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Gary Edwards

Do You Live In A Death Spiral State? - Forbes - 0 views

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    Takers vs. Makers.  It all comes down to that ratio.  Incredibly, California is not at the top of high risk States!  New Mexico holds that honor. excerpt: Don't buy a house in a state where private sector workers are outnumbered by folks dependent on government. Thinking about buying a house? Or a municipal bond? Be careful where you put your capital. Don't put it in a state at high risk of a fiscal tailspin. Eleven states make our list of danger spots for investors. They can look forward to a rising tax burden, deteriorating state finances and an exodus of employers. The list includes California, New York, Illinois and Ohio, along with some smaller states like New Mexico and Hawaii. "Ranked on the taker/maker ratio, our 11 death spiral states range from New Mexico, with 1.53 takers for every maker, down to Ohio, with a 1-to-1 ratio. The taker count is the number of state and local government workers plus the number of people on Medicaid plus 1 for each $100,000 of unfunded pension liabilities. Sources: the Bureau of Labor Statistics, the Kaiser Commission on Medicaid and a study of state worker pensions done in 2009 by two academics, Joshua Rauh and Rovert Novy-Marx. Professor Rauh estimates that the shortage in pension funding is on average a third higher today. The second element in the death spiral list is a scorecard of state credit-worthiness done by Conning & Co., a money manager known for its measures of risk in insurance company portfolios. Conning's analysis focuses more on dollars than body counts. Its formula downgrades states for large debts, an uncompetitive business climate, weak home prices and bad trends in employment."
Paul Merrell

FBI monitored and critiqued African American writers for decades | Books | The Guardian - 0 views

  • Newly declassified documents from the FBI reveal how the US federal agency under J Edgar Hoover monitored the activities of dozens of prominent African American writers for decades, devoting thousands of pages to detailing their activities and critiquing their work. Academic William Maxwell first stumbled upon the extent of the surveillance when he submitted a freedom of information request for the FBI file of Claude McKay. The Jamaican-born writer was a key figure in the Harlem Renaissance, author of the sonnet If We Must Die, supposedly recited by Winston Churchill, and Maxwell was preparing an edition of his complete poems. When the file came through from the FBI, it stretched to 193 pages and, said Maxwell, revealed “that the bureau had closely read and aggressively chased McKay” – describing him as a “notorious negro revolutionary” – “all across the Atlantic world, and into Moscow”.
  • Maxwell, associate professor of English and African American studies at Washington University in St Louis, decided to investigate further, knowing that other scholars had already found files on well-known black writers such as Langston Hughes and James Baldwin. He made 106 freedom of information requests about what he describes as “noteworthy Afro-modernists” to the FBI; 51 of those writers had files, ranging from three to 1,884 pages each. “I suspected there would be more than a few,” said Maxwell. “I knew Hoover was especially impressed and worried by the busy crossroads of black protest, leftwing politics, and literary potential. But I was surprised to learn that the FBI had read, monitored, and ‘filed’ nearly half of the nationally prominent African American authors working from 1919 (Hoover’s first year at the Bureau, and the first year of the Harlem Renaissance) to 1972 (the year of Hoover’s death and the peak of the nationalist Black Arts movement). In this, I realised, the FBI had outdone most every other major institution of US literary study, only fitfully concerned with black writing.”
  • Maxwell’s book about his discovery, FB Eyes: How J Edgar Hoover’s Ghostreaders Framed African American Literature, is out on 18 February from Princeton University Press. It argues that the FBI’s attention was fuelled by Hoover’s “personal fascination with black culture”, that “the FBI is perhaps the most dedicated and influential forgotten critic of African American literature”, and that “African American literature is characterised by a deep awareness of FBI ghostreading”.
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  • Digital copies of 49 of the FBI files have been made available to the public online. “The collected files of the entire set of authors comprise 13,892 pages, or the rough equivalent of 46 300-page PhD theses,” Maxwell writes in the book. “FBI ghostreaders genuinely rivalled the productivity of their academic counterparts.” The academic told the Guardian that he believes the FBI monitoring stems from the fact that “from the beginning of his tenure at the FBI ... Hoover was exercised by what he saw as an emerging alliance between black literacy and black radicalism”.
  • The files show how the travel arrangements of black writers were closely scrutinised by the FBI, with the passport records of a long list of authors “combed for scraps of criminal behaviour and ‘derogatory information’”, writes Maxwell. Some writers were threatened by “‘stops’, instructions to advise and defer to the Bureau if a suspect tried to pass through a designated point of entry” to the US.
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