https://t.co/1C77JK2vtY

So, you’re a writer and you’re worried about writing outside your immediate experiences and identities.

Here is the thread of practical advice for you.

EXAMINE YOUR MOTIVES. Why do you want to write this?

Are you trying to solve racism/sexism/colonialism with your work?

As writers we love stories about heroic writers whose work has changed the world. And as such we like to look to our own writing to solve societal problems.

And I understand this completely, not the least because I’ve felt the pull.

But if you’re looking to play saviour with your words, it is unlikely that you will do the marginalised people you are trying to save justice.

And I understand this very often comes from place of good intentions, but there is a reason that most of the moralising plays written by white abolitionists are deeply uncomfortable to read.

It is incredibly easy for works looking to play saviour to become patronising or traffic in simplistic stereotypes that ultimately hurt the people they are looking to rescue.

SRI MOOKAMBIKA DEVI, KOLLUR (KAR)

There was an Asura, Kaumasura, who was doing penance to please Shiva and get a boon. To prevent him from asking for a boon, Devi Saraswati made him dumb (hence called Mookasur)
Later, Adi Parashakti slayed him and came to be called Mookambika.

It is said that Adi Shankaracharya had a vision in which Devi agreed to follow him provided he did not look back. He kept walking and was assured of her presence due to the sound of anklets. When he reached here in Kollur, he turned back as the sound of anklets had stopped.

So Devi stayed here and merged with the lingam. The place came to be called Mookambika Kshetram.
The linga has integrated on it’s left side MahaKali, Maha Lakshmi and Maha Saraswathi and on the right side- Brahma, Vishnu and Shiva.

A swarna rekha (gold line) divides this linga into left and right portion. Adi Shakthi in this Udhbhavlinga form appears only here.
Devi sits in padmasana and has 4 hands.
Adi Shankaracharya installed the Sri Chakra in front of Devi and also composed the Soundarya Lahiri here.

This post is pretty bizarre, but it manages to hit on so many false beliefs that I've seen hurt junior data scientists that it deserves some explicit

(1) The notion that R is well-suited to "building web applications" seems totally out of left field. I don't feel like most R loyalists think this is a good idea, but it's worth calling out that no normal company will be glad you wrote your entire web app in R.

(2) It is true that Python had some issues historically with the 2-to-3 transition, but it's not such a big deal these days. On the flip side, I have found interesting R code that doesn't run in modern R interpreters because of changes in core operations (e.g. assignment syntax).

(3) "Most of the time we only need a latest, working interpreter with the latest packages to run the code" -- this is where things get real and reveal some things that hurt data scientists. If this sentence is true, it's likely because you don't share code with coworkers.

(3) Really is a broader issue in data science: people only think of what they need to do their work if no one else existed and code was never maintained. Junior data scientists almost always operate on projects they start from scratch and don't have to maintain for long.

I am reading through reams of late-1920s communist poetry and easily my favourite title so far is: "To a Lady who Rejected a Poem about Spring as a Petit-Bourgeois Deviation"

The last lines:
"So here's my hat into the air,
Three cheers for your amazing hair,
For coal mines, and for turbines, too,
For steel, the Comintern and you!"

A not exactly graceful (though possibly satirical) title: "Lines Disassociating Myself from Yessenin and Supporting the Otherwise Unfounded Legend that I am a Foremost Proletarian Writer"

An excerpt:
"Goodbye verses of Yessenin
Goodbye literary slop-
You are not the line of Lenin
You are not the line of WAPP

Never shall I moan a
simple lyric from the heart
I'll devote my new corona
to the proletarian art"

The poet was Joseph Freeman, who published much of his revolutionary verse in the New Masses, a stylish journal of the interwar American literary Left.