AITA for refusing to admit I lost the election despite facts, evidence, and reality?

  by Gail Vida Hamburg I (male, 77 years young), extremely handsome, endowed with glorious lion’s mane, stable genius with IQ off the charts, ran for the highest office in the land in 2020 against Dozer (male, ancient 80 years old) crooked, slow, basement-dwelling, Beijing-loving sleaze ball. The chances of this bumbling, stumbling, aviator shades-wearing, pond scum beating me and winning more votes than me were less than zero. How could Startled Eyes win 81,000,000 votes and me, your favorite President of all time, get only 74,000,000?  Everyone loves me. I made America great again with my big brain, During my reign, toilets and showers flowed again like rivers. Before I turned the taps on, Cheatin’ Obama turned them off. Under Cheatin O’s vision plan, hope didn’t go down the toilet in one flush. People were flushing toilets 10 times, 15 times, as opposed to once. We had a situation where we were looking very strongly at sinks and showers and other elements of bathrooms where you turn

The Work Of Her Hands - A Stunning Art Collection for Sale - Nancy Lu Rosenheim's "Big Girls"

  The Female Gaze Artist Nancy Lu Rosenheim’s  Big Girls  Figurative Paintings For Sale by Collector Ave (Luisa), 69x54x8 inches,  Handmade egg-oil tempera on panel, white gold leaf, carved bass wood Query Collector Gail Vida Hamburg at Big Girls Artist’s Statement The female gaze, aptly defined as an extended reciprocal conversation between the artist, her art, and the viewer, is crystallized in the unbroken exchange between artist  Nancylu Rosenheim , her early work,  Big Girls —a series of larger than life figurative paintings of women—and its female collector. In 1991, writer and multimedia producer,  Gail Vida Hamburg  stumbled on several paintings from Rosenheim’s  Big Girls  in a gallery in Granada, Spain that captured her imagination. “The paintings were full of  machisma —the subjects were larger than life, serene, defiant women demanding acceptance on their own terms. I was moved by the artist’s assertion of self and her claiming of territory”
  "Stay In Your Own Lane” Storytelling Will Be The Death of Literature Reposted by Gail Vida Hamburg The controversy over Jeanine Cummins’   American Dirt— about who has the right to tell a story, the “White Gaze” of writers, and about the self-referential, exclusionary arbiters of mainstream publishing who dictate what is written and promote what America reads—has divided the writers I know into partisans.  In one camp, those who defend their right to create any story and character that captures their imagination. In the other, those who view the writing of stories by those who haven’t directly lived the experience of the characters and the fiction they create as cultural appropriation and cultural misappropriation. As a writer of two novels populated by multicultural characters—immigrants, exiles, itinerants, Americans rooted here or living peripatetically as foreigners abroad — I stand in the middle, not without opinion or judgement, b

Literature of Ideas - Zadie Smith's White Teeth and J.M. Coetzee's Elizabeth Costello

  Zadie Smith’s   White Teeth   & J.M Coetzee’s   Elizabeth Costello Reviewed by Gail Vida Hamburg Author of   The Edge of the World   (Mirare Press) White Teeth   and   Elizabeth Costello   are serious books, both of them hyper-intellectual literature of ideas. However, White Teeth is more accessible to the general reader, while Coetzee’s book is for a rarefied audience. White Teeth   is most of all, about consequences and responsibility. Smith opens the book with a quote from E.M Forster’s   Where Angels Fear to Tread : “Every little trifle, for some reason, does seem incalculably important today, and when you say of a thing that “nothing hangs on it” it sounds like blasphemy.” In   White Teeth , Smith uses three families to spin her large ideas into an interesting saga. The privileged, fully actualized Chalfens represent old England, while the Iqbals, a failed immigrant family, haunted and crippled by its past, embody the dispossession and alienation of new immigrants. The Jones

Rohinton Mistry's Family Matters

  Rohinton Mistry’s   Family Matters Reviewed by Gail Vida Hamburg Author of   The Edge of the World   (Mirare Press) The double entendre in the title of Rohinton Mistry’s novel is no mere Hallmark sentiment. The Indian not yet inspired by Western notions of personal freedom, still lives his life in the context of family—its rules authored by the caste and enforced by the clan and family. What profession he pursues and who he marries, fall within the jurisdiction of “family matters.” Personal space – “spatial matters” if you will -- is also a compelling issue on a subcontinent populated by one billion people. Rohinton Mistry’s quintessentially Indian novel is a discursive tale about family and spatial politics, and disintegration of the self and the home. Nariman Vakeel is an aging widower suffering from Parkinson’s Disease. He lives in a large, crumbling Bombay apartment -- the Chateau Felicity -- with his unmarried adult stepchildren, Coomy and Jal. Coomy is a hectoring mass of spins