Thank you very much for inviting me and thank you everyone for coming to listen. I'm very excited to be here also because my research has always been very interdisciplinary but I don't find a lot of opportunities to talk to different audiences. So today I'm excited to be able to talk to you and I'm also looking forward to your comments and your questions in the tutorial and I hope that this will be something that will be useful for my research as well. So our lecture is entitled, Diasporic Literature Between Adaptation and Resistance, Kamila Shamsi's Home Fire. In my research I have come to think more and more about the relationship between adaptation and resistance especially in related to postcolonial literature and diaspora literature, not as a tension between a need to adapt and the necessity to resist but more and more as a dialectic that is formative on both sides. So actually in this title there is a bit of a pun, a word play on the word adaptation because whenever we think of diaspora we think of the need to adapt to conform which is in tension with another need to resist, to have a claim to be who you are, to have a claim on your identity. However in literature adaptation is not necessarily equal to conform to adapt to a situation but it goes hand in hand with resistance because it can be and I hope to show in this lecture that adaptation itself can be and is for many writers today or many theater people today a form of resistance itself. Sorry. So Home Fire as I also wrote in the blurb and you have read it is a contemporary retelling, a contemporary version of Sophocles' strategy from 442 BCE from the perspective of British Muslims in a post-911 world and in relation to UK's anti-terror laws especially denaturalization which is in this novel revoking of British citizenship particularly when an individual joins ISIS. I wanted to remind a little bit of Sophocles' Antigone and Antigone is the daughter of notorious edipus who has been haunting modernity as well not only antiquity but also modernity as well. So as you see edipus had four children and after he died somehow cursing his sons the sons were engaged in a battle for power. Etiocles at the time of the battle was the king of Thebes various Polynesians had a similar claim on the city so he joined forces with Argos and he attacked Thebes. At the end of this war which resembles very much our understanding of a civil war today the sons of Edipus, Etiocles and Polynesians killed one another and Creon their uncle became the new king and he published an edict saying that Etiocles as king will be given a what we would today might call a state funeral with full honors whereas Polynesians is a traitor and his body will be left to rot in front outside the city walls so he wouldn't be admitted into inside the city walls and he would not not only be admitted into the city but also he would be refused burial. So as you can see it's very easy to draw a parallelism between Polynesians and all the people who are accused with charges of being enemies of the state today. So that's why in the epigraph of Shamski's novel there is an allusion to Shimasini's version of Antigone called a burial at Thebes where he says the ones we love are enemies of the state so this is where we start from in home fire as well but what happened after this proclamation was that Antigone one of the sisters decided to bury her brother did not obey the edict and symbolically performed funeral rites on the body and he was punished by Creon to be buried alive in a cave tomb where she could await her death. However he was confronted by this wise blind seer Tiresias and then in the very end he tried to evade the dire consequences of his decision by giving the body burial and releasing Antigone but he's too late and not only has Antigone committed suicide in the world but also his very son and Antigone's fiance Heyman has committed suicide next to her and upon hearing her son's death Eurydice his wife has also committed suicide so what he is left with Creon in the end is he's left shattered all alone having most all his family so Camilla Shemsey was proposed by a theater director in London Jatin Darvarma to adapt Antigone to talk about the plight of British Muslims in the UK today and she could immediately see the residents and the play talked to her immediately but she thought that she could only do it in the novel form because she is a novelist so she changed plans and she changed the medium of expression from a play into the novel and she also asked herself some questions in reworking the tragedy so the first one is thought like okay we can't have this today you can't leave a body let's say outside London even only for hygiene purposes but what would be the contemporary equivalent of prohibiting a burial and then in thinking about the recent political developments she said like what does this mean it means to say in life or in death you have no claim over this land and then she could see the residents with the home home office decision of revoking citizenships of dual nationals or naturalized citizens when they act against the interests of the United Kingdom and without a public hearing so these people cannot even defend themselves and so to be to be banished in life or in death and secondly she asked the question as a diaspora writer herself as an immigrant in the UK who had recently got her citizenship and was feeling more at ease like she was maybe for a very long time for the first time she was feeling secure and then in the news there is this decision that you know okay you're a citizen but we have the right we preserve the right to revoke your citizenship anytime so there is this double tiered idea of citizenship where some people are citizens forever but for some people they will always feel vulnerable at some point it will always be contingent upon other things so what she did is that she asked herself a question she said like in all the countries that I have lived there has been there has been a time when we could evade unwanted consequences but something happened or something didn't happen we kept silent we didn't act when we had to act and things really got out of hand so how do we come to that moment when the consequences will be inevitable what do we do or not do and keep silent so that we can no longer evade unwanted consequences so the example of Creole wanting to stop the tragedy from coming in the very last minute but he's too late was a good example to think this pivotal moment in history that Shanxi felt herself and like all of us in in that moment when this alleged war on terror turned against the country's own citizens and how did she do it eventually in terms of the plot structure so the novel centers around the tragedy of a second generation Pakistani Muslim family and their children particularly their children so there are twins 19 year old and he can pervade the twins are raised by their elder sister Isma when their mother and grandmother died the father was always an absentee father who was a jihadist and eventually he was killed on on his way from he was he was in a prison and background of Afghanistan and he was killed on the way to Guantanamo and nobody knows exactly how and recently the brother Parvez has joined ISIS in Syria so in the background what Shanxi did to the story of Antigone is that in Antigone you have this story of incest and related to incest you have a very strong feeling of shame in the background so what Shanxi did is she took this sentiment of shame but she didn't repeat the pattern of incest because she found she found it perhaps a little bit at odds or maybe a bit outdated concerning her own point of emphasis in the novel so she replaced it with the story of jihad who provides the family with a father who they are ashamed to tell the story of so you still have this sentiment of shame but in a very very contemporary politicized way the novel uses free indirect discourse which is sometimes confused with stream of consciousness technique in which you just like jump into the minds of the speakers and you follow their patterns of thought free indirect discourse is kind of different you have the perspective of one character you have the character as a focalizer to your narrative but you are not actually inside you do not have full access to the interiority of the individual but you have some form of access to the perspective of the individual so for example when a comment is made you know that this comment is not like the writers or the narrator's comment but this comment comes from the character that has that is being focalized at that moment so we have five characters and the narrative switches between their perspectives the first and these characters all correspond to a character in Sophocles he's Antigone as well so Isma is like Ismini the sister with the common sense but here she is the elder sister not the younger sister and after looking after and raising her siblings she now decides at the opening of the story she has taken the decision to live her own life so she is leaving for a PhD in sociology in Massachusetts US but she is stopped for interrogation at the airport in at Heathrow so on page one immediately we are in a very politicized environment and the interrogation starts with like very strong racial profiling and she is scared she is anxious she doesn't know if she will be allowed to board a plane she knows that she is going to miss her plane but she is not even sure if she will be eventually able to go so from page one we are introduced into the anxiety the second generation immigrant feels because she belongs to a muslim culture and how events outside her have an effect on her immediate daily experience as well and after she goes to the US she meets Ayman where she is a bit in love with it but then things doesn't work out but she knows she knows Ayman because his father is a Pakistani British politician who is a bit notorious in Wembley and he his family is also from Wembley and that's where they know him but they think that by assimilating into the mainstream British culture and he has somehow betrayed his own heritage his own roots for the sake of conforming and has put them all in a vulnerable position by not signing with them so Isma is a bit reluctant in her relationship with Ayman which is exacerbated when his father Karamat Lone is appointed as Britain's first home secretary from a Pakistani origin and then we also get to understand that the reason of the interrogation and also the reason of a big sadness in the family was Parvez's recruitment by Isis and Anika is trying to bring him back safely home and to save her twin eventually but Ayman returns to the UK only to meet Anika who is a law student and they start a relationship together only to find out in the end that Anika approached him with the hope of being able to help her sister sorry her brother because his father is the home secretary but their relationship has reached such a point that they are now literally in love and this love has turned into something much stronger than she has anticipated but Ayman is shocked to find out about this and at that moment the narrative switches to Parvez and we find out how he has been also kind of like infatuated by the recruiter from Isis kind of like a father figure that he has never had and he is he is kind of duped into a promise of a new country where there will be no discrimination no racial profiling where he can where he can be himself and in spite of all the media coverage on the headings and the violence and everything he wants he probably wants to believe and lives for Syria but he's like very immediately disillusioned tries to escape manages to escape as far as to Istanbul and he wants to reach the British jealousy in Istanbul and claim a passport for himself and at that moment the narrative switches to Anika and her grief because Parvez is killed in Istanbul while trying to reach the British embassy however Anika's part is really really very short and like cut in between by other forms of media like newspaper coverage social media and things like other forms of narrative somehow resembling the chorus in ancient tragedy and then we switch to Koramat who has revoked Parvez's citizenship and refuses the repatriation of his body and claims that because he is a dual national with Pakistan that his body should be buried there upon hearing this Anika is really indignant she immediately travels to Karachi to start a protest next to her brother's dead body in front of the British deputy high commission in Karachi and in the end just like Creon, Koramat is confronted not by a blind seer but Terry who is halfway between Tiresias and Eurydice the wife and Creon's wife in the tragedy who tells him to set things right so he makes up his mind but again only too late Amon turns up in Karachi to support Anika but he is trapped by a man who locks the suicide vest around him Anika runs towards Amon and the Noel ends in the moment when there is this anticipation that the suicide vest will blow up but the lovers just are locked in an embrace and the narrative ends leaving the rest up to our imagination now I want to switch to this politics of adaptation of like adapting Antigone so I wanted to start with a definition of adaptation and I find Linda Hutchins work a theory of adaptation very useful in that sense so very very briefly she describes adaptation as an openly acknowledged and extended reworkings of particular other texts and just like Benjamin said storytelling is always if storytelling is always the art of repeating stories adaptations are also about how stories travel they have this palimpsestuous quality about them there is always this idea of the former text kind of haunting the newer historically newer texts but there's also this intertextuality between them this this two-sided relationship that not only goes from like this originary text to the new text but also backwards informing like for example in this instance informing our reading of Sophoclesy's Antigone as well so forever changing both so I think this idea of plurality of texts this intertextuality brings about a non-hierarchical quality and Hutchins also says that in adaptations there's always a creative and interpretive act of appropriation and salvaging so I when I think of adaptation I generally set it aside from appropriation because appropriation kind of has this idea of this originary text that is somehow more privileged hierarchically that informs on the on the adaptation and also it is somehow forced to conform to new rules so I think it is very restrictive in both the adapted text and the adaptation itself but the salvaging quality that says at play in adaptation I think what happens especially in adaptations that have a political agenda also adaptation can be in any direction it can involve a change of medium or genre like in this example we have an adaptation from an ancient tragedy to a novel or even a change of context from antiquity to modern and also like parodies are also some are also forms of adaptation and much has been written on postcolonial adaptations of Greek tragedies which I think Shemsey's novel is one of them and these postcolonial most what I realize as in my research is that like most of these postcolonial adaptations are also diaspora works of diaspora literature and playwrights and authors rework Greek tragedies to to comment on their own political presence because they find a political relevance with their own contexts and the the first question that emerges when somebody writes an adaptation from a postcolonial perspective is why do you adapt a canonical tragedy especially from the western canon so the question is can adaptations decolonize the classics can adapting classics be a subversive action itself or or is it like order of lords famous question will the master's tool ever dismantle the master's house can you with a work from the western canon ever ever serve a revolutionary act or something so the first question is the western canon but what happens is that postcolonial writers generally do not see great tragedies as western as parts of western canon so postcolonial writers who adapt great tragedies scrutinize and counter the eurocentrism at play in the west's appropriation of ancient Greece as their own cultural property but the western canon itself is is a quite recent invention but it's also a carnivore that will appropriate anything that serves itself image so today when we say the western canon we not only find the great Greek classics but also Russian novels or women writers who hadn't been canonized before much of postcolonial literature etc so we we can expand these examples and also that the western tradition somehow canonized Greek tragedies does not mean that they cannot have resonances outside the west indeed in the colonized world they were even like during the colonial education system they were somehow seen from free from colonial stigma because of their somehow like strange un-Englishness and many many theater theater practitioners preferred Greek tragedies over British tragedies like for example they wouldn't adapt Shakespeare because they saw well of course there are many many exceptions to this but especially in Africa there was this idea of rejection of British literature but somehow Greek tragedies because of their because of this feeling of un-Englishness were somehow seen as a exception and also even though they were part of the colonial curricula they were not they were not equated with works of British literature likewise Camilla Shemsey says I don't think Antigone is part of the western canon and to support her argument she says you know this myth has traveled to India long before the British Empire during the time of the in the Greek kingdoms but I even if it didn't travel I think this questioning of the western canon is in itself like the decolonizing Greek tragedy like a decolonizing Greek tragedy movement is is an important aspect of many post-colonial adaptations so another work I find very useful is the politics of adaptation contemporary African drama and Greek tragedy by Astrid van Weyenberg so I tried to summarize what are the possible politics at plain adaptation so in this work van Weyenberg does not try to determine the politics of adaptation but she talks about possible politics that might be at at work so she says okay writers turn to Greek tragedy to comment on the political present and by offering Greek tragedy as theirs they also undermine Eurocentric claims to ownership and authority and also adaptation is not a historically linear and unidirectional relationship in which the pretext remains an authoritative source that somehow oppresses the new text but we we can think of it we can think of all these texts as constellations in which different texts context and traditions relate to one another non-hierarchically and simultaneously and Greek tragedy has been part of the colonial education's colonial curricula and in the past it was used to legitimize British dominance that's true but this also means that these works are not external to these author's cultures but that have but they have been part of their education and hence they are part of their own culture as well one theory about adapting canonical works is the idea of canonical counter discourse coined by Helen Tiffin to refer to adaptations as primarily as ways of writing back to the empire as anti-colonial strategies and dismantling Eurocentric literary hegemonies so how does the canonical counter discourse work so by rewriting the characters the narrative the context and or the genre of the canonical script it provides the author with another means of interrogating the cultural legacy of imperialism and offers renewed opportunities for performative invention these are not however so this is also what shem sivas in a way these are not however strategies of replacement there is no attempt to merely substitute a canonical text with its oppositional reworking counter discourse seeks to this deconstruct significations of authority and power exercised in the canonical text to release its stranglehold on representation and by implication to intervene in social conditioning i also think that by rewriting Antigone Shemsi is is also engaged in a similar gesture so by uh so she is also countering any uh any interpretation which kind of like for example Antigone has been a work taken up with taken up by philosophers like Hegel and in psychoanalysis by Lacan but she's generally seen as an ethical agent and for example in Hegel's reading kind of puts equal emphasis on the figures of Antigone and Creole and sees them as equally valid parts of an argument like according to Hegel Creole is right but Antigone is also right and there is this clash between them however in these immediately politic politicized adaptations you don't have the same dynamic so they they immediately like the way Shemsi does they immediately shift the center of gravity within the text itself to scrutinize the forms of power that throughout like the western traditional thought has been legitimized in a way however Astrid von Weyenberg is critical of this idea of the canonical counter discourse because she says the idea of writing back to the canon could end up reaffirming the canon's original location in the west and it kind of makes uh these so she's writing about theater plays she says it makes these plays uh look like their primary function is uh decolonization but there's so much more to it. So how does Shemsi adapt Antigone? So my simple answer would be strategically I think she does it quite strategically and she's also even though she thinks and I agree with her that Antigone is not part and parcel of what is defined as western canon but still she uses she uses the legitimation acceptability and the historical validity of uh being part of a canon of canonical traditions adaptation by providing an accepted form helps carve out an epistemic space for suppressed narratives so taking out the established plot structure of a classical tragedy to hold out as a parable to a contemporary problem is I think what she does here so she she uses Antigone as a parable to scrutinize what it means to be a citizen and to belong in the UK today and by doing this she immediately changes the rule of the game as I said by shifting the center of gravity within the text so she is not just updating or modernizing Antigone but she is definitely changing the central conflict or problematic at the heart of the tragedy so instead of the simple burial issue we now have another question that is equally relevant here it is this question that she asked and I read before how do we come to that moment when the consequences will be inevitable so this adaptation for white shemsi with a tool for resistance in the discursive field so to go back to the politics of the novel the starting point is Theresa May's sentence citizenship is a privilege not a right so in the novel there is a Pakistani Muslim home secretary Karamat Lon as like he is a Tory politician and the novel was published in 2017 and it was quite in that sense foreshadowing the appointment of Sajid Javed in 2019 who revoked a lot of citizenship we can I can show you the chart that shows that they the radical increase and the number of revocations between 2016 to 2017 and by the time of Javed's appointment the numbers were much much higher and also I'm sure you have talked about this a lot during during the semester but he has also revoked Shamima Begum's citizenship and as you know so I have put three recent news articles here so the one about Begum I found it well I could spend another hour talking about this news in the telegraph because it it says exclusive pictures Shamima Begum seen in western clothes as she as she seeks break with IS past so we could spend a lot of time talking about this but I have to stick with Shamsi but I have to say that she has been a source of inspiration for her novel and she has actually written about her in The Guardian as well another recent news was the UK considering sending not only the people the people whose citizenship status they have revoked away in their neocolonies but also asylum seekers abroad to be processed just like they are sending their unwanted plastic outside the UK and Europe so it's I think it kind of it kind of corresponds to an idea of a very disturbing actually idea of a human waste and an understanding of somehow what I might call neocolonial dumping so in the novel it finds expression in two times when Karamat as he is drinking his coffee from a paper cup he sends the paper cup flying in the direction of the rubbish bin it hits the rim bounces up plummeted into the receptacle and then he thought take out the trash keep Britain clean so it's it's really significant because at this moment he's thinking of the revoking of citizenship so at that moment he immediately associates the process with keeping Britain clean and then Anika's cousin accuses Anika of creating a scene in Pakistan and then at that moment he says and then your government thinks this country can be a dumping ground for its unwanted corpses so when citizenship becomes a privilege instead of a basic human right it creates a human waste to be transported to neocolonies I said and this starts from its former colonies and extends to what they call poorer countries or developing countries or whatever euphemism they like and for example Turkey my country of origin has all has already been serving as a limbo for asylum seekers today and I cannot imagine how worse this condition could get so now I want to move on to diasporic themes in home fire who might be more of an interest for you and this discussion around citizenship opens up the question of belonging that we see a lot in diaspora literature so there's a lot of border crossing it starts in Heathrow airport goes to Massachusetts U.S. then back to London then from London to Istanbul and Raqqa and back to Istanbul back to London and then to Karachi and all the characters are second or third generation immigrants almost all of them come from British Pakistani origin except Aiman who has a father who is a British Muslim but also a mother who is an Irish American so what is home in home fire it's not just the central theme but it's a central problem the photo you see in the slide well the illustration that you see in the slide is from the time of the world war one and the name home fire comes from the song keep the home fires burning during world war one referring to the role of women to make sure that the homes stay where they are in working conditions so that when their men return they find that they are welcome back in their homes so this is quite ironic because in Shemsey's novel we do not have this instead we have a home which is on fire that's historically ablaze burning down on the way to being extinct the the woman in the family can no longer wait for their men when they go abroad to fight their jihadist wars and it's also ironic that the novel opens with the theme of a loss of home so as I said the novel opens with the loss of home Isma going to the US letting out the family home to be able to pay the mortgage and the twins are kicked outside basically and they have to stay with their neighbor and even though their neighbor Antinousine is very welcoming it's still not the way like it feels in their own homes but there is no way that they can they can financially sustain their new home so for finance it starts with financial reasons their loss of home and then the questions that arise from this idea of a loss of home that is also very characteristic of diaspora novels is that where do these characters belong where is home do they have a place of origin to which their character are they as karamat loan claims actually Pakistani a country where they have never even visited in their lives and they just happen to have an identity card and culturally speaking they have no idea they have no feeling of belonging or another question can they relocate in a new home in somewhere new like his mother's so this this idea of belonging related to citizenship status also raises the question of Britishness in the novel Isma is asked do you consider yourself British in the interrogation she says I am British but do you consider yourself British so she doesn't know how to reply this question without sounding evasive and Shamsi says you know it's about how some people are unequivocally and irrevocably British no matter what they do while for others it's more complicated so Isma is a very clever girl and in in class the way she responds to Dr Shah also talks about how how these new laws of revoking people's citizenship also rhetorically make people un-British so she draws attention to the epistemic violence that has created first of all rhetorically so she says the 77 terrorists were never described by the media as British terrorists so they were either British of Pakistani descent British Muslim or my favorite British passport holders always something interposed between their Britishness and terrorism like was Karamat Karamat law in a public speech invites British Muslims to assimilate into the mainstream culture you are we are British he says don't set yourselves apart in the way you dress the way you think the outdated codes of behavior you cling to the ideologies to which you attack your loyalties because if you do you will be treated differently so he says assimilate conform because we because he would say probably we because there is no space for your difference so actually the moment I saw Shamima Begum's photo in her quote-unquote western attire which is basically a jumper nothing else a t-shirt and a jumper I immediately thought of this speech by Karamat law but here we do not have the usual diasporic theme of a return to a previous home or the fantasy of a return to somewhere and even though it says there is a search for a home it's central to the novel the narrative is totally de-centered there is no return home so in this sense I think James Clifford's ideas in the diasporas are quite relevant then he says that for for Asian immigrants it's not generally shaped by the idea of a return back somewhere but it's more de-centered it's more about creating diverse communities wherever they are so Clifford says the transnational connections linking diasporas need not be articulated primarily through a real or symbolic homeland de-centered lateral connections maybe as important as those formed around the teleology of origin or return as a shared ongoing history of displacement suffering adaptational resistance maybe as important as the projection of a specific origin so this is I think what we have here but in a home fire we also see the characters especially the sisters insistence on their difference and claim to a right to a home I could talk more about this but I don't want to miss out on other parts so I'm moving on so this search for a home and disillusionment I said is central but where do they belong my own answer to this question is that they maybe they belong in the UK but their loyalties do their loyalties are not devoted to even a country I think I think it lies more in in smaller places so instead of a country not even a city I think it's like they're very family home on Preston road Wembley in the north of London so it's that particular I think loyalty lies in smaller scale in home fire it lies in the family it lies in the memory it lies in the individual it lies in the body but they look for a home so Isma tries to start a new life in the US but she cannot even afford a home that she would like to have and the home that she finds only reminds her of the surveillance that she went through in the airport Parvez tries to find a new country so he is duped by the promise some something like a promised land but he's totally disillusioned immediately there is Antinas himself but you're just a guest there you don't belong it's temporary and Anika looks for a home in the in the person of Ayman and his Nottingham flat similarly Ayman looks for a home in Anika and the cult the cultural heritage that he is being denied by his father but they they they are also denied to realize this potential because of the unfolding events the loan the Karamat loans family home is the only home in the novel perhaps but this is also after the appointment after his appointment as a home secretary he is also losing his home there is increased security there is a panic room the trees are being cut for for security reasons and I think Karamat loans home in home fire is is very much a metaphor for the country after all he's the home secretary and his home is like a is like a projection of the country's state for the sake of increased security what the country at that moment is giving up is just like the loan family to giving up their feeling of their feeling of belonging their their homey feeling their feeling of maybe not state security but their feeling of being safe in their own skin so I think the Kamila Shamsi is also critical of the way the country for claims to security is made to feel more unsafe at that time as opposed to all these places there are also a lot of non places which are also characteristic of diaspora narratives you have airports you have interrogation room you have for example istanbul is as a transition point and not as a local in itself the british consulate in istanbul or the high high commission in karachi these are like idealized places like a country that you cannot reach that is supposed to be there but you cannot enter it is like there is always a denial at work so I talked about epistemic uh violence and this this is also referred as in theory epistemic injustice and this epistemic violence and this epistemic injustice call for uh epistemic resistance so why can't there be any reconciliation with the home on fire why can there be no return to the press and road home why cannot things work out I think home fire tells us that the injustice the characters are facing here are largely initiated by uh discursively by a system that denies their authentic existence as themselves there is this uh part of racism that there's no that gives no discursive space for their own experience of britishness that also James Kulifar talks about a different experience of britishness but there is no space within the boundaries of the novel and they are only asked to conform and assimilate and there is this team of cruelty which anika calls unforgiving that it doesn't only reject parvays as a so-called terrorist but also if this the system stigmatizes the whole family and muslim community at large and nobody nobody feels safe their narratives are suppressed and they feel like second class citizens and this placement becomes the outcome of resistance to such violence so gayatri spiewak was the first person I think to talk about this aspect of imperialism epistemic violence as she said like you know in her very very famous candy subaltern speak it was not it was she says never a problem of if they could speak the problem is who would listen and more recently madafrikar wrote about epistemic injustice in uh injustice this is uh that is distinctively epistemic consisting in a wrong don't done to someone specifically in their capacity as a novel so testimonial injustice refers for example when uh when is my isn't the interrogation room and asked does this jacket belong to you meaning did you steal it so her her testimony is um is not given credibility because of who she is and secondly there is hermeneutical injustice when the interpretive resources of the society make it make that person more vulnerable to injustice it's like for example when you suffer sexual harassment in a culture that still lacks the conceptualization of the crime so in as I said in home fire there are many many instances or when like uh when parviz was trying to escape isis and to go into the british consulate the press still presented him as a potential attacker even though it was known that he was running away or just because she was having a relationship with a man and it has whole testimony and grief suffers from a credibility deficit and when she like in the middle of her grief with her brother's dead body in front of the british high commission in karachi the home secretary watches her from his screen and he thinks she's trying to impress the world he refuses to acknowledge her grief so hoza medina also writes about the epistemology of injustice and resistance and he says epistemic injustices call for epistemic resistance so finally I propose to read home fire itself as an act of epistemic resistance by refusing to conform to the discourse imposed by the state and insisting on preserving their own difference and ikan isma in their own ways I think perform acts of epistemic resistance and this is also a modern take on antigeny speech acts so what what antigeny does in populacy's tragedy she cannot she does not like literally bury her brother but she symbolically buries her brother by pouring some dust on the body and you know in ancient griefs pouring libations uh as part of the funeral practices but then what what more she does is uh judith butler writes at length about this in antigeny's claim is that when she is addressing crayon the king she says sorry crayon says do you accept or deny that you did it and she says i don't deny anything so for butler antigeny's resistance and antigeny's rebellion primarily lies in her speech acts so she discursively fights back crayon so i think in home fire the alternative discursive space opened up by anika and isma is a similar instance but even though just like antigeny anika rejects her sister's help here i think uh there is they are more united in spirit as uh as isma prepares to leave in support of her sister just to be on her side but more than what happens inside the novel i think this novel itself is a is an act of epistemic resistance and the adaptation itself makes space for it so by adapting antigeny to make space for the silenced narratives of british muslims in a post-911 western world shamsi's novel performs an act of epistemic resistance so the politics of resistance offered by the adaptation of classical tragedy is by rewriting antigeny shamsi singles out the dynamics of rebellion within an oppressive system and she also shows that this has a history as far back as 2500 years and here the ethical the novel also shows that the ethical is political as distinctive from philosophical interpretations of the tragedy that i told you about which read antigeny from an ethical point of view so for hagel she's the ethical agent for lacan she is um the she symbolizes the ethics of psychoanalysis but here this is immediately political adapted from a postcolonial perspective in the diaspora this adaptation shows how the ethical is conditioned by the political which constitutes the act of epistemic resistance also miranda fricker writes that uh epistemic injustice even though it's in the field of ethics is always immediately political by nature so i want to stop here thank you very much for listening to me ekin thank you very much for this incredibly inspiring lecture which i think has helped us to really as a last lecture of the term to rethink so many of the topics we dealt with from a new perspective from a perspective that brought together philosophy literature theater diasporic scholarship so it was incredibly inspiring incredibly rich uh eye opening and i think that whoever hasn't read home fire probably will immediately go and buy the book and read it uh and who people have read it like myself have found so much food for thought in your lecture to rethink the value and the powerfulness and the potential uh the unsettling potential of the of this incredible novel and of the author so really i cannot thank you enough um and i think i am interpreting the um the students feelings about this as well and really thank you again and see you later at the tutorial at four o'clock i would also say i would also like to say thank you to all i'm also reading the comments in the chat box thank you very much for listening to me and good luck with your phd as well thanks


Inflation. Inflation? Inflation. Inflation is an economic bogeyman. Kept in check throughout the rich world since the 1980s. The rising cost of living is now back at the top of the economic agenda. When demand is greater than supply, either you get shortages or you get price increases. And actually what we had was a mixture of both. But as the pandemic subsided, at least in the West, the Russian invasion of Ukraine put more pressure on the global economy. At the moment when the demand-driven inflation was starting to fade, he had then had the horrendous consequences of war in Ukraine. And of course, there's all sorts of humanitarian consequences which are very tragic. There is also an economic consequence. Far from being the obvious outcome of the simplest economic laws, inflation is a highly complex beast. It's not just an economic phenomenon, but a psychological one, a societal one. And when it comes to the dreaded hyperinflation, it's a historical one too. We are genetically programmed to remember negative consequences, like rising in prices. So what is inflation? Is it here to stay? And how do we stop the cost of food and fuel and other vital goods spiraling out of control? Paul Donovan, the chief economist of Swiss Bank UBS, joins us to break it all down. Inflation is the change in prices, generally speaking. But there's, of course, lots and lots of different prices. So the inflation rate that we most often tend to hear about is consumer price inflation, which is sort of this mythical average consumer's basket of goods that they buy. What is the change in the price of that basket of goods? But there's other forms of inflation as well. When we are looking at equity markets, one of the most important forms of inflation is producer price inflation, which is the price companies charge other companies, not consumers, but other companies. And that's because most companies don't actually sell to consumers. Most companies sell to other companies. And then you've got things like wage inflation, which is how much a wage is going up, obviously enough. So there's lots and lots of different forms of inflation. We tend to focus on consumer prices. But in actual fact, you need to be quite careful in deciding what is the most appropriate inflation rate to use when you're analyzing investment decisions or the economy, because it may not be the consumer price inflation, it may be something else in target. Well, the way that inflation is normally measured is that you take a basket of goods. So let's use consumer price inflation as our example. So what you do is you say, okay, well, how much US households spend on food? How much do they spend on energy? How much do they spend on medical care, education and so on and so forth? And then from that, you derive the weights for how important each price is. So if households spend, let us say, 10% of their household budget on food on average, then food prices should be 10% of your inflation basket. And so when you calculate inflation, you'll take the food price change, the food price increase, because that's what we're measuring, and you multiply it by 10% and you add it into the inflation number. Now there's some issues with this. And the first issue, which is really important, is inflation is a plutocratic statistic. It's calculated on the basis of $1 vote, not one person won't vote, because you're measuring the weights by how much money is spent. If you spend more money, you have more votes as to what goes into the inflation basket. And so the result is the quote, average inflation rate tends to measure the higher income consumer's spending pattern, not the low income consumer's spending pattern. And that can be quite a significant problem at times, because from time to time we get this issue of inflation inequality, where the things that low income people are spending their money on are going up in price a lot, and the things that high income people are spending their money on are not going up so much. And that can then create this situation where most people actually experience an inflation rate that is higher, or from time to time lower than the reported inflation rate. And that's something that we are probably starting to get at the moment, because food and energy prices have been rising, and lower income people tend to spend more of their budget on food and energy prices, but the CPI reflects what higher income people are spending, not what lower income people are spending. Well, there's a couple of reasons. The first is, as per inflation inequality, it might be worse than it is as far as you're concerned. And we've got to remember, you're dealing with an average over a very wide economy, the chances are that the things that you're buying are not exactly the same as the things which are going into the inflation basket. But then there's also this combination of factors which come from behavioral economics, and these are loss aversion and frequency bias. So loss aversion is the fact that people remember bad things more than they remember good things. We are genetically programmed to remember negative consequences like rising in prices.  We run away from the saber-toothed tiger three times more quickly than we run towards the next people. So that means that when prices go up, we remember them. But when prices go down, we're less likely to remember them. The second thing is frequency bias, which is we remember the price of things that we buy very, very frequently. We are less likely to remember the price of something we bought two years ago, but that's still relevant to our overall cost of living. So that means that when we see rising food prices, rising fuel prices, because people tend to buy food very regularly, because they're buying fuel for their car very regularly, maybe they're paying for transport on a regular basis like public transport, people remember the price increase because every single time you go to the vending machine to buy a Snickers bar, you're reminded the price of the Snickers bar has gone up, and if the price of the Snickers bar has gone up 20%, you think, well, everything's going up in price dramatically.  The fact that your television two years ago was cheaper than the television you bought seven years ago, you don't remember that. You just remember the price of the Snickers bar and it creates what we call an inflation illusion. So this combination together, we remember the price increases more than we remember the price declines and we remember the high frequency purchases more than the occasional purchases. That combination very often creates an inflation illusion that people believe inflation is higher than it actually is. Well, what we've got at the moment is two different effects coming together to create what by recent historical standards, at least quite high inflation, though it probably doesn't last at these levels for that much longer. So the first thing is that in 2021, what we had was a simply extraordinary, absolutely extraordinary level of demand for goods. People were buying stuff and the reason people were buying stuff was that throughout the pandemic you'd not been able to go out and buy stuff sitting at home. And people were therefore effectively forced to save money. You've still got an income, at least in developed economies where social security systems provided you with an income, but you couldn't spend that money. So what's the result? Well, the result is your savings piled up. As soon as the restrictions are lifted, you've got a pile of savings that you didn't actually want to have and you've been sitting at home looking at your interior decor, watching home makeover programs on Netflix. What are you going to do the moment the shops are open?  And so we get this extraordinary surge in demand for goods. And that has pushed up inflation because we did actually see also an extraordinary surge in supply of goods, but the demand for goods was so unusual, it overwhelmed the supply. And when demand is greater than supply, either you get shortages or you get price increases. And actually what we had was a mixture of both. But some of that surge in demand pushed up prices. Now that started to fade because of course by the end of last year, in a number of countries, that stock of savings had disappeared. It had been spent. You'd bought your 54 inch flat screen TV. You'd bought your new washing machine or whatever it was. And so the demand was coming down. And so that inflation pressure has started to fade in 2022. So we've still got some of that inflation pressure there, but it's on its way out. So if you look, for example, at television prices in the US or elsewhere, prices were rising last year, they're now falling. You've now actually got negative inflation. Used car prices were going up extraordinary amounts in 2021. And in the last few months, they've started to turn negative again. So we've started to see a correction, but there's still enough of this lingering effect that it's adding to the inflation. But what's come on top of that is that at the moment when the demand-driven inflation was starting to fade, we have then had the horrendous consequences of the war in Ukraine. And of course, there's all sorts of humanitarian consequences which are very tragic. There is also an economic consequence. And that is that although Russia is not actually that significant as an economy in terms of its size, it's significant in commodities. And so what this has done is lead to higher commodity prices, partly because there have been constraints on supply, either because the planting season for crops in Ukraine has been limited, or because companies are less willing to purchase Russian oil, for example. But also because there's a risk. It's not just that you're seeing prices go up because supply today is constrained. There's also going up over concerns that the war will disrupt future supply. And so what that has done is push up commodity prices. And that does feed through to inflation. Now, this is where things get a little bit complicated because if I say, well, the price of oil is going up, people immediately say, well, if crude oil is going up, your petrol is going to go up by the same amount. That's not necessarily so because, of course, you don't pour a barrel of crude oil into the tank of your car. There would be dire consequences if you did. The prices that we pay for food, for petrol, for airfares, and so on, which are reliant on air fuel, these are commodities plus an awful lot of labor. And in the case of food, an extraordinary amount of labor in a developed economy, now 15, 20% of what we spend on food is actually going on food. Most of what we spend is going on labor, which is delivering and processing, retailing, advertising. All of that comes out of what we spend on our loaf of bread. The farmer doesn't actually get that much. But with oil and with certain food products, it does have a pass-through. Globally, if I look at oil prices, crude oil is just under 2.5% of a typical inflation basket. And then you've got a lot of labor turning that crude oil into gasoline. But of course, if the crude oil price goes up by 100%, that will add just under 2.5% to your headline inflation rate. And that's pretty much what's going on at the moment. Interesting question depends where you are. In the United States, I think inflation probably peaked in March. The UK, it'll be a little bit later. Europe, it'll be a little bit later still. The direction of inflation in the second half of this year, I think is going to be downwards. And that's really for three separate reasons. The first, as we've already discussed, a lot of the areas where prices were really being pushed up last year by that absolutely extraordinary demand, we're now seeing the inflation rate come down. And in some cases, the inflation rate turned negative. And that's going to happen to more and more goods as we go through 2022. So the extraordinary demand is fading. As the extraordinary demand fades, the extraordinary prices will also fade. Second, and this is the big one, is what we call base effects. The most common way inflation is quoted is the year over year change in price. Now, when you think about that, that means that the year over year inflation rate that we always quote is telling us not just about prices today, but also about prices a year ago. And what we are doing, say, in March of this year is comparing the prices in a normal economy in March 2022 with the prices in a lockdown economy in March 2021. And of course, if you're comparing normal to lockdown, there's going to be a change in prices, which is going to be quite sizable. As we go through this year, say by June, we're going to be comparing, at least in the States, a normal economy in June 2022 with a normal economy in June 2021. And the price change is obviously going to be less dramatic at that point. So that will lower the year on year inflation rate. Now, that's also why different economies peak at different times, because different economies opened up at different times. So Europe was still more or less in lockdown in April 2021, for example. So you're still in April going to be comparing normal with lockdown for Europe, but in the States, you're going to be comparing normal with getting back to normal. So that's why we've got these slightly different things. The third reason I think inflation comes down is sort of the absence of the inflation pressure that would really worry economists. And that's a wage cost price spiral. So we're not seeing wage costs really rise in an inflationary manner at the moment. Wages are about 70, 70% of inflation in a developed economy. So it's the big one. It's the thing we really focus on. And we're not really seeing wage costs go up. Now, it's wage costs, not wages. That's an important distinction, because if you are paying people more money because they're working harder, as I repeatedly remind my boss, that's not a problem. That's not inflationary at all. And what we're seeing in most economies is that people are working harder. Generally in developed economies, economic output, GDP, is above pre-pandemic levels, but employment is below pre-pandemic levels. So you've got fewer people producing more stuff. If you're paying fewer people a bit more money to make a lot more stuff, that's not an inflation problem. And that argues against there being an inflation concern in the second half of this year. Well, to some extent, the best thing governments can do is nothing in as much as governments really can't change the oil price. Central bankers can't suddenly change the price of wheat or other commodities. There are certain things that governments can't actually do that much about. Part of the pricing inflation story is coming down on its own. It's naturally coming down. And then there's other things like fuel and food prices, the consequences of war, which really governments can't influence that much. We have seen in the United States and elsewhere parts of what's called the strategic petroleum reserve being pushed into the market. Governments have stockpiles of oil, which they release for sale, and that has a small impact on prices, and that's fine, but there's not that much that governments can do. There's a different question about whether governments should try and mitigate the consequences of the higher inflation. And there are things that they can do. They could either look at benefits that are being paid to try and help people afford the higher prices or where something is taxed. And of course, oil is very often taxed. They might feel, okay, well, we could temporarily lower the tax on oil. We could reduce sales taxes on other products and try and make it a little bit more affordable for people. So there are things that governments can do to mitigate the effects of higher prices in the short term, but governments can't change oil supply and demand themselves, at least not in the short term. If we're talking over the next 10 years, then yes, of course, governments can encourage investment in renewable energy and so on and so forth, but in the short term, there is a limit to what governments can do to offset price increases. What they can try and do is mitigate the damage to standards of living that come about from the price increases. Hyperinflation is... There's no precise definition. It's one of these made up terms in economics, but it's very, very high inflation and you normally associate hyperinflation with inflation rates of over 30% a year. That's an environment where if you're holding cash and you're not earning a rate of return, your cash is losing its spending power, losing its value very, very quickly. So hence, roughly 30% year-over-year inflation rate will do it. The thing about hyperinflation is that a hyperinflation episode generally causes a transfer of wealth away from savers and towards borrowers because the savers are watching the value of their savings go down, but the borrowers are watching the value of their debt, the amount of money they owe in real terms, also go down. So you're creating a shift of wealth in society away from savers and towards borrowers. And that can be very disruptive, of course, because people... We go back to the loss aversion.  That's something which is very, very corrosive, very, very negative, and people react very, very strongly to it. The debtors, of course, are very, very happy, but the savers who are seeing perhaps 20 or 30 years worth of hard work disappear in terms of its spending power overnight. That creates a very, very negative situation. And so we tend to find that episodes of hyperinflation are very socially disruptive because people really resent the fact that they are being penalized for having worked hard, being penalized for having prepared for their old age and their retirement and so on and so forth. They really, really resent what's happening. And the interesting thing about episodes of hyperinflation is that the legacy of a hyperinflation episode lasts in many cases for generations, two, three generations, because the people who experience the hyperinflation are very, very opposed to inflation thereafter because it's been so catastrophic to them at a personal level. And it's not just them. They tell their children and their grandchildren about it. And so very often in societies that have experienced hyperinflation, you will find that a lot of people are very, very sensitive to inflation, very, very opposed to inflation, not just for a generation, but for three generations afterwards. Germany, which, of course, had hyperinflation in 1923 and then again immediately after the Second World War, you have a strong cultural tradition opposed to inflation. Singapore, where a lot of nationalist Chinese refugees had experienced hyperinflation in nationalist China in the 1940s, again moved to Singapore and bring with them this cultural fear of inflation and this abhorrence of inflation driven by this hyperinflation story. So there's lots of examples of this around the world where it goes on for a very long time because the social consequences, as much as the economic consequences of hyperinflation are so damaging.


Do narcissists treat the new supply better there are a lot of videos on narcissism and Lots of people are seeing this So they have to form a character That is going to be accepted by the new supply They have to blend in they have to look like they're normal They have to create a disguise They have to give themselves a different appearance In order to conceal that identity Narcissists study people and then they say whatever they think people expect or want to hear They make it seem like you have something in common As though you're an ingredients on something which catches you off guard It leaves you unprepared for a surprise or difficulty Because when they first target a person they don't do anything to disturb or upset them But once they've got in They learn what motivates and inspires you They learn what excites you and they learn what irritates you They learn what makes you happy and they learn what makes you sad and Then they reflect this back to you They start talking about things as though they actually know what they're talking about As though it's something that they have experienced before They will listen to things that you've already told them and Then they will refer to it later to build a false mutual understanding They may even try to convince you That they were a victim of a narcissist They may tell you that someone took advantage of them Someone abused them and no one was really there for them They play the victim so that you feel bad for them So that you want to help them This is how they make it look like They have a connection with their new supply By building a false report By doing things that they think will help them Which may appear from the outside As though they're treating them better But that's just what they have to do to secure them They have to act like they're this naive humanitarian They have to be very considerate of their new supply Because then they're less likely to be rejected Because you're not going to push away someone who is trying to help you You're going to be more engaged You're going to be more involved But if that doesn't work They will also play the victim role They will be the damsel in distress Because they already know when they're dealing with an empath They know it will make the empath want to help It will make them want to care for and protect the narcissist Because they're acting like they're this hurt little child When in reality They're going out of their way to cause chaos and destruction Their objective is to hurt people They're deliberately trying to cause disruption in people's lives Narcissists aren't always looking for money They're not always looking for people that they're physically attracted to Sometimes they go after people just because they can't stand them Especially if you're the type of person that is always happy And filled with optimism and hope They are watching you They are monitoring you And they're wondering why you're always happy They're wondering how you're so successful Until their envy of you begins to have a strong emotional effect on them They become envious of people And then they want to be around them just so they can have an opportunity to destroy them Sometimes that is the only reason why they targeted the new supply It may seem like the narcissist is treating their new supply better But they're just trying to keep their new supply under their control Where they are able to use them and then destroy them They're not there to do anything good for the new supply They're just there to cause chaos and destruction Just as they did with you It's only a matter of time They are very envious They couldn't stand you Which is why they try to destroy everything good about you The narcissist will target you just to destroy you Just to bring you down They see it as an achievement They see it as something impressive If they can do that to you Or if they can do it to their new supply But they will pretend to be normal They will try to blend into society By acting like they want marriage By acting like they want children By acting like they want a family And they want to build you up And make you a better person And give you a better life Sometimes they will even marry their new supply And have children with them They're very good at convincing people that they want to make things work They will beg and cry They will do whatever it takes Just to gain access to your life But they will never live up to any of the things they said they were going to do They will never fulfill any of the expectations that they had given to you They sell people a dream They lie They future fake And they have no intention of following up their promises with action It's just something they use to keep you engaged So that they can get what they want from you in the present Which is why narcissists are now beginning to pose as victims of narcissistic abuse Because the awareness of narcissism has risen sufficiently over the last few years To where they need to conceal themselves They need to hide And they do that by posing as victims By learning the terminology By learning the terms and expressions By watching these videos Which is why we see so many of these so called victims Making claims and revealing their opinions They're appearing suddenly Because they see an opportunity to get something for themselves They're using it to gain access to your life They want to be around you But they're just there They're not really trying to help you Pay attention to those who don't clap when you're winning They're in the audience But they're not rooting for you They're not supporting you They're not clapping They're not cheering you on They're not encouraging you They're not giving you due respect or recognition Because they're very envious and jealous of you They can't admit your success Because they don't have your best interest at heart They don't want you to win They're against you They resent your success Because they are not your friends They're your enemies And they're only there to spot your weaknesses To see you fall So that they can come in and finish you off Which is why they're just waiting around Without putting in any effort Because they never learned how to build a healthy relationship They never learned how to contribute to another person's life That doesn't do anything for them They were raised to be narcissists But they try to act like they're normal They will tell their new supply That they believe people should be fair and honest And they should behave in a way that makes their intentions and beliefs clear They will tell people whatever they think they want to hear But their disorder tells them not to do that Because if they were to do that They would be putting themselves at risk of disappointment At risk of the non-fulfillment of their hopes or expectations At risk of failure Things that they never learned how to deal with If they don't know how to deal with something Their disorder kicks in It begins to have an effect whenever they experience stress Whenever they experience Something that has a strong emotional effect on them Their disorder is designed to protect them from anything that they're sensitive to Anything that they cannot cope with Because when they were children They didn't have the reassurance They didn't have anyone there to remove their doubts or fears They didn't have any stability Their childhood lacked foundation and structure And the older they get the worse they become Until they display a complete lack of feeling and consideration Until they lack sensation and sensitivity for other people They only feel for themselves Because they could never deal with their pain and disappointment They couldn't return quickly to a normal condition After certain difficult situations or events They couldn't accept failure or loss Which is why the narcissist can't just move on and be happy with their new supply Because they're still holding on to the past They're always thinking about their exes Which makes it impossible for them to be happy with someone new They can't move on And even if their new supply is everything prepared and organized And everything is perfectly arranged for the narcissist In the way that they like or prefer That's not going to make the narcissist better That's just going to make them even more anxious Can't deal with functional situations Where everything is perfect Where everything is going right Because they expect things to go wrong They need things to go wrong That's the only way that they can feel comfortable If everything seems right The narcissist will become very paranoid and suspicious They will show a cautious distrust of their new supply It will cause them to have the idea or impression That their new supply is questionable, dishonest or dangerous And the narcissist will become restless They will be unable to rest or relax As a result of anxiety or boredom They will require constant activity They will intentionally cause an argument So that they can have the advantage Because when things are normal They don't know how things are going to go It puts them at a disadvantage It makes them feel uncomfortable So even if things seem to be going well with their new supply They have to create disturbance, confusion or uncertainty They have to start an argument So that they can experience something similar To what they've experienced in past relationships or in their childhood So that they can feel more comfortable Because it's all they've ever known It's what they used to It's what they're familiar with But before they've fully secured their new supply It will seem like they're treating them better They will tell them whatever they want to cure Because they have to deceive them So they may tell the new supply that they love them They may get married and have children with them While they're already lining up their next source of supply While they've already got someone else waiting in the wings The narcissist is never exclusive to anyone They've always got someone else on the side But they will pretend like they've got their new supply's best interest in mind They love just playing the game They love stringing people along It makes them feel better about themselves But now there's more information available on this So people are becoming more aware of it Which makes it more difficult for the narcissist to manipulate their targets Which is why the narcissist interactions with other people May not last as long now Because people pick up on it quickly They're more able to identify the signs And then they can remove themselves before they get too involved in it But narcissists aren't looking for relationships anyway They're just looking for random people to entangle with Because they can't deal with accountability Which is why when they're done with you They have to adapt to their next situation They have to play the game in a different way But they're not really treating their new supply better It's just an illusion It's designed to trick their new supply And it's also intended to hurt you It's intended to punish you For everything you saw wrong with them They will adjust themselves to maintain their supply But it is getting more difficult for them Because now people are becoming more aware of their disorder So now they have to refrain from certain behaviors while everyone is watching them They have to go along with the rules so that they can be accepted They have to pretend to be kind Because they know the difference between right and wrong So they have to act like they want to share They have to show people they're being fair and honest But they're only doing that so that they can be in control So that they can maintain their supply They do everything in their power To convince people that nothing is wrong with them Because they already know exactly what they're doing They know the difference between right and wrong Which is how they know how to act right when something is in it for them The narcissist could have been the person that you always wanted them to be By surrendering control to you By not resisting and instead submitting to you But narcissists don't deal well with people having control over them They have to be the ones who are in control Which is why they're not fit to be in relationships They're not fit to get married or have children But they will play the game And they will get you to trust them Until you doubt everything you've learned about them Until you believe in their lies and delusions And then they can feel like they're in control They can feel like they're superior Because that's all they really want They don't really want a relationship That's just a disguise So they can act like they're normal So they will make adjustments So that they can position themselves to be in control But they're just playing a game They know you're expecting them to be a certain way And to act a certain way with their new supply So they choose to give you something completely different Until you stop believing that they're a narcissist And then they can sit back and feel like they're something magnificent Because they managed to turn a situation that was against them And get everyone under their influence and control And then they really start to believe that they are superior They really start to believe that people are beneath them But although it may seem like they're treating their new supply better It is an act It is an illusion It's designed to trick their new supply And it's also intended to hurt you They're participating in it For power and control Rather than for a genuine connection Thank you for watching I hope this video resonate with you Please like, comment, share and subscribe If you would like to donate My PayPal link Is in the video description Coaching Inquiries You can email me at coaching.narccifire.co.uk Thank you for watching and I'll talk to you soon


today is day one strength it's a strength block diets over shreds life over it's time to get fucking jacked and we're doing a deadlift only and we got 10 to 12 weeks and I'm gonna be the strongest deadlifter that I've ever been we're going for a conventional deadlift lifetime 34 and a half years old PR we got the one and only Joe game day stank leading the way captain stank is gonna leave me to pull something big dude cuz all you know we tug and we show up I don't know what everyone else in this world does but you and me we tug and we show up so today's first day of that I got a little bit of deadlifts I'm gonna hit some quads to get the teardrops for all the players out there and then a little bit of chest and shoulders and we're gonna call it a day a little cardio mom's coming in we got to train her so slipping that glycerol monastery rate to get the pump the juicy tries not sponsored but we're just slamming some caffeine shout out to ghost and yeah if they're down and then we're gonna go warm them up and that's why we're here and I'm about to get gas to the gills 93 octane you guys play apex you know when the well yeah eco-friendly I was talking about the octane heirloom when he spins it you know that yeah that's what I'm doing with my syringes but yeah butterfly knives are lit I'm playing the video game dude you're just watching you're in the audience you're in the bleachers with hunter X Naruto and I'm in fucking apex in it I'm the legend and Kyle's the predator apex predator that means you're the best that means you're the best one predators are good you don't want to be bad confirm predators are good confirmed apex predators are good can't catch me slipping I ain't got me today can't catch me slipping I have gotten buck-ass naked when you got a stum-stum ache for some reason for some reason a cotton shirt for some reason a cotton shirt makes the stomach ache worse I don't know why no I feel like I'm trapped like like fruit of the loom is holding me hostage and I gotta rip it all off you have like a goal in mind I gotta consult Joe a little bit we'll get you guys going involved Joe's one of the best best in the game in terms of coaching I just want to deadly PR we'll still like keep the pump going and we'll let Joe kind of guide all that too but the goal I think is conventional PR so a seven plate deadlift or more and we'll see what happens right now I'm thinking deadlift bar just because that's what I enjoy but we'll see what they say yeah seven plate conventional deadlift will test it in December and then January the plan is to run another series we'll cut back down but right now it's gains and strengths and tug something big for the family this the pilot teaser in episode one will be next week come on man I ain't that legitimate we're definitely gonna use straps probably use the belt today because I haven't fully consulted coach stank I'm gonna probably just get to like 500 and do like a couple doubles belt it up strapped kind of like I'm you know moderate day and we'll build a game plan with him next week and off to the races how confident are you that you're gonna hit this I got no idea I'm not not confident but the amount of volume and frequency or the amount of volume and intensity my body can handle isn't what it used to be able to handle and that's just on some like life stress though I trained such high volume and frequency for eight plus years mentally it's tough for me now and physically so obviously we'll whip that up when we get the plan with Joe but if I could train however I wanted eat however I wanted yeah man I'm a pull 800 pounds eventually but obviously that's part of like why don't compete one because the fulfillment we talked about but also like I got businesses to run I got my mental health to deal with I got family I gotta run around taking care of these kids right like as soon as you get employees I don't work for the gym no more I try to work for my employees to try to help them learn and grow and assist them and as I delegate I teach them hopefully new skills that they can go in and yeah do the work but it's you know I'm playing a sis role day and that takes a lot out of me and some people can do all of it I'm not everybody you know so that takes a lot of my mental so I just I'm confident I can hit probably a conventional PR again seven plates I think gets us to that PR but I'm not like ultra confident in the journey here you know like who knows my back I've had back issues in the past you never know what may happen I might get I might get hella fat I might be 250 pounds pulling six or seven plates which isn't the goal I'd like to you know stay around 200 pounds but you know get a little stressed and Ben and Jerry and I have a nice date on the couch you don't know what might happen base is really good my work capacity base probably isn't good it's all probably tell him that you know I do one to hard-working sets a day or a training day and I'm deadlifting twice a week squatting twice a week benching about twice a week so obviously yeah not good not bad yeah I'll either try to get a meeting with Joe or show the text or maybe we can get some reports from Joe so Joe might be able to like do a little video report on some of his thought process in the programming that we got for you what else you have for us that's all I got it's all you got we're gonna bench a little bit grab a little booby pump and then weekend I'm gonna come in to do a little cardio I need to chill out we had a lot of donuts yesterday so I'm got it you know haunt the brakes yeah we're jamming a little booby pump tricep pump I'm gonna keep cardio up now that I mean more carbs actually feels like get to do cardio they're like when you're hella depleted it's like tiring and you're like mentally and physically so now I got a little K-cows in me it feels kind of good so I've been doing like 20 minutes a day hard health matters cardio is good for you it's not gonna make you shredded guys gonna make you shredded cardio is good for you so yeah we're chugging stay tuned man this is the pilot teaser intro and we're getting after it man what do we call it the tug-a-thon the ultra chuggy-wuggy bear the deadlift till you drop the pull more bars than I've ever pulled women series stay tuned give it a thumbs up be sure to comment below see what you think I can actually pull maybe a little vote maybe give me a number down there goal is a seven-play conventional pull in eight to ten weeks follow the series new video out every single Monday brand new videos Thursday but they're gonna be more topical vlog style but every Monday is gonna be the series I appreciate you we over me people are something bigger so some of Mike we're out


Ever wish you could physically hold a word or a phrase that was meaningful to you? Well here's my approach to doing exactly this. I used my smartphone to capture a voice recording. In my case I was using the iPhone voice memo app but you can use probably a variety of different apps. The app shows you the sound wave associated with the voice recording. I took a screenshot of it and crapped it to only show the sound wave of the phrase I wanted to keep. I then imported the image into Fusion 360 and traced the rectangles, extruded them and sent the file to my 3d printer. Minutes later I was physically holding sound. Makes for cool wall art, jewelry or whatever else you want to do with it. Check out the full tutorial on my channel.


and you're being charged with murder in arson. Did you do it? What do you have to say? He's halting as he talks at the time the fire started. You know, it was not there at the time that the fire started. That's the first redirect. It allows him to talk about the fire, not about a death, and there's some key body language in there. He turtles with his neck jetted forward and uses that request for approval, raising his brow as he's talking to you many, many times. That first redirect allows him to get this person who's asking questions to go down the path of the fire. That allows him to talk in a way that he's already prepared for. He's got an alibi prepared. So where were you then at the time the fire happened? You can hear his cadence shift. I went up, I went quite a few places, but I had a job that I was supposed to do. Do long vowel. Something's up there. We'd want to know and dig in a little further.