all five, of the three for children. What’s the drive of the author in you, and what’s the one that inspires you the most?

I love to write, to thickness, to make stories and personalities. It is also nice to be able to try before different genres. The biggest driving force, as well as feedback from Lesarane, is probably the big and intense joy as the writing process gives. To the greatest extent, I know it when writing poems. It was a bit like coming home for me to write poems after writing a novel.

You write books, you are a bookman but read by others; What books and writers have meant and mean soft to you?

I always end up answering the same two: Jon Fosse and Olav H. Hauge. And even though it’s a bit parodic, I’m from Hardanger as they are, but I imagine that it’s not difor that it’s probably the universal and tidlause of the books those who attract me so much. Something’s going on in the waves of women and one lesson, but the two are like that, anyway. I have had periods where I have read softly to Dome’s Day Solstad and Olav Duun. I love Alice Munroe’s prose and Jonathan Franzens novels. Of newer Norwegian novels: Net has a lot of fun with Jens M. Johansson’s Weddings and Funerals – it should be read by people. Trude Marstein’s novel of last year, home to me , I also thought that was amazing. Reading Geir Gulliksen and Nils-Øivind Haagensen’s poetry was very liberating for me at some point: one can also write a letter. And people who like to dictate me should try out Monica Isakstuen’s most recent poem collection, Always News, from a few years back. No, I would like to read a lot of poetry in the future, would like to be familiar with some of the female literary literary writers – and also read more Norwegian poetry. But as said, Fosse and Hauge, they will always follow me.

I read that your roots are important to you. You write your tree. Why do the next article on that tree?
I have begun a new poetry collection, where I may deduce some elements of Urd anymore: try the general public and universally with the historians of ordinary people, play with the biographical (not the biographical) and the story, instantly as I tempt create full-fledged poetry. If I’m ready to make something special and a little bit of annihilation, it’s great, but it’s not a goal in itself, I have to write “as it’s natural to me”. There will be little of me and my roots in this collection, I believe. Developing me as a writer is important to me, as it is for most of them.


Discover a prize-winning Polish writer

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Magdalena Tulli is the author and translator. She debuted in 1995 with the critically acclaimed novel Sny in Camienie (Dreams and Stones), followed by the stylistic formatted novels W czerwieni (In red, 1998), Tryby (Moving parts, 2003) and Skaza (Lyte, 2006). In 2011, the autobiography took a new autobiographical turnaround with the novel Włoskie szpilki (Italian High Heels) where childhood in a socialist and war- warship Warsaw is at the center. With the latest novel Szum (Noise, 2014), Tulli further develops this theme and with a fine psychological sensitivity she depicts how the child gains the traumas of the parents and how difficult it is to find reconciliation and forgiveness.

Magdalena Tulli has translated Marcel Proust, Fleur Jaeggy and Italo Calvino into Polish. She is often compared to authors such as Franz Kafka and José Saramago, and is translated into a variety of languages, but not in Norwegian. At the Litteraturfestival festival Friday 21st September you will be able to experience Tulli. Here, a Norwegian audience will have a unique meeting with the Polish author. In connection with the visit, an excerpt from Tryby , one of the highlights of her authorship, has been translated into Norwegian.

Tryby (Movable Parts)

Creation of worlds! Nothing is easier. It is said that you can spell them out of the sleeve. But why? So they can be a flattering delight to the eye as they rise to the light like quivering soap bubbles. Before dark extinguishes them. As they make it easier, they are already falling. But are not they beautiful? They call them without further thought, throwing them out of the abyss without a man, there is no one who can save them. The narrator, who is a rather subordinate figure, knows nothing more. He admits this with dissatisfaction. Alone and face to face with given facts, he cares only about one thing: to avoid falling to banalities already in the first sentence. If he could choose, he would have preferred to put his hands in his pockets, retreat and leave everything to fate – which he has not been allowed to influence – or at least remain insistent in an emphatic arrogant silence. But the narrator understands that he has no place to go. He has been denied the privilege of arrogance. The form of life that has happened to him, if it is at all called life, does not depend on choices. He has to make sure that a story some seamlessly shakes out of the sleeve constitutes the entire content of his existence. A story hungry for subjects and predications, which have stuck in their tissues as a rare and greedy parasite. The narrator wants to trust that the one who has created him knows more, has an overview of the whole and knows the end. But the person does not appear in his own person either on this page or the next, he does not respond by fax or letter. Perhaps the person is in bed, rottering in bed for weeks, in curly linen, with his back to the world and his face against the wall, with empty bottles or used syringes thrown around, who knows? And when the tragic turning point spreads gossip into the backs of the bench, or when the ghost is pouring out in deep silence, the narrator knows that he has no other to assume that it’s all on his shoulders.

The form of life that has happened to him, if it is at all called life, does not depend on choices. He has to make sure that a story some seamlessly shakes out of the sleeve constitutes the entire content of his existence.

You must humbly put the sentence and move on to the next sentence as if nothing has happened – like a clown in tanned pants that have fallen out of the chair and, while the laughter bullies over the audience, immediately climbs on a creepy ladder without interrupting his monologue: a peculiar character, irrevocably sent out in the mane’s pit, yellow of sawdust, where he stumbles again and again, caught in life in the evil circle of the performance. The circus numbers that can be seen in the maneuver, overflowed with sawdust, are known to everyone in the benkerades until the boring, even for the children who turn impatiently in their seats while waiting for the elephant’s appearance. Everyone can leave the monologues, also the yellow round button of the last sentence, which fits in the beginning of the loop with a questionable and unconvincing point, which invites nothing but a shrug. Each word has been heard more than a thousand times before. What does it matter if it was in other sentences? Nobody cares about the details. Everything is so boring, says the blurred eyes. That’s why it’s better to be a reader than a narrator. It’s comfortable to chew cheeses while putting the razor-sharp sheets in fast motion, and when you have leafed past the last page, throw the book back on the shelf.


Raging for racism

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Lone Aburas comes to Furuset Library and Activity House December 4th to talk about the book Citizen ( Medborgar) together with Sumaya Jirde Ali . That talk is part of the arrangementrekka Feminist Reading List. We have talked to Aburas in advance of the event, about her own text. It’s an I speak (the hour of accounting) and Claudia Rankines Citizen, recently renamed Norwegian by Kristina Leganger Iversen and Camara Christina Lundestad Joof.

Raseriet som motor

The two authors Rankine and Aburas have both written texts about their experiences with racism in the United States and Denmark, respectively. Rankine as African Americans, Aburas as non-white Danish, with Egyptian Muslim father. However, they have very different expressions in their texts. Rankine’s text has a bad expression, among other things, she talks about how racism takes place physically in her body. Lone Aburas portrays racism with greater rage in It’s a me who speaks . How does she manage to be so tough?

“I was very touched when I read Rankines Citizen , just because the texts express sadness and pain. She shows a vulnerability in the encounter with discrimination and racism that I can definitely identify with. I recognize in the feeling of powerlessness and an uncertainty as to whether it is a self that is too sensitive and paranoid. Because what is experienced as racism either is not perceived as such by the sender or is explained as a kind of sensitivity of the recipient.

Aburas remembers that being exposed to the kind of dignity that racism is creating the feeling of shame.
“I rarely read the first half of my book because it’s about my own experience of racism that I’m ashamed of being exposed to. It’s something to conquer people with the pain and injustice you’ve experienced. It can also make some people sour because they find it uncomfortable to realize that they belong to a white majority. The rage has been an engine and a driving force for writing about these things in book form, because shame and grief for me seem to be inhibitory in terms of writing these personal things like a brown person.

To me, rage was a tool not to turn the feeling of injustice and powerlessness inward, which in my worst case may seem destructive and make me anxious.

Stand together in the rage

“I think that people exposed to discrimination, racism and homophobia are fully in a position to react with anger,” points out Aburas.

But rage works clearly in texts, the author believes. “In real life,” it does not work the same way.
“If I meet people in connection with events that deal with the book, I think it’s uncomfortable to defend why racism makes me angry. Then the mind certainly does not seem like a useful tool. If people think I exaggerate or make myself a victim, the worst thing I can do is to react with anger.

“One of the most important tools in the face of racism is perhaps the feeling of having more in the back, not standing alone,” says Aburas, referring to another book by Rankine, Do not Let Me Be Lonely . Aburas want to achieve a similar effect with It’s a me who speaks :
“I hope the book gives people who experience racism a sense of not being alone. To be seen and recognized. Then you can call activism; whose activism can be understood as a way of speaking to someone who experiences the same.
In this way, literature can act as part of the fight against racism, Lone Aburas believes.
– Literature can describe experiences that non-white people can play in. In all forms of art, especially in literature, in movies and in series, it is a great potential to fight cultural stereotypes. Or just the absence of non-white persons. I think I’m a way to fight racism, she explains.

That non-white children should grow up and never see a non-white person, other than a vegetable trader, terrorist or biperson of a white protagonist, hopefully will not be a norm much much longer.

Greater awareness in the United States

Both Afro-American Rankine and Danish Aburas have described racism in their books. But what is the biggest difference between racism in the United States versus Denmark?
“I think that in the United States it is better to acknowledge racism. In an American context, racism is something that has had to be taken into account because of apartheid and the time of slavery. In Denmark, it is a self-perception that we are a cute little putt-nation, but in reality we have been a colonial power in both Greenland and the West Indies. By that I mean that the feeling of being a superpower and seeing other cultures as being inferior is not strange.

She elaborates on the description of the Danish conditions as follows:
“There is still a lot of racism in the United States, as you can read in Citizen . But in Denmark there is a perception and a self-perception that it does not exist. That everyone is color blind. If you as a non-white person experience racism, it is often encountered with an idea that you are paranoid and oversensitive. For many years, Muslims have been demonized and totally deprived of any kind of individuality. These are the ones you choose when you are politicians: Who can be most hard against groups from non-western countries? Judging from a political point of view, one can hardly be a sensible and well-functioning person if you are declared Muslim. Then you must at least prove it first.

inspiration Sources

One of Aburas’ sources of inspiration for It’s an I talking friend and author colleague Caspar Eric who has written the Nike collection.
“He wrote sorrowful and cool about a weekday with cerebral palsy. He did so well and brave that I thought I could open my pain points, that is, my experiences with racism, “says Lone Aburas.
She is also inspired by the Danish poet Klaus Høeck and his poetry collection Black Sets from 1981.
“He writes beautifully, violently and equally about the Palestinian freedom struggle in sonette form. In my own book, I also describe how concrete political laws, measures and rhetoric have a large, often lethal effect for refugees and immigrants, she adds.

Aburas’ manifesto

At the tough ending question: how can we fight racism at all (except through superlative texts), Aburas comes with no less than a ready-made manifesto:
– In the beginning of 2018, my friend and author colleague Hanne Højgaard Viemose and I wrote a manifesto where we finally come up with concrete advice on how to combat the system that will actively be free of persons from non-western countries. To me it is also racism. The instructions can be tolerated here in a Norwegian context.
Hereby the manifest is transmitted directly:

  • End up on No expulsions without resistance. It is a group that actively tries to prevent expelled asylum seekers from being deported to the country they have fled by meeting at airports and blocking for such forced expulsions to take place.
  • Help single minor refugees to get family reunification. They will pay for their family members’ tickets themselves, and of course they can not help with money, collections, events (readings, concerts, dinners etc) where the money goes to family reunions.
  • Help refugees to be forced to conceal themselves to conceal themselves from the authorities.
  • If we are to change Denmark’s practice with inhumane expulsions, it demands massive pressure on all fronts. Refuse to fly with persons forced to fly if you are on the same plane. It has long been Danish practice that asylum seekers are placed on regular scheduled flights. In November last year, a non-named Algerian man died when he was forced to be forced from Denmark.
  • Be informed – be indignant – tell the invisible stories. The only way the Danish authorities can escape with gross and brutal assaults against people on the run is that the rejected stories are invisible to the majority of the population, as well as the fact that the media are not interested in it. Therefore, help tell these inhumane stories to your circle of people. Make them aware of how Denmark destroys the lives of people on their way every single day.


Does the written word experience a renaissance despite the masses of pictures?

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How important is the written word in times of big data and digital change? Some voices on the net claim that the written word has regained importance . Time to take a closer look at this thesis.

To answer the question of the significance of the word, I ask myself the question: What else is important in the network? If you look around in the digital world, you quickly realize that hardly any medium or content gets along without pictures. This phenomenon brings with it a gigantic flood of images: 250 million photos are produced worldwide every day. Many of them end up on social networks like Facebook or the photo-sharing platform Instagram . But also image databases like Flikr are flooded daily with a wave of new images.

What works better: word or picture?

In view of digital photography and mobile phone cameras, together with ever-improving global networking, this development is not surprising. The question is whether a picture can even be effective in this huge flood of images. In other words, does it make one word better?

The answer is yes: You definitely have to make an effort with your pictures to avoid disappearing into the stream of data. The images must be of high quality and meaningful. This is not so easy. So what is the pain of the picture, is the joy of the word?

It is clear that really important and relevant things are always (still) written down. It used to be like that and has not changed until today. That makes, in my opinion, the calls for the renaissance of the written word superfluous. Because who writes, stays. And in the memory of their target group.

Different usage of the written word

But I think that the written word is used differently today than it used to be – especially in terms of the length of the texts. Page-length (newspaper) articles have become a rarity. Twice already on the web. A blog post usually has less than 1000 words, a Facebook post consists of just a few sentences and a tweet has a maximum of 140 characters. But nevertheless it is written on all these platforms.

Because with words you can express your opinion much better than with a picture. Words give a structure a structure and shape it in a way an image could never. That’s why the written word will not disappear!

The written word can not be without a picture

This brings us back to our initial question: what significance does the written word have in times of big data and digital transformation? I think the written word has a high priority – but the picture too.

Reality also shows that in most cases the text is necessarily linked to a picture. There is no either-or. Because both text and image have their strengths, but also their weaknesses. Together they are unbeatable. In my opinion, they can only move together in the fight for attention in the endless sea of ​​data. When one part weakens, it pulls the other into the sinking. Those who want to swim at the very top of the data wave in the World Wide Web must write good, smart and authentic texts AND support them with equally good, clever and authentic images.

From the new invisibility about Guillaume Paoli to the NetzDG – the culturalist “left” written in the studbook

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Who are those invisible and whose perspective is being considered? That is the real trick of this whole story of the marginalized: they serve a culturalist left, more precisely a neoliberal elite, who perceive themselves as progressive, as a projection screen or as a cover, or they are, because politically unacceptable, the right margin slammed , In their name, one carries out their political business in the other direction. Some of these seemingly marginalized people have already slipped into prominence as gays, as colored people, as so-called LGBT, and are anything but marginalized. They are well-endowed with media power, language and all the tools to position themselves culturally, but they sell their privileges in jamming as a repression of society. These people work in media, in agencies, have book contracts with established publishers like Bertelsmann, they live in neighborhoods from which the old inhabitants were long ago ousted. (It was these contradictions that Pier Paolo Pasolini pointed out back in the 1960s when he wrote that the true underdogs were not the bourgeois militants protesting at the time, but the workers in the police who faced these youths.)

Such displacement of the residents of residential neighborhoods is in Kreuzberg, Kreuzkölln no different than in Schanzen- and Karoviertel in Hamburg the case. The protest of this milieu of neoliberal leftists against gentrification has something of a weird bigot as well as its political stance. Alleged tolerance serves as cultural currency, as cultural capital. The so-called diversity is in truth the old identity, the pabulum, only in a new, a purportedly left garb. Or as Adorno wrote about the ideology of the “Melting Pot” in the Minima Moralia entitled Melange:

“The usual argument of tolerance, all people, all races are the same, is a boomerang. It exposes itself to comfortable refutation by the senses, and even the most compelling anthropological evidence that the Jews are not a race will hardly change in the case of the pogrom that the totalitarians know quite well who they want to kill and who not , On the other hand, if equality were to be demanded as an ideal of all that man’s face carries, instead of subordinating it to fact, that would not help much. The abstract utopia would all too easily be compatible with the most discriminating tendencies of society. That all men are like each other is exactly what suited them. It regards the actual or imaginary differences as scandals that testify that one has not yet brought it far enough; that something is released from the machinery, not entirely determined by the totality. The technique of the concentration camps boils down to making the prisoners like their guards, the murdered murderers. The racial difference is raised to the absolute, so that you can abolish it absolutely, even if nothing else survived. An emancipated society, however, would not be a unitary state, but the realization of the universal in the reconciliation of differences. For that reason, politics, which was still seriously concerned, should not even propagate the abstract equality of men as an idea. Instead, it should point to the bad equality today, the identity of the movie with the gun aficionados, but the better state than the one in which one can be different without fear. If one assures the negro that he is just like the white man, while he is not, he is secretly wronged again. He is humbly humbled by a standard which, under the pressure of the systems, must be left behind, and which, moreover, would be a dubious merit. The advocates of unitarian tolerance are always inclined to turn intolerantly against any group that does not conform: the obstinate enthusiasm for the Negro is combined with indignation at Jewish imperialism. The melting pot was an institution of unleashed industrial capitalism. The thought of entering into it conjures up martyrdom, not democracy. “(Th. W. Adorno)

This aphorism can be modified in all possible directions. The negative remains negative until it passes. As long as this is the case, there will be dissent and conflict.

Guillaume Paoli addresses these social contradictions between those down there, those invisible, and the culturally arrested, who are increasingly obscured and covered in art as well, in the interview. An art of healthy middle-class children, with healthy middle-class problems. Refugees are their objects, but not actors as they should be: giving voice to those who speak instead of talking about them. A self-circulating art that scarcely hurts, whose innovative or avant-garde potentials have long worn out in favor of a fat return, as cultural capital, as Bourdieu put it, or as moral added value. Societal contradictions are barely put on stage or on paper and, if so shallow, they are meaningless. (I am very worried that Juli Zeh’s new novel is meant very well, but rather simple in aesthetics.)

In general, what we need is a culture, an art of conflict, of dispute, of differences, of conflict. Not to ban the opponent’s opinion as Hatespeech or to denounce it as Nazi speech, even where it is a decidedly critical view, as in Sloterdijk or Safranski, but first of all to grasp what is meant, and then, if necessary to respond with arguments.

And sometimes it is even the case that one has to endure another opinion. Freedom of expression does not mean that only one’s own theorem is valid. Freedom of expression applies unconditionally, unconditionally and everywhere, even to those views that are not compatible with one’s own mindset, even when people feel offended. Apart from that, the criminal laws that set limits for certain statements, such as abusive criticism or false statements, otherwise regulate this. Feeling racism is a private thing, anyone can accept what he likes, but that does not justify a ban. And in this sense, the Network Enforcement Act is fatal. Anyone who celebrates the blocking of Beatrix Storch today should remember that he could be the next tomorrow – keyword indymedia. And anyone who writes on Facebook about the G20 riots all too well risks a blockage in anticipatory obedience. That’s how it works when you shake the entrance to hell. Censorship is not a one-way street.

But now to excerpts from the instructive interview, published in the Friday of issue 1/2018 .

Question: So blame for misery is the relativism of post-structuralists!

Guillaume Paoli: Complicity, I would say. With this attitude, everything looks extremely tolerant, but who does not accept this pose, is branded as eternal. By the way, the current right-wingers play this game skillfully when they say they are not Nazis. They just invoke their identity, not in vain is a movement called “The Identities”. This is consistently modern in the times of identity politics .

That brings us to topics like Trump and Brexit. Just won the diehards?

No, I think the real sensation was that suddenly people became visible who were invisible until now.

How did they become invisible?

Let’s take Seattle. This is a wonderful city, everyone is cycling, there are only health food shops, chickens run through the city. Sitting in Seattle, Microsoft, Amazon and Starbucks, the residents in the center are well-paid employees of the companies mentioned. The old population, who lived in Seattle 15 years ago, now lives outside. They can not go to work by bike. They have to travel far to make the sandwiches for the hip residents, but in city life they are completely invisible. By the way, Seattle chose Clinton with 87 percent, which makes us proud.

What is so bad about 87 percent of Clinton?

At least it is questionable. For these people who live so exemplary and choose Clinton, they scoff their nose at each other contemptuously. They do not realize that they reproduce a class contempt as in the worst of the 19th century. At that time the bourgeoisie was scolding the stinking workers, but now – and that’s the perfidy – with a good conscience.

Now let’s talk about class struggle. So also about Marx?

Yeah, but there’s a punchline: in the Communist Manifesto , Marx praises the bourgeoisie for sweeping away rigid institutions like nation, tradition, or patriarchy in order to fully unleash capitalism. If modern leftists today boast of their fight against conservative traditions, they are essentially completing the bourgeoisie project of 1848. I mean, you can do that, but I ask myself, where is anti-capitalism? (Laughs.)

Tell us!

I do not know that. But according to this logic, the opponents of emancipation are suddenly no longer the rich as in the past, but the poor and the workers. They choose Trump, do not shop at the health food store and are probably sexist.

Why do writers, journalists and artists find it so difficult to make the invisible visible?

The big question. Where is someone like John Steinbeck, who described the misery in society in the thirties, where are the Hollywood films, for example, showing the drug misery of the white middle and middle classes in America or the exploitation of surrogate mothers by wealthy women, who do not want to ruin their bodies with a pregnancy? There are so many untold stories from reality.


They also say we live in a time of ongoing presence. What do you mean by that?

The Volksbühne is a good example again. It has always been said that a quarter of a century Castorf is now enough, because now comes the contemporary! As if the contemporary had value in itself. The amazing thing is, never before has so much been talked about creativity, but the only new thing is updates. I wonder if something new is possible with this constant drive for innovation and self-optimization.

Is that the dialectical punchline in late capitalism?

What I have described as a mutation is a form of society in which there are no opposing forces: working class, socialism, trade unions, all invisible or irrelevant. The point, however, is that the greatest danger to capitalism is capitalism itself, its self-destructiveness. We are now aware of this from the ecological catastrophes, and today – as was the case with the trade union workers – today, they are basically the capitalist opponents who are trying to save capitalism.”

He has written the biography of a “world celebrity”

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It is no coincidence that this book is coming now. “The future of the plant depends on our relationship with C , ” writes Hesse, and is aware that climate change requires an understanding of the carbon’s countless conditions and eternal round dance, and our intervention in this. Based on these premisses, the science expert has joined a piece of reading about the life of life and the dead’s gas that can hit curiosities of all kinds of heime.

He himself says that parts of the text will probably favor those interested in the field, but that it is fully possible and allowed to skip these parties without losing the big picture. He has the jam right in. Long chemical formulas are still a foreign language for me, but through Hessen’s book I get much more insight into nature’s intricate systems.

Advanced genealogy research
Magazine solar energy, trilobites, plastic, soot, nylon stockings, star dust, us; The common denominator is carbon. That everything is connected with everything is almost impossible not to think about. Book is thirty where the first two, “C in total” and “C in the circuit” are thorough, yet staggering, history of science. Discovery, mapping and use of carbon compounds are first of all useful, but then, eventually, the wrong side of it all comes for a day.

The last part, “Footprints”, is a short rounding in terms of how to handle this disordered the unreasonable deal with C puts us in. This is hyperactual and this is where discussions can continue. About “the great balance between photosynthesis and cell respiration, building and burning”.

Klimafestivalen §112
The bad week-long and nationwide climate festival is taking place these days. The main library also houses events in this regard. Come for example tonight and check out the Pecha Kucha event with climatic solutions for building and city, as well as improving the carbon budget balance for an eye.


Self-help books no one has written (yet)

Self-help literature is still an enormous economy. Here’s a lot of money to pick up for us writers. A search for the subject “personality development” in Deichman’s catalog gives 630 hits . We will still be better people. And experts, actual or self-employed, stand in line to help us. In addition, we have all weekly magazines and magazines that present the same well-advised advice and tips in the loop each week and month. Newly published Publishing Manifest Book Perfect by Mari Grinde Arntzen , describing our constant hanging out of perfectionism. In winter, Danish psychologist Svend Brinkmann achieved a lot of attention when he launched seven steps to become less perfect in the book. Stand up: Say no to self-development . (Paradoxically, it is categorized under “Self-development” on

But what about rather to market mediocrity? The half-god? A life in the middle of the tree? Non-capitalist perfectionism. Not that simple life in an island village. But something in the middle of between? The literature blog pitches hereby “The new self-help literature”. Do you like to write, this is the way for quick money. You can give readers advice that does not lead into one or the other ditch. Check the list of book ideas we think will revolutionize the self-help market.

The new self-help literature – a business idea

 Title: Become a mediocre user!

Excerpt: “Have a Facebook account, but never update it. Then you are not such a teat FB boycott, you get the event invitations, but you show that you think FB is a place of excellence for people with low self-esteem. “


Title: Release stress: Get moderately introvert!

Excerpt: “Introvert is the new extrovert. Book Quiet: The introverted strength of a world that never stops talking told us how many smart, laborious introverted people are being overlooked. But how smart is it really to do a lot of work, but be so quiet that you do not get cred for it? The question thus becomes: How to make the least thing out of it and at the same time not to be such a kind of smartass? The art is to be both lazy and quiet in the doors. Those who do not speak often do not have to do anything. Everyone knows that the person who proposes an action is asked to perform it. Think about it every time you want to open the jaw. “

Title: Mobile-Log Part Of!

Excerpt: “Get an old Motorola from the electronics collection. Make sure it does not have MMS or camera. Never respond to calls, just on text messages, at least one day after you receive one. Never send SMS to socialize, only if it’s something you want to accomplish for yourself. Then you do not let people contact you and are you lucky, no one answers you either. “

Those who do not speak often do not have to do anything.


Title: Half-old is the new young!

Excerpt: “Refraction is the first step. Start by dropping everything called concealer, foundation and powder. The boys usually have to show everything they have of dark rings, pimple outbursts, drought and rashes. Now you can show your solidarity by doing the same. Then you drop your eyeache. Notice the indescribable freedom that lies in being able to rub in the eyes. Drop all the stick you have previously smeared on the trot. Feel the pleasure to let go of all the fat you eat through lipstick, lip gloss and lipstick. Kiss people and fairy without spreading pigments around the face on them. Drop the tank on red spots on the chin, mouth wounds and teeth after the end of the meal.

Soon people will see your actual age. It will reduce much confusion and misunderstandings. But keep your handsome clothes. You do not want to look like your grandparents either. “(This book only has women as a target group, because this council took men already in the early 19th century.)


Title: Dropp kosen, keep the coffee

Excerpt: “Get away with kosen. Throw all your blankets, pillows and cube lights. If you’re comfortable at home, you’ll never get out. This has older and more urban countries like Japan though for the longest. They relax at the café and bar. It’s only here in the North we’re looking forward to cramping us, to feel better in our own private prison and not to hit people we do not know.

Pussed down. Feel the pleasure to see your house fall due. But do not do it to save the environment for unnecessary garbage, pollutants and production discharges. It’s too trendy. Get out and drink a cup of coffee on the “waiting table” at the nearest Kiwi store. Then you do not enjoy yourself, but you see and are seen, without having to talk to anyone. “


Title: Self-winding of 1-2-3

Excerpt: “The need for self-development has left the shaft. Sometimes it’s better to do self-esteem: resign, grind and plant yourself on-site rest. In terms of career choices, jewelry designers, business leaders and bloggers are the losers of the workforce. Become an office roster, loose worker or substitute for the rest of your life. Consider a career change if you have a little too creative profession.

Careers are for cynics. Handcraft for nostalgic workers. Bet on the blurred middle road. Set yourself in the same routine position most of your life. Do not move to a better home, and sit straight up and down with your hands in your lap as often as you can. Stand still is the new jogging. How long can you stay inactive at the same place? Without committing mindfulness or yoga? Stay where you are, know your read, but do not know the moment. Let your mind go, but not the body.

The latter advice leads us to other good title suggestions: “Imagine the little boy”. Or: “Get rid of some of the good conscience”. And finally, an article tip to the fashion magazines: “How to style crocs and all-weather bags”.