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Ryszard Kapuściński

Ryszard Kapuściński (4 March 1932 – 23 January 2007) was a Polish journalist, photographer, poet and author. He received many awards and was considered a candidate for the Nobel Prize in Literature. Kapuściński's personal journals in book form attracted both controversy and admiration for blurring the conventions of reportage with the allegory and magical realism of literature. He was the Communist-era Polish Press Agency's only correspondent in Africa during decolonization, and also worked in South America and Asia. Between 1956 and 1981 he reported on 27 revolutions and coups, until he was fired because of his support for the pro-democracy Solidarity movement in his native country. He was celebrated by other practitioners of the genre. The acclaimed Italian reportage-writer Tiziano Terzani, Colombian writer Gabriel García Márquez, and Chilean writer Luis Sepúlveda accorded him the title "Maestro".

Notable works include Jeszcze dzień życia (1976; Another Day of Life), about Angola; Cesarz (1978; The Emperor, 1983), about the downfall of Ethiopian ruler Haile Selassie, also considered to be a satire of Communist Poland; Wojna futbolowa (1978; The Soccer War, 1991), an account of the 1969 conflict between Honduras and El Salvador, and other stories from the life of the reporter in Africa and Latin America; Szachinszach (1982; Shah of Shahs, 2006) about the downfall of the last Shah of Persia; Imperium (1993) an account of his travels through the collapsing Soviet Union; Heban (1998), later published in English as The Shadow of the Sun (2001), the story of his years in Africa; and Podróże z Herodotem (2004; Travels with Herodotus), in which he ponders over relevance of The Histories by Herodotus to a modern reporter's job.

Biography
Ryszard Kapuściński was born in Pinsk (now in Belarus), Polesie Voivodeship, in the Kresy Wschodnie or eastern borderlands of the Second Polish Republic in 1932, the son of Maria Bobka (b. 1910) and Józef Kapuściński (b. 1903), primary school teachers. His sister Barbara was born the following year. They were born into poverty: he would later say that he felt at home in Africa as "food was scarce there too and everyone was also barefoot." In September 1938 Ryszard started attending Primary School No 5 in Pinsk. He spent the summer of 1939 together with his mother and sister in Pawłów, a small village near Rejowiec in Lublin Voivodeship. When the Second World War began in September 1939 they came back to Pinsk after the city was captured by the Red Army and Ryszard returned to school there. In 1940 Maria, afraid of deportation to the East, together with Ryszard and Barbara left Pinsk and moved to Sieraków, near Warsaw. There they met Józef. Later the family moved near Otwock. Ryszard continued education in primary school in Otwock (1944–45). He described his early life in the book Imperium.

In 1945 the family settled in Warsaw where Ryszard began education in Stanisław Staszic Gymnasium. He became an amateur boxer (bantamweight) and football player. In 1948, Kapuściński joined the official Communist youth organisationthe ZMPand served lower rank posts. Kapuściński was the hero of the article published in the weekly periodical Odrodzenie reporting on a poetry conference organised at his school, in which the teenager's poems were compared with works of Mayakovsky and Wierzyński.

In June 1950 he graduated from Gymnasium and started working for the Sztandar Młodych (The Banner of Youth), a nationwide newspaper founded in 1950 as the organ of the ZMP. In October 1950 he began his studies at Warsaw University (Department of Polish Studies) and in 1951 he moved to the department of history after he suspended working for Sztandar Młodych till 1955. He participated in the Youth Festival in East Berlin staged in August 1951 in East Germany. This was his first foreign trip. From 1952 and till his death Ryszard Kapuściński was married to doctor Alicja Mielczarek (1933–2022 ). Their daughter Zofia was born in 1953. During the period from 1953 to 1981the year of the imposition of the martial law in PolandKapuściński was a member of the Polish United Workers' Party (the PZPR). His attitude to the PZPR changed early on, "the decisive moment having come in the year 1956" (presumably a reference to the events of Poznań June and the process of de-Stalinisation brought about by the Thaw of Gomułka, and the Hungarian Revolution of 1956).

In June 1955 he graduated from Warsaw University. After publishing, in September 1955, a critical article about the construction of Nowa Huta, a Kraków conurbation built on a site chosen as the "first socialist municipality in Poland", which brought to light the inhuman working and living conditions of the labourers involved in the venture—a story which occasioned consternation before eventually winning favour with the Communist authorities unsure at first how to react to a fault-finding depiction of their pet project by one of their own—Kapuściński was awarded the Golden Cross of Merit at the age of 23.

In August 1956 he reported from Kyiv and in September he was sent to India, his first travel outside Europe. He returned via Afghanistan (where he was detained at the airport in Kabul) and Moscow. In August 1957 he went for half a year to China (via Tokyo and Hong Kong). He came back to Poland by the Trans-Siberian Railway. Beginning with that journey to India undertaken at the age of 24, he travelled across the developing world reporting on wars, coups and revolutions in Africa, Asia, and Latin America. He started learning English in India by reading, with the help of a dictionary, a copy of Hemingway's For Whom the Bell Tolls. He wrote about his first travels to Asia in the book Travels with Herodotus.

In 1958 he left Sztandar Młodych and started working for the Polish Press Agency. Shortly afterwards he also joined the weekly Polityka (where he worked till 1962). The result of his work for the weekly was the book Busz po polsku (The Polish Bush) published in 1962, a collection of his articles from the "Polish wilderness" that he went into to relate "the perspectives of forgotten, invisible, marginal people and so to record a living history of those seldom deemed worthy to enter the annals of official history" (in the words of Diana Kuprel, the literary scholar and translator of Kapuściński's works). He was aggrieved at the indifference of the reading public towards the majority of his early books.

In the late 1950s he went for the first time to Africa (Ghana, Republic of Dahomey and Niger). After honing his skills on domestic stories he was later "'responsible' for fifty countries" for the Polish Press Agency in Africa. (Although a correspondent of an official state press agency, he never in his life asked a single question at any press conference that he attended ). When he finally returned to Poland, he had lived through twenty-seven revolutions and coups, been jailed 40 times and survived four death sentences. In the English-speaking world, Kapuściński is best known for his reporting from Africa in the 1960s and 1970s, when he witnessed first-hand the end of the European colonial empires on that continent.

In 1961 he reported from the Republic of the Congo. He described his escape to Bujumbura and subsequent arrest in the book The Soccer War. In the years 1962–65 he lived initially in Dar es Salaam and later in Nairobi from where he travelled to other countries in Africa. He came back to Poland for only a few weeks in 1965 but returned to Africa to live in Lagos and continue reporting. In April 1965 he travelled to Senegal and Mauritania which he later described in the book The Shadow of the Sun. At the end of 1966 he came back to Poland. In April 1967 he went to Central Asia and Caucasus. In November the same year he started working as a foreign correspondent in South America, based in Santiago. Later he moved to Mexico (1969–72). In 1969 he witnessed war in Honduras which he described in the book The Soccer War. In 1969 he edited and translated from the Spanish El diario del Che en Bolivia, the final literary bequest of Che Guevara. Kapuściński analyzed the situation in Guatemala after a German diplomat Karl von Spreti was kidnapped. He published his reportage in 1970 entitled Dlaczego zginął Karl von Spreti (Why Karl von Spreti Died). He returned to Poland in 1972 and later worked for magazines Kontynenty and Kultura. In September 1975 he went to Angola after which he published the book Another Day of Life. In 1975 and 1977 he went to Ethiopia. The Emperor was written after his travels there. In 1979 he visited his birthplace Pinsk for the first time since 1940. In 1979 he went to Iran to witness the Iranian Revolution. His book Shah of Shahs deals with this subject and the fall of Mohammad Reza Pahlavi, the last Shah of Iran.

In 1980 he witnessed the strikes that took place in Gdańsk, Poland. In 1988 two episodes of Arena were dedicated to him and his work. He travelled in European and Asian parts of the Soviet Union (1989–1992) and witnessed the dissolution of the Soviet Union. After this experience he wrote Imperium. He was awarded German Academic Exchange Service scholarship in Berlin in 1994. In 1999 Kapuściński talked about his life in VPRO in a series of autobiographical interviews with prominent people from the worlds of science, culture and politics.

In a 2006 interview with Reuters, Kapuściński said that he wrote for "people everywhere still young enough to be curious about the world." He was fluent in Polish, English, Russian, Spanish, French and Portuguese. He was visiting professor in Bangalore (1970s), Bonn, Cape Town, Caracas (1979), Columbia University (1983), Harvard University, Irkutsk, London, Madrid, Mexico (1979), San Sebastian, Temple University (1988) and Vancouver.

Kapuściński died on 23 January 2007, of a heart attack suffered in a Warsaw hospital where he was being treated for unrelated ailments.

Literary works
From the early 1960s onwards, Kapuściński published books of increasing literary craftsmanship characterized by sophisticated narrative technique, psychological portraits of characters, a wealth of stylization and metaphor and unusual imagery that serves as means of interpreting the perceived world. Kapuściński's best-known book, The Emperor, concerns itself with the decline of Haile Selassie's anachronistic régime in Ethiopia. The book's story had a special meaning that was not lost on the people of Poland, especially as dissent against the PZPR was taking root. The Emperor was also the book that established Kapuściński's reputation in the West. When it appeared in English translation in 1983 it received an immediate critical success. In 1987 the book was adapted by Michael Hastings and Jonathan Miller into a theatre play, produced by the Royal Court Theatre, London.

Kapuściński was fascinated by the humanity he found in different worlds and people, as well as the books of these worlds and people: he approached foreign countries first through literature, spending months reading before each trip. He was skilled in listening to the diverse people he met, but he was also capable of "reading" the hidden sense of the scenes he encountered: the way the Europeans moved out of Angola, a discussion regarding alimony in the Tanganyikan parliament, the reconstruction of frescoes in the new Russiahe turned each of these vignettes into a metaphor of historical transformation.

This tendency to process private experiences into a greater social synthesis made Kapuściński an eminent thinker, and the volumes of the ongoing Lapidarium series are a record of the shaping of a reporter's observations into philosophical reflections on the world, its people and their suffering. He had great compassion for the poor, the victimised, and the debased.

Kapuściński himself called his work "literary reportage", and reportage d'auteur. In the English-speaking world, his genre is sometimes characterised as "magic journalism" (in counterpoint to magic realism), a term coined by Adam Hochschild in 1994. Kapuściński often introduced himself with the line "I am a poor reporter who unfortunately lacks the imagination of a writer".

Italian journalist Tiziano Terzani and Ryszard Kapuściński shared a similar vision of journalism. Jaime Abello Banfi, the friend and associate of Gabriel García Márquez, reports that García Márquez and Kapuściński, unbeknownst to each other, shared the opinion that the way to good journalism led through poetry (on account of the fact that it inculcates both the conciseness of expression and its aptness).

Kapuściński considered the ancient Greek historian Herodotus a great reporter and his master. He wrote a book Travels with Herodotus where he shows that the Histories of Herodotus are timeless and the masterpiece of reportage. He also considered Curzio Malaparte, Melchior Wańkowicz, Ksawery Pruszyński and Franciszek Gil (1917–1960) to have been his literary models and stylistic precursors. On some level, Pruszyński and Wańkowicz shared a very similar approach to facts with Kapuściński, believing that the general picture of the story can be glued from bits and pieces to reveal a truth as a wholly independent construct. Students of Kapuściński's work observed correspondences between his work and that of J. M. Coetzee in that both writers were supposedly beholden to the theory of "the responsibility of witness".

One reviewer saw in Kapuściński's mixing of subtle psychological reflection with vivid description an invitation to a comparison with Joseph Conrad; Binyavanga Wainaina and Aleksandar Hemon made the same comparison, if for other, less laudatory reasons. Kapuściński confirmed to Bill Deedes the fact that Conrad was one of his literary inspirations. Neal Ascherson likened him to Egon Erwin Kisch (1885–1948) considered the father of literary reportage. Kapuściński himself cites Kisch with approval as the "classic of reportage" who dealt a death blow to traditional forms of reporting by putting the person of the reporter at centre stage. Certainly, neither Kisch nor Kapuściński believed in what might be called "journalistic objectivity": whereas Kisch thought it necessary for a (Communist) reporter to "engage politically" with his subject, Kapuściński would put objectivity as a concept out of court altogether, stating explicitly, "There is no such thing as objectivity. Objectivity is the question of the conscience of the one who writes. And he himself should answer the question is this what he writes close to the truth or not".

Kapuściński's views on his craft were published in 2000 in the book in Italian Il cinico non è adatto a questo mestiere: conversazioni sul buon giornalismo (A Cynic wouldn't Suit This Profession: Conversations about Good Journalism), the book in Spanish from 2003 (distributed for free) Los cinco sentidos del periodista (estar, ver, oír, compartir, pensar) (The Journalist's Five Senses: Witnessing, Seeing, Listening, Sharing and Thinking) and in his Polish book Autoportret reportera (A Reporter's Self Portrait) published the same year. In 1987 Marek Miller talked with Kapuściński on the art of reportage and his life. These conversations were published in Poland in 2012 in the book Pisanie (Writing) but broadcast in Canada on Kalejdoskop Polski TV as early as 1988. He was vocal denouncing manipulations and ignorance of big media.

Photographer
Kapuściński debuted as a photographer in the year 2000 with the publication of the album entitled Z Afryki ("Out of Africa"), a photographic harvest of his journeys in that continent. "Every snapshot is a recollection, a remembrance," he writes in the introduction, "and nothing can sensitise us more to the fragility of time, to its impermanent and fleeting naturethan photography." A sequel, entitled Ze świata ("From the World", published in November 2008 with the introduction of John Updike), comprising a cross-section of Kapuściński's photographs from all parts of the world, contains some truly outstanding shots.

Posthumous and non-reportage works
In Ten Inny ("The Other"), a collection of lectures delivered in Vienna, Graz and Kraków, published shortly before his death, Kapuściński laments a state of affairs perpetuated by the myths which inculcate the notion of the Other as sub-human or non-human. He saw encountering the Other as the main challenge for the twenty-first century. The posthumously published Ho dato voce ai poveri: dialogo con i giovani ("I Gave a Voice to the Poor: Conversations with the Youth"; Trent, Il Margine, 2007; subsequently published in Poland as Dałem głos ubogim. Rozmowy z młodzieżą; Kraków, Znak, 2008) is a record of Kapuściński's interactions with the students of the University of Bolzano in Italy in October 2006; while ''Rwący nurt historii. Zapiski o XX i XXI wieku'' ("In the Whirlpools of History: Jottings on the 20th and the 21st Centuries"; Kraków, Znak, 2007) is a compilation of interviews and lectures, reflecting Kapuściński's training as a historian and dealing with contemporary issues and their historical and cross-cultural parallels (including such issues as globalisation, Islam, the birth of the Third World, and the dawn of the Pacific civilisation).

Kapuściński's pronouncements on current affairs were noteworthy: he thought that the causes of the 9/11 tragedy, for example, were too complex to lend themselves to an exhaustively thorough analysis at present, although he offered an extensive and sophisticated exposition of some of the key elements of the puzzle in the Clash of Civilisations. He was critical on the Clash of Civilisations theory which he saw as an American vision of the world. He told a BBC interviewer right after the attacks: "I greatly fear that we will waste this moment. That instead of meaningful dialogue, it will just be gates and metal detectors".

In an interview granted in 2002 to the then editor-in-chief of the monthly Letras Libres, Ricardo Cayuela Gally, Kapuściński opined that the war on terror, owing to the asymmetrical character of the combatants engaged in it, could only be wonand indeed easily, within a monththrough a (re)introduction of "Stalinism", a method undesirable for the sole reason that it would leave the world under the permanent "hegemony" of the United States, a circumstance that would spell the end of "the free society".

In Poland, since 1986 Kapuściński was also known as a poet: he privately confided in his Swedish translator, Anders Bodegård, that he considered this to be his primary identity. In November 2007 the Canadian publishing house Biblioasis published Kapuściński's selected poems in English, I Wrote Stone, the first English translation of his poetry. Los Angeles Times wrote: "Big events (...) may have been treated lyrically in his prose, but (...) these poems capture the moments between crises, impressions that carry a book-length argument in a few lines". Collected poems from his books were published in Poland and Canada in 2012 in both Polish and English in the book Collected Poems, translated by Diana Kuprel and Marek Kusiba.

Although he was not the sole model for the role, Kapuściński was given a portrayal as the main character in Andrzej Wajda's 1978 film Without Anesthesia. Aleksandar Hemon, the Bosnian-American novelist (who had previously impugned Robert D. Kaplan's stereotyping of "the Balkan mind"), in a critique of Kapuściński's Africa writings published in The Village Voice, accused Kapuściński's readers of turning a blind eye to "the underlying proto-racist essentialism" that informs his vision of and his approach to the cultures of the continent: "[Kapuściński] fumes against the racism absurdly based on skin colour, and would probably be shocked if told that his obsessive listing of essential differences [between "the African mind" and "the European mind"] is essentially racist".

Reception
Kapuściński had a global reputation, and is one of the Polish writers translated into the highest number of foreign languages.

In an obituary published in Der Spiegel, Kapuściński was described by German journalist Claus Christian Malzahn as "one of the most credible journalists the world has ever seen". Daniel Alarcón, a Peruvian-American novelist, cited Kapuściński as a formative influence together with Dostoyevsky. The American journalist and reportage-writer Richard Bernstein, saw value in the "penetrating intelligence" of Kapuściński's vision and in his "crystallised descriptive" style of writing. The British journalist Bill Deedes, who had witnessed the Rwandan genocide first-hand, said of Kapuściński that what he "writes about Africa is authoritative as well as captivating. His account of how the Hutus and the Tutsis were drawn into that dark night of genocide in Rwanda is the most enlightening I have read anywhere" and that he had "transformed journalism into literature in his writings about Africa". Professor Philip Melling of Swansea University has concurred with this opinion, citing Kapuściński as an authority on the Rwandan conflict.

Salman Rushdie wrote about him: "One Kapuściński is worth more than a thousand whimpering and fantasizing scribblers. His exceptional combination of journalism and art allows us to feel so close to what Kapuściński calls the inexpressible true image of war".

Frequently mentioned as a favorite to win the Nobel Prize in literature, he never did. Kapuściński's dying before he could be awarded the Prize was bemoaned in the Swedish press as late as October 2010. Since his death he has been offered many epitaphs in the press, such as, "The master of modern journalism", "Translator of the World" and "The Greatest Reporter in the World", "Herodotus of our times", "Third World chronicler".

Over the years, particularly since 1983 when The Emperor was named Book of the Year by The Sunday Times of London, Kapuściński was the recipient of many international literary prizes that brought recognition to his creative oeuvre: these included, for example, the biennial Hanseatic Goethe Prize awarded by the Hamburg-based foundation, the Alfred Toepfer Stiftung, which he received in 1999; or the Italian Elsa Morante Prize (Premio Elsa Morante, Sezione Culture D'Europa) in 2005, for his Travels with Herodotus (the new category of the Premio Elsa Morante, called "Cultures of Europe", in effect a separate prize awarded by the same jury, having apparently been created specially for him).

In 2001 Kapuściński received the literary Prix Tropiques of the French Development Agency for his book The Shadow of the Sun, published in France under the title Ébène: Aventures africaines, which had a year earlier been named the best book of the year by the French literary monthly, Lire; the book also won the Italian literary award, Feudo Di Maida Prize (in full, Premio Letterario Internazionale Feudo Di Maida), for the year 2000. That same year (2000) Kapuściński was honoured with the prestigious Premio Internazionale Viareggio-Versilia, as well as having received the Creola Prize (Premio Creola) in Bologna (awarded for travel books and facilitation of intercultural encounters), and the "Premio Letterario 'Della Resistenza' of the Piedmontese city of Omegna (Premio Omegna).

In 2003 Kapuściński received the Premio Grinzane Cavour per la Lettura in Turin; shared the Prince of Asturias Award (in the category "Communications and Humanities") with the Peruvian theologian Gustavo Gutiérrez; and was awarded the Kreisky Prize (Bruno-Kreisky-Preis für das politische Buch) for the entirety of his work ("Sonderpreis für das publizistische Gesamtwerk"; the award ceremony having taken place in Vienna in May of the following year). As the doyen of literary reportage, he was the keynote speaker at the inaugural ceremony, held in Berlin in October 2003, for the Lettre Ulysses Awards for the Art of Reportage.

In 2005 the Italian edition of Kapuściński's poems (which appeared in print the previous year as Taccuino d'appunti in the translation of Silvano De Fanti) won the state-funded Naples Prize (Premio Napoli). To complete the round-up of Italian prizes, the next year Kapuściński was awarded a special category of the Ilaria Alpi Prize for the entirety of his career (Premio Ilaria Alpi alla carriera), one of the best-known of Italian journalistic awards, named for an Italian investigative reporter murdered in Somalia in 1994 (although the scope of the prize is limited to TV journalism, special categories of prizes for which he would not otherwise qualifyas also for example in the case of the Elsa Morante Prizehave been created for Kapuściński). Kapuściński received honorary doctorates from the University of Silesia (1997), the University of Wrocław (2001), the University of Sofia (2002), the University of Gdańsk (2004), Jagiellonian University (2004). In June 2005 Kapuściński was invested with an honorary doctorate by the private Ramon Llull University of Barcelona, Spain; and in May 2006, just eight months before his death, he received a similar degree from the University of Udine in Italy.

In 2010, Warsaw City Council established the Ryszard Kapuściński Award as a form of distinction and promotion of the most worthwhile reportage books which touch on important contemporary issues, evoke reflection, and deepen our knowledge of the world of other cultures.

Controversy and biographies
Since at least 1987 Kapuściński's veracity as a reporter has been disputed, and he responded with the explanation that his work had been allegorical. By his own account he chose to avoid dates, names, and orders of events. Since at least 2001, there has been literary debate about to which genre Kapuściński's work should be categorized.

A 2001 review by John Ryle concerned the Kapuściński memoir entitled The Shadow of the Sun released in the same year. Ryle alleged that questions about the reliability of Kapuściński's reportage began with The Emperor. Scrutinizing Kapuściński's translation of expressions of fealty by Ethiopian courtiers, Ryle said that "native speakers of Amharic say that these honorifics correspond to no known expressions in their language." Ryle wrote that he visited Ethiopia in the 1990s when the action of The Shadow of the Sun was taking place. He said there were inaccuracies in the story, for example, that Mengistu's generals did not escape justice and that the 'academics' among them were few and far in between. Ryle noticed that the initials of Kapuściński's informants did not correspond to the names of witnesses in the trial of the Derg in Addis Ababa. He added that Kapuściński's description of the capital devoid of bookstores did not correspond to what he has seen on his last visit there, because he found six bookstores there. He also disputed Kapuściński's assertion that Haile Selassie did not read books by saying he had a library, was well read, and annotated documents.

Ryle continued:

Polish scholars Dr. Beata Nowacka (University of Silesia) and Dr. Zygmunt Ziątek (Polish Academy of Sciences) wrote the first biography of Kapuściński, which was published by Znak in 2008 under the title ''Ryszard Kapuściński. Biografia pisarza''. Their monograph was translated in 2010 to Spanish (Kapuscinski. Una biografía literaria) and in 2012 to Italian (Ryszard Kapuściński. Biografia di uno scrittore). Professor Silvano De Fanti from the University of Udine wrote Kapuściński's biography for the Opere (2009), published in Italian in the Meridiani series which aims to collect major writers of all times from all countries.

In 2010, a Polish language monograph titled Kapuściński Non-Fiction written by Artur Domosławski was published in Warsaw. Kapuściński's widow, Alicja Kapuścińska, sought an injunction against Domosławski's book, claiming defamation and invasion of privacy. The injunction was rejected by the Polish court on the grounds that she had chosen to give Domosławski access to her husband's archive. In an interview with The Guardian Domosławski said: "Kapuściński was experimenting in journalism. He wasn't aware he had crossed the line between journalism and literature. I still think his books are wonderful and precious. But ultimately, they belong to fiction." Domosławski's monograph was translated to English in 2012 by Antonia Lloyd-Jones and first published by Verso Books as ''Ryszard Kapuściński. A Life'' in 2012.

Neal Ascherson defended Kapuściński in March 2010 by saying: "None of the doubts, as far as I can see, are about the despatches and features he sent to newspapers, or to the Polish Press Agency. They are about his books. The adventures and encounters he describes in his books are on a different level of veracity. Like his friend Gabriel García Márquez, Kapuściński used to talk about "literary reportage". You're meant to believe what you are being told, but not in every literal detail. ... Scrupulous in his journalism, in his books he was capable of inventing to make a truth even truer. He was a great story-teller, but not a liar." Timothy Garton Ash was more critical. Ash wrote later that month (reprinted in his Facts Are Subversive): "with Kapuscinski, we keep crossing from the Kenya of fact to the Tanzania of fiction, and back again, but the transition is nowhere explicitly signalled."

Reviewing the English translation of Domosławski's book for The Financial Times in 2012, the then permanent secretary of the Nobel-awarding Swedish Academy, Peter Englund, said: "In any case, the "literary" in "literary reportage" doesn't absolve you of your duty to the facts. Neither is it possible, in my mind, to see it as a sliding scale, in which you are able slowly to introduce droplets of fiction into a factual text until, at a certain point, the mixture transforms into pure fiction. No, once an element of fiction is introduced into a text everything immediately turns into fiction – maybe fiction with a strong resemblance to the real world, but still fiction."

The first biographers, Nowacka and Ziątek, responded to Domosławski's allegations with their own new book, ''Literatura non-fiction. Czytanie Kapuścińskiego po Domosławskim (Non‑fiction literature: Reading Kapuściński after Domosławski'') which was published in Polish by the University of Silesia Press in 2013. They oppose the accusation of creating a myth, and his own legend, as well as confabulations and opportunism, showing a selected and tendentious usage of the author's life knowledge, the lack of comprehension of literary reportage, manipulation with texts and quotations, as well as numerous factual and technical mistakes made by Domosławski. In 2013 the publisher of Domosławski's book apologized to Alicja Kapuścińska and her daughter. In May 2015 amendments were ordered by a court in Warsaw which also ruled that Domosławski should apologise to Kapuściński's widow, however in August 2015 the same court has ruled that the author will not have to apologise to Kapuściński's daughter.

Works available in English

 * Another Day of Life (Jeszcze dzień życia) (1976)
 * The Soccer War (Wojna futbolowa) (1978)
 * The Emperor: Downfall of an Autocrat (Cesarz) (1978)
 * Shah of Shahs (Szachinszach) (1982)
 * Imperium (Imperium) (1993)
 * The Shadow of the Sun (Heban) (1998)
 * Our Responsibilities in a Multicultural World (Powinności obywatela świata wielokulturowego) (2002)
 * Travels with Herodotus (Podróże z Herodotem) (2007)
 * Encountering the Other: The Challenge for the Twenty-first CenturyThe Inaugural Lecture of the Thirty-six[th] Annual School of Polish Language and Culture at the Jagiellonian University, 5 July 2005 (Spotkanie z Innym jako wyzwanie XXI wieku: wykład z okazji otwarcia 36. Szkoły Języka i Kultury Polskiej Uniwersytetu Jagiellońskiego) (2005)
 * Inside an Iceberg (Wewnątrz góry lodowej; extract from The Shadow of the Sun) (2007)
 * I Wrote Stone: The Selected Poetry of Ryszard Kapuściński (2007)
 * The Cobra's Heart (extract from The Shadow of the Sun) (2007)
 * The Other (Ten Inny) (2008) – A collection of the author's lectures.
 * My Morning Walk (Spacer poranny) (2009) – The reportage about Poland and Warsaw, written in the 1990s and found after Kapuściński's death. Published in a book which, besides Polish original text, includes translations to English, German and Spanish.
 * Collected Poems (Wiersze zebrane) (2012)

Works currently unavailable in English

 * The Polish Bush (Busz po polsku) (1962) – A collection of early essays.
 * Black Stars (Czarne gwiazdy) (1963) – A book which focuses on Kwame Nkrumah and Patrice Lumumba.
 * The Kirghiz Dismounts (Kirgiz schodzi z konia) (1968) – Essays and articles about seven of the Caucasian and Central Asian republics of the (then) Soviet Union (some of the material subsequently incorporated in Imperium).
 * If All Africa... (Gdyby cała Afryka) (1969) – A collection of essays and articles about Africa.
 * Why Karl von Spreti Died (Dlaczego zginął Karl von Spreti) (1970) – A book about Guatemala during the 1960s and 1970s, in the background of the assassination of Karl von Spreti.
 * Christ With a Rifle on His Shoulder (Chrystus z karabinem na ramieniu) (1975) – A book which focuses on the partisan movements in Africa, Latin America and Middle East.
 * An Invitation to Georgia (Zaproszenie do Gruzji) (1983)
 * The Notebook (Notes) (1986) – First collection of the author's poetry.
 * Lapidarium (1990)
 * Lapidarium II (1995)
 * Lapidarium III (1997)
 * Lapidarium IV (2000)
 * A Cynic wouldn't Suit This Profession: Conversations about Good Journalism (Il cinico non è adatto a questo mestiere: conversazioni sul buon giornalismo) (2000) – Later translated into Spanish and Polish, includes a previously unpublished dialogue with John Berger.
 * Lapidarium V (2002)
 * A Reporter's Self Portrait (Autoportret reportera) (2003) – A collection of interviews with and quotes by Kapuściński, translated into Hungarian (2004), Spanish (2005), Italian (2006) and French (2008).
 * The Journalist's Five Senses: Witnessing, Seeing, Listening, Sharing and Thinking (Los cinco sentidos del periodista (estar, ver, oír, compartir, pensar)) (2003) – distributed for free
 * The Laws of Nature (Prawa natury) (2006) – Second collection of the author's poetry
 * I Gave a Voice to the Poor: Conversations with the Youth (Ho dato voce ai poveri: dialogo con i giovani) (2007) – A collection of interactions with Italian students.
 * Kapuściński: I cannot Encompass the World (Kapuściński: nie ogarniam świata) (2007) – A collection of seven interviews with Kapuściński between 1991 and 2006.
 * Lapidarium VI (2007)
 * Collected Poetry (Wiersze zebrane) (2008)
 * Hospital Diary (Zapiski szpitalne) (2008) – Kapuściński's last writings.
 * Writing: Marek Miller talks with Ryszard Kapuściński (Pisanie. Z Ryszardem Kapuścińskim rozmawia Marek Miller), Warsaw, Czytelnik, 2012 (book + DVD) – conversations with Kapuściński on the art of reportage, recorded in the 1980s.

Magazine contributions in English (by issue)

 * Granta 15: A Warsaw Diary
 * Granta 16: Science
 * Granta 20: In Trouble Again
 * Granta 21: The Story-Teller
 * Granta 26: Travel
 * Granta 28: Birthday Special!
 * Granta 33: What Went Wrong?
 * Granta 48: Africa
 * Granta 73: Necessary Journeys
 * Granta 88: Mothers
 * see also, in book form: Ryszard Kapuściński [et al.], The Best of Granta Reportage, London, Granta, 1993.

Photography

 * Out of Africa (Z Afryki) (2000) – The author's first photo album. Published in Spain as Desde Africa (2001), and in Italy as Dall'Africa (2002).
 * Ryszard Kapuściński: Fragment (2002) – Catalogue of the author's photography exhibition held at the Opus Gallery in Wrocław in May 2002.
 * From the World (Ze świata) (2008) – A collection of the author's photographs from all over the world, with an introduction by John Updike (text in Polish).
 * My Morning Walk (Spacer poranny) (2009) – A collection of the author's photographs from the Mokotów Field in Warsaw (text in English, German and Spanish, as well as Polish).
 * Ryszard Kapuściński: From the Imperium (2010) – Catalogue of the author's photography exhibition held at the Zachęta National Gallery of Art in Warsaw, 18 December 2010 – 20 February 2011.
 * The Polish Bush: Postscriptum (Busz po polsku. Postscriptum) (2012) – A collection of the author's photographs from the exhibition Konin jak Colorado. These photographs were discovered in 2010.

Other

 * Pracownia Reportażu (Beck et al., inspired by Marek Miller), Who Allowed Journalists Here (Kto tu wpuścił dziennikarzy), Independent Publishing House NOWA, 1985 – 41 conversations with journalists (including Kapuściński) recorded between September 1980 and May 1981 about the Gdańsk Shipyard strikes in 1980.
 * Adam Hochschild, Finding the Trapdoor: Essays, Portraits, Travels, Syracuse, N.Y., Syracuse University Press, 1997 ("Magic Journalism," pp. 241–250).
 * Anders Bodegård and Maria Söderberg, A Visit to Pinsk with Ryszard Kapuściński, tr. Frank Gabriel Perry, Enskede (Sweden), Maria Söderberg, 1999; ISBN 91-630-7912-7.
 * Kazimierz Wolny-Zmorzyński, Wobec świata i mediów. Ryszarda Kapuścińskiego dylematy dziennikarskie, literackie, społeczno-polityczne, Kraków, Instytut Dziennikarstwa Uniwersytetu Jagiellońskiego, 1999
 * Gdański Areopag – Forum Dialogu (Bock et al.), The Truth (Prawda), Gdańsk – Pelplin, WDP Bernardinum, 2004, ISBN 83-7380-206-1 – Includes conversations with Kapuściński and other interlocutors on the subject of truth, which took place on 9 November 2003 in Gdańsk.
 * Krzysztof Masłoń, Love is not Our Lot (Miłość nie jest nam dana), Warsaw, Prószyński i S-ka, 2005 – Includes conversations with Kapuściński and other interlocutors.
 * Aleksandra Kunce, The anthropology of points. Deliberations on texts by Ryszard Kapuściński  (Antropologia punktów. Rozważania przy tekstach Ryszarda Kapuścińskiego), Katowice, Silesia University Press, 2008
 * Maciej Sadowski, Ryszard Kapuściński: Photobiography, Warsaw, VEDA, 2013 – in English and Polish.
 * Marek Kusiba, Ryszard Kapuściński from far and near (Ryszard Kapuściński z daleka i z bliska), Warsaw, Znak 2018

Documentary films
Kapuściński wrote a screenplay for a 1962 Polish documentary film 80-dni Lumumby (80 days of Lumumba) directed by Tadeusz Jaworski about Patrice Lumumba. Imperfect Journey is a 1994 Ethiopian documentary film directed by Haile Gerima. Gerima travelled to Ethiopia together with Kapuściński. The film explores the political and psychic recovery of the Ethiopian people after the repression of the military junta of Mengistu Haile Mariam.

Documentary films about Kapuściński include Jacek Talczewski's Ryszard Kapuściński (Polish, 1987, the idea of the film by Marek Miller), Filip Bajon's Poszukiwany Ryszard Kapuściński (Polish, 1998), Piotr Załuski's Druga Arka Noego (Polish, 2000), ''Pejzaże dzieciństwa. Ryszard Kapuściński (Polish, 2005), Gabrielle Pfeiffer's A Poet on the Front Line: The Reportage of Ryszard Kapuściński (English, 2004), Beata Hyży-Czołpińska's Ostatnia książka Ryszarda Kapuścińskiego (Polish, 2008), Olga Prud'homme-Farges' L'Afrique vue par Ryszard Kapuściński (French, 2014, also in German as Am Puls Afrikas)., and Ela Chrzanowska's Los ríos. El viaje a México con el Maestro Kapuściński'' (Spanish and Polish, 2016).

title: Ryszard Kapuściński


text:
Extensionality

In logic, extensionality, or extensional equality, refers to principles that judge objects to be equal if they have the same external properties. It stands in contrast to the concept of intensionality, which is concerned with whether the internal definitions of objects are the same.

Example
Consider the two functions f and g mapping from and to natural numbers, defined as follows:
 * To find f(n), first add 5 to n, then multiply by 2.
 * To find g(n), first multiply n by 2, then add 10.

These functions are extensionally equal; given the same input, both functions always produce the same value. But the definitions of the functions are not equal, and in that intensional sense the functions are not the same.

Similarly, in natural language there are many predicates (relations) that are intensionally different but are extensionally identical. For example, suppose that a town has one person named Joe, who is also the oldest person in the town. Then, the two predicates "being called Joe", and "being the oldest person in this town" are intensionally distinct, but extensionally equal for the (current) population of this town.

In mathematics
The extensional definition of function equality, discussed above, is commonly used in mathematics. A similar extensional definition is usually employed for relations: two relations are said to be equal if they have the same extensions.

In set theory, the axiom of extensionality states that two sets are equal if and only if they contain the same elements. In mathematics formalized in set theory, it is common to identify relations—and, most importantly, functions—with their extension as stated above, so that it is impossible for two relations or functions with the same extension to be distinguished.

Other mathematical objects are also constructed in such a way that the intuitive notion of "equality" agrees with set-level extensional equality; thus, equal ordered pairs have equal elements, and elements of a set which are related by an equivalence relation belong to the same equivalence class.

Type-theoretical foundations of mathematics are generally not extensional in this sense, and setoids are commonly used to maintain a difference between intensional equality and a more general equivalence relation (which generally has poor constructibility or decidability properties).

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Extensionality


text:
Sundanese language

Sundanese (: basa Sunda, ; Sundanese script: ; Pegon: بَاسَا سُوْندَا) is a Malayo-Polynesian language spoken by the Sundanese. It has approximately 32 million native speakers in the western third of Java; they represent about 15% of Indonesia's total population.

Classification
According to American linguist Robert Blust, Sundanese is closely related to the Malayic languages, as well as to language groups spoken in Borneo such as the Land Dayak languages or the Kayan–Murik languages, based on high lexical similarities between these languages.

History and distribution
Sundanese is mainly spoken on the west side of the island of Java, in an area known as Tatar Sunda (Pasundan). However, Sundanese is also spoken in the western part of Central Java, especially in Brebes and Cilacap Regency, because these areas were previously under the control of the Galuh Kingdom. Many place names in Cilacap are still Sundanese names such as Dayeuhluhur, Cimanggu, Cipari and so on.

Until 1600 AD, Sundanese was the state language in the kingdoms of Salakanagara, Tarumanagara, Sunda, Galuh, and Pajajaran. During this period, Sundanese was heavily influenced by the Sanskrit language as seen in the Batu Tapak Kaki Kiri Nyoreang inscription at the time of King Purnawarman, using the Pallava script. Sundanese at that time was used in the fields of state, art, and daily life, many religious books were written in Sundanese and used Old Sundanese script such as the Sanghyang Siksa Kandang Karesian Manuscript, Carita Parahyangan, Amanat Galunggung, and Guru Talapakan.

In addition, according to some Sundanese language experts until around the 6th century, the area of speech reached around the Dieng Plateau in Central Java, based on the name "Dieng" which is considered the name Sundanese (from the origin of the word dihyang which is an Old Sundanese word). Along with transmigration and immigration carried out by the Sundanese ethnics, speakers of this language have spread beyond the island of Java. For example, in Lampung, South Sumatra, Jambi, Riau, West Kalimantan, Southeast Sulawesi and even outside the country of Indonesia, such as Taiwan, Japan, Australia and other countries, a significant number of ethnic Sundanese live in areas outside the Pasundan.

Dialects
Sundanese has several dialects, conventionally described according to the locations of the people:

 * Western dialect, spoken in the provinces of Banten and some parts of Lampung;
 * Northern dialect, spoken in Bogor, and northwestern coastal areas of West Java;
 * Southern or Priangan dialect, spoken in Sukabumi, Sumedang, Cianjur, Bandung, Garut and Tasikmalaya
 * Mid-east dialect, spoken in Cirebon, Majalengka and Indramayu,
 * Northeast dialect, spoken in Kuningan, and Brebes (Central Java),
 * Southeast dialect, spoken in Ciamis, Pangandaran, Banjar and Cilacap (Central Java).

The Priangan dialect, which covers the largest area where Sundanese people lives (Parahyangan in Sundanese), is the most widely spoken type of Sundanese language, taught in elementary till senior-high schools (equivalent to twelfth-year school grade) in West Java and Banten Province.

Writing
The language has been written in different writing systems throughout history. The earliest attested documents of the Sundanese language were written in the Old Sundanese script (Aksara Sunda Kuno). After the arrival of Islam, the Pegon script is also used, usually for religious purposes. The Latin script then began to be used after the arrival of Europeans. In modern times, most of Sundanese literature is written in Latin. The regional government of West Java and Banten are currently promoting the use of Standard Sundanese script (Aksara Sunda Baku) in public places and road signs. The Pegon script is still used mostly by pesantrens (Islamic boarding school) in West Java and Banten or in Sundanese Islamic literature.

Phonology
Sundanese orthography is highly phonemic (see also Sundanese script).

Vowels
There are seven vowels: a, é , i , o , u , e , and eu.

Consonants
According to Müller-Gotama (2001) there are 18 consonants in the Sundanese phonology:, , , , , , , , , , , , , , , , , ; however, influences from foreign languages have introduced several additional consonants such as , , (as in fonem, qur'an, xerox, zakat). The consonantal phonemes are transcribed with the letters p, b, t, d, k, g, c, j , h, ng , ny , m, n, s , w, l, r , and y. Other consonants that originally appear in Indonesian loanwords are mostly transferred into native consonants: f/v → p, sy  → s, z  → j, and kh  → h.

Epenthetic semivowels and  are inserted after a high vowel immediately followed by another vowel, as in the words:
 * kuéh –
 * muih –
 * béar –
 * miang –

Register
Sundanese has an elaborate system of register distinguishing levels of formality. At the beginning of speech level development, it was known 6 levels of Sundanese language: basa kasar (rough), sedeng (medium), lemes (polite), lemes pisan (very polite), kasar pisan (very rough), and basa panengah (intermediate). But since the 1988 Congress of Sundanese Language in Bogor, the speech level has been narrowed to only two parts: basa hormat (respectful) and basa loma (fair). Besides that, the term was changed to "tatakrama basa" (lit. 'language manners'), although the substance remained the same. The hormat variant is a subtle language to respect, while the loma variant is fair, neutral and familiar use. This variety of loma language is then used as a kind of "standard" variety of written languages in Sundanese society. Sundanese magazines, newspapers, literary books and theses, mostly using the loma variant.

Apart from the two previous levels, there is actually one more lowest level, namely cohag (rough). This level is only used when angry or just to show intimacy between speakers. This register can only be found in the Sundanese Priangan dialect, while other dialects such as Bantenese Language, generally do not recognize this register.

For many words, there are distinct loma and lemes forms, e.g. arék (loma) vs. badé (lemes) "want", maca (loma) vs. maos (lemes) "read". In the lemes level, some words further distinguish humble and respectful forms, the former being used to refer to oneself, and the latter for the addressee and third persons, e.g. rorompok "(my own) house" vs. bumi "(your or someone else's) house" (the loma form is imah).

Similar systems of speech levels are found in Japanese, Korean and Thai.

Plural form
Other Austronesian languages (especially those in western Indonesia) commonly use reduplication to create plural forms. However, Sundanese inserts the ar infix into the stem word. If the stem word starts with l, or contains r following the infix, the infix ar becomes al. Also, as with other Sundanese infixes (such as um), if the word starts with vowel, the infix becomes a prefix. Examples:
 * 1) Mangga A, tarahuna haneut kénéh. "Please sir, the bean curds are still warm/hot." The plural form of tahu 'bean curd, tofu' is formed by infixing ar after the initial consonant.
 * 2) Barudak leutik lalumpatan. "Small children running around." Barudak "children" is formed from budak (child) with the ar infix; in lumpat (run) the ar infix becomes al because lumpat starts with l.
 * 3) Ieu kaén batik aralus sadayana. "All of these batik clothes are beautiful." Formed from alus (nice, beautiful, good) with the infix ar that becomes a prefix because alus starts with a vowel. It denotes the adjective "beautiful" for the plural subject/noun (batik clothes).
 * 4) Siswa sakola éta mah balageur. "The students of that school are well-behaved." Formed from bageur ("good-behaving, nice, polite, helpful") with the infix ar, which becomes al because of r in the root, to denote the adjective "well-behaved" for plural students.

However, it is reported that this use of al instead of ar (as illustrated in (4) above) does not to occur if the 'r' is in onset of a neighbouring syllable. For example, the plural form of the adjective curiga (suspicious) is caruriga and not *caluriga, because the 'r' in the root occurs at the start of the following syllable. The prefix can be reduplicated to denote very-, or the plural of groups. For example, "bararudak" denotes many, many children or many groups of children (budak is child in Sundanese). Another example, "balalageur" denotes plural adjective of "very well-behaved".

Active form
Most active forms of Sundanese verbs are identical to the root, as with diuk "sit" or dahar "eat". Some others depend on the initial phoneme in the root:
 * 1) Initial, , , , , , , , ,  can be put after prefix nga like in ngadahar.
 * 2) Initial, , , ,  can be put after prefix ng like in nginum "drink".

Negation
Polite:

Formal:
 * Abdi teu acan neda. "I have not eaten yet."
 * Buku abdi mah sanés nu ieu. "My book is not this one."

 * Kuring acan dahar. "I have not eaten yet."
 * Buku kuring mah lain nu ieu. "My book is not this one."

Question
Dupi (for polite situation)/Ari (for formal situation)-(question)

example:

Polite:

Formal:
 * Dupi Tuang Rama nyondong di bumi? "Is your father at home?"
 * Dupi bumi di palih mana? "Where do you live?"

 * Ari Bapa aya di imah? "Is your father at home?"
 * Ari imah di beulah mana? "Where do you live?"

Passive form
Polite: Formal:
 * Buku dibantun ku abdi. "The book is brought by me." Dibantun is the passive form ngabantun "bring".
 * Pulpén ditambut ku abdi. "The pen is borrowed by me."
 * Soal ieu dipidamel ku abdi. "This problem is done by me."
 * Kacasoca dianggo ku abdi. "Glasses worn by me."
 * Buku dibawa ku urang. "The book is brought by me." Dibawa is the passive form mawa "bring".
 * Pulpén diinjeum ku urang. "The pen is borrowed by me."
 * Soal ieu digawékeun ku urang. "This problem is done by me."
 * Tasma dipaké ku urang. "Glasses worn by me."

Adjectives
Examples:

teuas (hard), tiis (cool for water and solid objects), tiris (cool for air), hipu (soft), lada (hot/spicy, usually for foods), haneut (warm), etc.

Place
Sundanese has three generic prepositions for spatial expressions:
 * di: 'in', 'at' etc., indicating position
 * dina/na: 'on', 'at' etc., indicating specific position
 * ka: 'to', indicating direction (from places like city, country, buildings, rooms, street, human, entities, etc. and treating the noun as a place where something happens)
 * kana: 'to', indicating specific direction (from things, tools, containers, plants, organs or parts of body, etc. and treating the noun as an object)
 * ti: 'from', indicating origin
 * tina: 'from', indicating specific origin
 * h
 * h

Using different type of prepositions can result in different meanings.

di cai: at the bathroom/toilet

dina cai: inside of water

ka cai: going to a bathroom/toilet

kana cai: into water

ti cai: (someone) comes from the bathroom/toilet

tina cai: (something) made of water, or (something) comes from water

ka mobil: going inside a car

kana mobil: something is done/happened to a car

To express more specific spatial relations (like 'inside', 'under' etc.), these prepositions have been combined with locative nouns:

Di gigir/luhur/handap/tukang/hareup (also ka gigir, ti gigir etc.) are absolute adverial expressions without a following noun. To express relative position, they have to add the suffix -eun, e.g.:

Polite: Formal: Di jero, di luar and the polite forms luhur & pengker can be used both with and without a following noun.
 * di luhur bumi – 'on top of the house'
 * dina luhur lomari – 'on top of the cupboard'
 * ti pengker bumi – 'from behind the house', alternative version: pengkereun bumi
 * tina pengker lomari – 'from behind the cupboard'
 * di luhureun imah – 'on top of the house'
 * dina luhureun lomari – 'on top of the cupboard'
 * ti tukangeun imah – 'from behind the house'
 * tina tukangeun lomari – 'from behind the cupboard'

Sample text
The following texts are excerpts from article 1 of the Universal Declaration of Human Rights in Sundanese, along with the original declaration in English.

Sakumna jalma gubrag ka alam dunya téh sipatna merdika jeung boga martabat katut hak-hak anu sarua. Maranéhna dibéré akal jeung haté nurani, campur-gaul jeung sasamana aya dina sumanget duduluran.
 * Sundanese in Latin script

 * Sundanese in Pegon script

 * Sundanese in Sundanese script

All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.
 * English

title: Sundanese language


text:
Dean Ween

Michael Melchiondo Jr. (born September 25, 1970), better known by his stage name Dean Ween, is an American guitarist, singer and a founding member of the alternative rock group Ween. He is currently active in the groups Ween, Moistboyz and The Dean Ween Group.

Biography
In 1984, Melchiondo met Aaron Freeman in a junior high school typing class, in their hometown of New Hope, Pennsylvania. The two adopted the fictitious surname Ween after the demon-god Boognish appeared to them, with Melchiondo taking up the name Dean Ween and Freeman the name Gene Ween.

In 1991, Melchiondo formed the punk rock duo Moistboyz with Guy Heller. Moistboyz have released five eponymous studio recordings.

Melchiondo made contributions to two projects by his friend Josh Homme: The Desert Sessions and Queens of the Stone Age. On the 2002 Queens of the Stone Age album Songs for the Deaf, Melchiondo played guitar on "Mosquito Song", "Gonna Leave You", and "Six Shooter".

In 2009 Melchiondo received his captain's license and regularly leads fishing trips off the Jersey Shore as Mickey's Guide Service.

In 2012, in the wake of Ween's breakup, Melchiondo formed The Dean Ween Group. In August 2016 the Dean Ween Group's debut album, The Deaner Album, was announced with the release of the first track entitled "Mercedes Benz". On October 7, 2016 Melchiondo's first-ever solo music video was released for the song "Exercise Man", the music video was directed by Monica Hampton. "The Deaner Album" was subsequently released on October 21, 2016 through ATO Records. Melchiondo's second solo album under The Dean Ween Group moniker, rock2, was released on March 16, 2018.

Discography
with Ween

 * GodWeenSatan: The Oneness (1990)
 * The Pod (1991)
 * Pure Guava (1992)
 * Chocolate and Cheese (1994)
 * 12 Golden Country Greats (1996)
 * The Mollusk (1997)
 * White Pepper (2000)
 * Quebec (2003)
 * Shinola Vol. 1 (2005)
 * La Cucaracha (2007)

title: Dean Ween


text:
Gene Ween

Aaron Freeman (born March 17, 1970), better known by his stage name Gene Ween, is an American singer, guitarist and a founding member of the experimental alternative rock group Ween. Freeman, along with childhood friend Mickey Melchiondo (Dean Ween), started the group in the mid-1980s. Ween would expand to five members and perform together until May 2012 when Freeman abruptly quit the band due to his want to move forward with a solo career, as well as his desire to remain sober. Over the next few years, Freeman would briefly abandon the Gene Ween name and lead a new five-piece band called Freeman. Shortly after reviving the Gene Ween name for a series of Billy Joel tribute performances, Ween reunited in February 2016 for three concerts in Broomfield, Colorado. The band has continued to perform and tour since.

Career
Freeman and Melchiondo met in an eighth grade typing class in 1984, in New Hope, Bucks County, Pennsylvania, where they both grew up. Both of them talked about bands they liked and playing their own music. Soon, they hung out and began jamming, recording most of what they put together. Ween's music slowly progressed from a bedroom-style recording project, eventually signing to a major record label and transforming into a full live band.

Freeman occasionally played solo acoustic shows as a side project of Ween. In December 2008, Freeman began performing with Ween bassist Dave Dreiwitz, drummer Joe Russo, and guitarist Scott Metzger as The Gene Ween Band. The band's shows featured rarely played Ween songs, a few covers, and Freeman-penned songs performed for the first time. Freeman would perform dozens of shows, both solo and with the Gene Ween Band, from 2008 to 2011.

In May 2012, Freeman suddenly announced his departure from Ween, as an attempt to rehabilitate himself after years of drug and alcohol abuse, which peaked during Ween's 2011 tour. That same month, Partisan Records released Freeman's debut solo LP, Marvelous Clouds, a collection of Rod McKuen cover songs produced by Ben Vaughn.

Two months after leaving Ween, he stopped using the name Gene Ween and began performing as Aaron Freeman. In November 2013, Freeman self-released Gener's Gone: The Final Demo Recordings of Gene Ween, a six-song collection of demo tracks Freeman had previously recorded before dropping the Gene Ween moniker. The album was released digitally via Bandcamp. In 2014, Freeman formed a new five-piece band, aptly named Freeman. The band's debut, titled Free-Man, was released on May 23, 2014, by Partisan Records. The second half of 2014 was spent touring alongside Arc Iris.

In 2015, Freeman returned to using the Gene Ween name for his "Gene Ween Does Billy Joel" tribute concerts. The band featured, among others, Paul Green and Dan Hickey of They Might Be Giants and performed shows in Woodstock and Brooklyn. Freeman described the return of the Gene Ween name as a positive thing:"At the end of the day, people know Gene Ween. It's not anything I should be ashamed of...I was really having an identity crisis and that happens – just what you said – so it's important to separate those things. You get lost in who you are. As I grow and get more confident in who I am and my sobriety it's like, 'Oh yeah, Gene Ween.' It's a positive thing and it represents the work I did since I was 16."

Freeman also used the Gene Ween name when he joined Umphrey's McGee onstage during their second set at the May 22, 2015 Summer Camp Music Festival. Jokingly referring to their collaboration as Godboner, Freeman and Umphrey's McGee performed a set of Ween covers, as well as "The Stranger" by Billy Joel.

On November 16, 2015, Ween announced that they would reunite for three concerts at the 1stBank Center in Broomfield, Colorado in February 2016. Ween has continued to perform and tour since. Freeman has also continued performing outside of Ween, including a 2017 tour of his Gene Ween Does Billy Joel tribute show. Freeman was scheduled to perform with Umphrey's McGee once again on June 21, 2020, until the event was cancelled as a result of the COVID-19 pandemic.

Personal life
Aaron Freeman is married to Leah Ben-Ari with whom he has one son. Freeman has one other child, musician Ashton Freeman, from a previous relationship, born in 1998. He is Jewish.

Freeman lived and recorded at his home in Lambertville, New Jersey until moving to Woodstock, New York in 2012 and then Seattle, Washington in 2020.

Freeman has talked about his drug use, prior to his sobriety, He spoke openly and in detail about his personal life, drug use, and time spent in Ween on the WTF with Marc Maron podcast (episode 309).

Selected discography

 * With Ween
 * GodWeenSatan: The Oneness (1990)
 * The Pod (1991)
 * Pure Guava (1992)
 * Chocolate and Cheese (1994)
 * 12 Golden Country Greats (1996)
 * The Mollusk (1997)
 * White Pepper (2000)
 * Quebec (2003)
 * Shinola, Vol. 1 (2005)
 * La Cucaracha (2007)

 * With Z-Rock Hawaii
 * Z-Rock Hawaii (1997)

 * With Freeman
 * Freeman (2014)

 * Solo work
 * Synthetic Socks (1987)
 * Marvelous Clouds (2012) (released as Aaron Freeman)
 * Gener's Gone: The Final Demo Recordings of Gene Ween (2013) (released as Aaron Freeman)

title: Gene Ween


text:
Whitton, Lincolnshire

Whitton is a village and civil parish in North Lincolnshire, England. The 2011 census found 212 inhabitants, in 92 households. It is situated at the northern termination of the Lincoln Cliff range of hills, on the south shore of the Humber about 3 mi below Trent Falls, and 9 mi west of Barton-upon-Humber. The parish is bounded on the west by Alkborough, on the east by Winteringham (which also includes the Winteringham Haven Wildlife Reserve) and, to the south, by West Halton.

Toponymy
Cameron and Mills have suggested that the place name  is an Old English masculine personal name (genitive -n) + Anglian ēg, hence  'Hwita's island of land', but Ekwall thought the name meant ‘White Island’ perhaps assuming wrongly that the ground was chalky. Gelling pointed out that the settlement is situated on an obvious ēg, i.e. an 'island' of dry land, projecting into the Humber Estuary, and surrounded on east and west by former marshy ground.

History
Whitton may have originated at the time the Romans crossed the Humber northward in 71 AD; first as a military camp and then later as a Roman villa, overlooking the river, with its temple a few yards to the east, where the Church now stands. It is possible that Whitton was a landing stage on the south bank for the Roman fort and civitas of Petuaria Parisorum at Brough across the river. Roman Coins of Claudius Gothicus (268–270 AD) and Constantine I (the Great) (309–337 AD) have been found in the fields. Pevsner states that the Church tower "re-uses massive blocks of Roman stone", but these blocks of millstone grit which are to be found in several local churches (such as neighbouring Winteringham) may have been transported down the Ouse and the Humber from York where Roman buildings were being dismantled, or may even have come from some sort of triumphal arch or structure (perhaps like the Arch of Constantine), which might have stood at the end of Ermine Street.

Whitton is mentioned in the 1086 Domesday Book as "Witenai". Before the Conquest lordship was held by Siward Barn, and after by Saswalo of Ettington, with Henry de Ferrers becoming Tenant-in-chief. Listed are 300 acre of meadow, land for eight ploughs, two plough teams belonging to the lord, five men's plough teams, ten villans (villagers) four bordars (smallholders) and ten freemen. The land was valued at seven pounds.

The church is not mentioned in the Domesday survey. St. John the Baptist is a building of stone overlooking the Humber, consisting of a west tower, a small nave (22 ft wide and 37 ft long) with a chancel and a south vestry attached. The partly Romanesque (or Norman) tower contains three, now untolled, bells; the third bell is said to have been brought from the village of Welton, across the river in Yorkshire. The base of the tower forms a porch and the large tower arch, leading into the nave, is thought to be Romanesque. The font is also ancient and may be from the same period. The church seems to have been almost completely rebuilt in about 1797-8 when the elaborate crocketted pinnacles were removed from the top of the tower. A drawing, by Nattes, of 1794 shows a dilapidated structure with a south aisle and a south porch.

The church was reseated in 1865 at the expense of Lady Strickland, and between about 1892 and 1897 the nave, chancel and roof were entirely rebuilt from the designs of W. & C. A. Bassett-Smith, architects, of London. On the north side of the chancel are two stained-glass windows, erected in 1918 to the memory of Henry Spilman who was killed in the First World War. In 1952–53 cracks in the tower were repaired under the direction of A.R Haynes, architect of Brigg.

A small part of the relatively new island of Whitton Island in the Humber Estuary falls within the parish.

Census
Census table showing the relative stability of the population:

title: Whitton, Lincolnshire


text:
Dean of the College of Cardinals

The dean of the College of Cardinals (Decanus Collegii Sanctae Romanae Ecclesiae Cardinalium) presides over the College of Cardinals in the Catholic Church, serving as primus inter pares (first among equals). The position was established in the 12th century. He always holds the rank of a cardinal bishop, and is assisted by a vice-dean. Both are elected by and from the cardinal bishops who are not Eastern Catholic patriarchs, with their election subject to papal confirmation. Except for presiding over the college, the dean and vice-dean have no power over the other cardinals. In the order of precedence in the Catholic Church, the dean and vice-dean, as the two most senior cardinals, are placed second and third, respectively, after the pope.

For centuries, the cardinal bishop who had been a bishop of a suburbicarian see the longest was the dean. This custom became a requirement with the canon law of 1917. On 26 February 1965, Pope Paul VI empowered the cardinal bishops to elect the dean from among their number. Both the dean and subdean must reside in Rome.

Until December 2019, the dean held the position until death or resignation; there was no mandatory age of retirement. Then, upon accepting Cardinal Angelo Sodano's resignation as dean of the College of Cardinals, Pope Francis established that the dean would henceforth serve a five-year term that may be renewed once. In anticipation of the election of a new dean, Francis said: "I am hoping they will elect someone who can carry this important responsibility full time."

Responsibilities
The dean summons the conclave for the purposes of electing a new pope following a death or resignation. The Dean presides over the daily meetings of the College of Cardinals in advance of the conclave and then presides over the conclave if his age does not prohibit his participation. The dean also has the responsibility of communicating the "news of the Pope's death to the Diplomatic Corps accredited to the Holy See and to the Heads of the respective Nations". He is the public face of the Holy See until a new pope is elected. If he participates in the conclave, the dean asks the pope-elect if he accepts the election, and then asks the new pope what name he wishes to use. If the dean himself is elected pope, the aforementioned tasks are assumed by the sub-dean of the College of Cardinals. If the newly elected pope is not already a bishop, the dean ordains him a bishop.

The dean has "the title of the diocese of Ostia, together with that of any other church to which he already has a title," such as his suburbicarian diocese. This has been the case since 1914, by decree of Pope Pius X—previous deans had given up their suburbicarian see and taken the joint title of Ostia and Velletri, which were separated in that same 1914 decree.

Deans elected pope
Nine Deans have been elected pope:
 * 1) Corrado Demitri, elected in 1153 as Pope Anastasius IV
 * 2) Ubaldo Allucingoli, elected Pope Lucius III in 1181
 * 3) Ugolino di Conti was elected Pope Gregory IX in 1227
 * 4) Rinaldo di Jenne was elected Pope Alexander IV in 1254
 * 5) Pedro Julião was elected Pope John XXI in September 1276
 * 6) Rodrigo Borgia was elected Pope Alexander VI in 1492
 * 7) Alessandro Farnese was elected Pope Paul III in 1534
 * 8) Gian Pietro Carafa was elected Pope Paul IV in May 1555
 * 9) Joseph Ratzinger was elected Pope Benedict XVI in 2005

List of deans
The following is the list of deans of the Sacred College of Cardinals, separated into three groups to account for the Western Schism, which ended after the Council of Constance. The earliest attested reference to the "College of Cardinals" is at the Council of Reims in 1148.

Each name in the following list includes years of birth and death, then comma-separated years of cardinalate and deanship.

12th century

 * Pietro Senex (d. 1134) (1102, before 1130)
 * Guillaume (d. 1137/39) (1122, 1130)
 * Corrado della Suburra (1073–1154) (1114, 1137/39) Elected Pope Anastasius IV in 1153
 * Imar of Tusculum (d. 1161) (1142, 1153, deposed 1159 )
 * Gregorio de Suburra (d. 1163) (1140, 1159)
 * Ubaldo Allucingoli (1097–1185) (1138, 1163) Elected Pope Lucius III in 1181
 * Conrad of Wittelsbach (1120/25–1200) (1165, 1181)

13th Century

 * Ottaviano di Paoli (d. 1206) (1182, 1200)
 * Pietro Gallocia (d. 1211) (1188, 1206)
 * Nicola de Romanis (d. 1219) (1204, 1211)
 * Ugolino dei Conti di Segni (1145–1241) (1198, 1219) Elected Pope Gregory IX in 1227
 * Pelagio Galvani (d. 1230) (1206/07, 1227)
 * Jean Halgrin (1180–1237) (1227, 1230)
 * Jacques de Vitry (1160/70–1240) (1228, 1237)
 * Rinaldo Conti (1185–1261) (1227, 1240) Elected Pope Alexander IV in 1254
 * Odo of Châteauroux (1190–1273) (1244, 1254)
 * John of Toledo (d. 1275) (1244, 1273)
 * João Pedro Julião (1210–1276) (1273, 1275) Elected Pope John XXI in 1276)
 * Bertrand de Saint-Martin (d. 1277) (1273, 1276)
 * Ordonho Alvares (1198–1285) (1278, 1278)
 * Bentivenga dei Bentivenghi (1230–1289) (1278, 1285)
 * Latino Malabranca Orsini (d. 1294) (1278, 1289)
 * Gerardo Bianchi (1220/25–1302) (1278, 1294)

14th Century

 * Giovanni Boccamazza (d. 1309) (1285, 1302)
 * Leonardo Patrasso (1230–1311) (1300, 1309)
 * Giovanni Minio de Murovalle (1250–1312) (1302, 1311)
 * Nicolò Albertini (1250–1321) (1303, 1312)
 * Berengar Fredol the Elder (1250–1323) (1305, 1321)
 * Berengar Fredol the Younger (d. 1323) (1312, 1323)
 * Guillaume Godin (1260–1336) (1312, 1323)
 * Pierre Desprès (1288–1361) (1320, 1336)
 * Élie de Talleyrand-Périgord (1301–1364) (1331, 1361)
 * Guy de Boulogne (1313–1373) (1342, 1364)
 * Ange de Grimoard (1315/20-1388) (1366, 1373, deposed by Urban VI in 1378, reappointed to the post in the obedience of Avignon until 1388)

During the Western Schism
The obedience of Rome (1378–1415)
 * Tommaso da Frignano (1305–1381) (1378)
 * Francesco Moricotti Prignano (d. 1394) (1378, 1381)
 * Philippe d'Alençon (1338–1397) (1378, 1394)
 * Pietro Pileo di Prata (1330–1400) (1378, 1397)
 * Angelo Acciaioli (1349–1408) (1384, 1405)
 * Enrico Minutoli (d. 1412) (1389, 1408 until 1409)
 * Antonio Correr (1369–1445) (1408, 1409 until 1415)

The obedience of Avignon (1378–1429)
 * Ange de Grimoard (until 1388)
 * Pietro Corsini (1335–1405) (1370, 1388)
 * Gui de Malsec (d. 1412) (1375, 1405, deposed 1409, retained the post in the obedience of Pisa)
 * Jean Flandrin (after 1301–1415) (1390, 1405)
 * Julián Lobera y Valtierra (d. 1435) (1423, 1423 until 1429)

The obedience of Pisa (1409–1415)
 * Gui de Malsec (until 1412)
 * Jean Allarmet de Brogny (1342–1426) (1385, 1412 until 1415)

15th Century

 * Angelo Correr (ca.1330–1417) (1415, 1415)
 * Jean-Allarmet de Brogny (1342–1426) (1385, 1417)
 * Baldassare Cossa (ca.1360/70–1419) (1419, 1419)
 * Jean Allarmet de Brogny (2nd term) (1342–1426) (1385, 1419)
 * Angelo d'Anna de Sommariva (d. 1428) (1384, 1426)
 * Giordano Orsini (1360/70–1438) (1405, 1428)
 * Antonio Correr (again) (1369–1445) (1408, 1438)
 * Giovanni Berardi (1380–1449) (1439, 1445)
 * Amadeo de Savoy (1383–1451) (1449, 1449)
 * Francesco Condulmer (1390–1453) (1431, 1451)
 * Giorgio Fieschi (ca.1395–1461) (1439, 1453)
 * Isidore of Kiev (1380/90–1463) (1439, 1461)
 * Bessarion (1403–1472) (1439, 1463)
 * Guillaume d'Estouteville (1403–1483) (1439, 1472)
 * Rodrigo Borgia (1431–1503) (1456, 1483) Elected Pope Alexander VI in 1492)
 * Oliviero Carafa (1430–1511) (1467, 1492)

16th Century

 * Raffaele Riario (1461–1521) (1477, 1511)
 * Bernardino Lopez de Carvajal (1456–1523) (1493, 1521)
 * Francesco Soderini (1453–1524) (1503, 1523)
 * Niccolò Fieschi (1456–1524) (1503, 1524)
 * Alessandro Farnese (1468–1549) (1493, 1524) Elected Pope Paul III in 1534)
 * Giovanni Piccolomini (1475–1537) (1517, 1535)
 * Giovanni Domenico de Cupis (1493–1553) (1517, 1537)
 * Gian Pietro Carafa (1476–1559) (1536, 1553) Elected Pope Paul IV in 1555)
 * Jean du Bellay (1492–1560) (1535, 1555)
 * François de Tournon (1489–1562) (1530, 1560)
 * Rodolfo Pio de Carpi (1500–1564) (1536, 1562)
 * Francesco Pisani (1494–1570) (1517, 1564)
 * Giovanni Girolamo Morone (1509–1580) (1542, 1570)
 * Alessandro Farnese, juniore (1520–1589) (1534, 1580)
 * Giovanni Antonio Serbelloni (1519–1591) (1560, 1589)
 * Alfonso Gesualdo (1540–1603) (1561, 1591)

17th Century

 * Tolomeo Gallio (1526–1607) (1565, 1603)
 * Domenico Pinelli (1541–1611) (1585, 1607)
 * Francois de Joyeuse (1562–1615) (1583, 1611)
 * Antonio Maria Galli (1553–1620) (1586, 1615)
 * Antonio Maria Sauli (1541–1623) (1587, 1620)
 * Francesco Maria del Monte (1549–1626) (1588, 1623)
 * Ottavio Bandini (1558–1629) (1596, 1626)
 * Giovanni Battista Deti (1576–1630) (1599, 1629)
 * Domenico Ginnasi (1550–1639) (1604, 1630)
 * Carlo Emmanuele Pio de Savoia, seniore (1585–1641) (1604, 1639)
 * Marcello Lante della Rovere (1561–1652) (1606, 1641)
 * Giulio Roma (1584–1652) (1621, 1652) served less than 5 months
 * Carlo de' Medici (1595–1666) (1615, 1652)
 * Francesco Barberini, seniore (1597–1679) (1623, 1666)
 * Cesare Facchinetti (1608–1683) (1643, 1680)
 * Niccolò Albergati-Ludovisi (1608–1687) (1645, 1683)
 * Alderano Cybo (1613–1700) (1645, 1687)

18th Century

 * Emmanuel–Theodose de la Tour d'Auvergne de Bouillon (1643–1715) (1669, 1700)
 * Niccolò Acciaiuoli (1630–1719) (1669, 1715)
 * Fulvio Astalli (1655–1721) (1686, 1719)
 * Sebastiano Antonio Tanara (1650–1724) (1695, 1721)
 * Francesco del Giudice (1647–1725) (1690, 1724)
 * Fabrizio Paolucci (1651–1726) (1697, 1725)
 * Francesco Pignatelli 1635 (1652–1734) (1703, 1726)
 * Francesco Barberini (1662–1738) (1690, 1734)
 * Pietro Ottoboni (1667–1740) (1689, 1738)
 * Tommaso Ruffo (1663–1753) (1706, 1740)
 * Pierluigi Carafa (1677–1755) (1728, 1753)
 * Rainiero d'Elci (1670–1761) (1737, 1755)
 * Giuseppe Spinelli (1694–1763) (1735, 1761)
 * Carlo Alberto Guidoboni Cavalchini (1683–1774) (1743, 1763)
 * Gian Francesco Albani (1720–1803) (1747, 1774) longest deanship
 * Henry Benedict Maria Clement Stuart (1725–1807) (1747, 1803) longest total cardinalate

19th Century

 * Leonardo Antonelli (1730–1811) (1775, 1807)
 * Alessandro Mattei (1744–1820) (1779, 1814) vacancy caused by his exile by Napoleon
 * Giulio Maria della Somaglia (1744–1830) (1795, 1820)
 * Bartolomeo Pacca (1756–1844) (1801, 1830)
 * Lodovico Micara (1775–1847) (1824, 1844)
 * Vincenzo Macchi (1770–1860) (1826, 1847)
 * Mario Mattei (1792–1870) (1832, 1860)
 * Costantino Patrizi Naro (1798–1876) (1834, 1870)
 * Luigi Amat di San Filippo e Sorso (1796–1878) (1837, 1877)
 * Camillo di Pietro (1806–1884) (1853, 1878)
 * Carlo Sacconi (1808–1889) (1861, 1884)
 * Raffaele Monaco La Valletta (1827–1896) (1868, 1889)
 * Luigi Oreglia di Santo Stefano (1828–1913) (1873, 1896)

20th Century

 * Serafino Vannutelli (1834–1915) (1887, 1913)
 * Vincenzo Vannutelli (1836–1930) (1889, 1915)
 * Gennaro Granito Pignatelli di Belmonte (1851–1948) (1911, 1930)
 * Francesco Marchetti-Selvaggiani (1871–1951) (1930, 1948)
 * Eugène Tisserant (1884–1972) (1936, 1951)
 * Amleto Giovanni Cicognani (1883–1973) (1958, 1972)
 * Luigi Traglia (1895–1977) (1960, 1974)
 * Carlo Confalonieri (1893–1986) (1958, 1977)
 * Agnelo Rossi (1913–1995) (1965, 1986, retired 1993)
 * Bernardin Gantin (1922–2008) (1977, 1993, retired 2002)

title: Dean of the College of Cardinals