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Internalized Capitalism

As the clock marks the passing of yet another hour, you feel your glasses slipping from the bridge of your nose. The room smells like cheap burnt coffee and work papers are scattered around the table like an ugly mosaic. Sitting in what is probably a bad posture for your back, you tell yourself  it’s a one-time thing. It is finals season. You’re only staying up this late for an important assignment! Rubbing your eyes, you know you must go bed before exhaustion overwhelms you. But you can’t.  

If this scenario sounds startlingly familiar, it’s likely you have unknowingly experienced something called internalized capitalism.  

What is internalized capitalism? 

stress
Under capitalism, productivity is forced upon the individual in order to be perceived as successful, but this comes with many consequences. (Photo by Geralt on Pixabay)

Perhaps the idea of not being productive or smart enough haunts you. Thus, you work and work until you feel you deserve a break, thinking it’s normal to exhaust yourself at work and feeling guilty for taking rests. It stops being an issue as hours of deep anxiety become meaningless under the shining success of finishing an assignment. Little by little, such moments ease their way into your weekly routine until you no longer question them at all.  

This scenario and the negative thoughts of self-hatred that accompany it are symptoms of internalized capitalism. Although the term has not been approved by any official dictionary, its popularity continues on platforms such as Instagram and Twitter. As the The Cornell Daily Sun explains, “Under capitalism, individuals are forced to maximize productivity and beat out competitors.” This culture of forced productivity leads to an “environment of competition and self-imposed stress that today’s youth has grown up immersed in.” 

“Internalized capitalism fundamentally suggests that individuals grow to equate their productivity with their self-worth.”

Internalized capitalism suggests individuals grow to equate their productivity with their self-worth. This can lead to harmful ideas about how to be successful: late-night study sessions, self-imposed stress, sacrificing healthy eating, neglecting sleep, daily unachievable work goals and more.  

The impact  

This is by no means a new phenomenon: Capitalism has burnt millions of members of the working class numerous times before. In fact, humans’ fixation with productivity in workspaces has grown to be so tremendous in countries like Japan where people are known to die from various conditions related to overworking. This phenomenon of death by overwork is called karoshi. In 2019, there were 1,949 suicides in Japan related to work problems.  

Singapore, for example, is glorified as a technologically savvy and wealthy city-state. But its population has an average of 44.6 working hours per week, which stands in contrast with countries such as Sweden and their weekly average of 30.9 hours. The question about reducing work hours is something that’s even present at a local level. In June, 2020, the Nova Scotian municipality of Guysborough started a nine-month pilot plan to reduce work days from five to four a week. Hence, allowing the working class to prioritize rest and relaxation in a productivity-driven society.  

Regardless, frantic and unpleasant work is something that’s truly become characteristic of our culture. We’ve romanticized internalized capitalism and downplayed its harm.  

Reimagining productivity  

Are we truly defined by the work accomplished every day? Is our success only measured by sleepless work? Must we fill each day in the calendar with a work quota to make room for a free weekend? Internalized capitalism has several ramifications. If self-worth relies solely on achievements and production, self-love is conditional, doomed to rely on the next big success or the next due date for a work project. 

Anders Hayden, a political science professor at Dalhousie University, says “there are a lot of parallels between academic life and internalized capitalism.” 

“We need to produce something to have a sense of value. Hopefully, it’s successful. But can we rest on our sense of success? No. You need to be productive again to have a sense of self-worth. In terms of academic work, you internalize that as well,” Hayden says. 

In 2020, there has been a 300 per cent increase since February in people searching “how to get your brain to focus” on Google. This may be a question many university students and professors are asking themselves as they try to be productive during the school year amidst the COVID-19 pandemic. 

 As Hayden says, academics are feeling a “constant sense [they] need to continue pushing to do more to get those publications out” and there is “no time to sit and rest.” 

There may be great worth in re-evaluating our school or workplace habits and values. By refocusing our goals beyond daily achievements, we may be able to regain an inner peace that the cycle of production of capitalism doesn’t provide. 

What do deep fakes mean for politics?

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Digital content forgery technology, also known as deep fakes, are visual forgery created through neural networks, a subset of machine learning that can algorithmically transport one face to another. This Mission Impossible-esque process results in extremely convincing videos, making it difficult to separate what is real from what is fake. 

Deep fake tech is one of the most worrying consequences of rapid artificial intelligence (AI) advancement. In an interview with the Brookings Institution research group Nick Dufour, a research engineer at Google, proclaimed that deep fakes “have allowed people to claim that video evidence that would otherwise be very compelling is a fake.”  

Even worse, our ability to generate deep fake software is advancing much faster than our ability to detect them. The artificial intelligence sector is much less concerned with identifying fake media than they are with creating it.  

deepfake
In the wrong hands, deepfakes could ruin careers, influence elections, and even start wars. (Photo by Harald Krichel)

Deep fakes and democracy 

A 2019 deep fake of Nancy Pelosi, United States house of representatives speaker, in which she appears to be slowly stumbling through her words, went viral on YouTube and Facebook. According to the Daily Beast, the clip was generated by 34-year-old Trump supporter Shawn Brooks. The video was eventually reposted on Twitter by President Donald Trump himself with the caption: “Pelosi Stammers Through News Conference.”Although this is not the company’s first time being accused of spreading misinformation, Facebook declined to remove the clip stating they had “dramatically reduced its distribution” once the video was identified as false.  

Disinformation like this has grave consequences. Since the code used to create deep fake is open source, false videos can be created by anyone from lone actors to political groups. A report by the Brookings Institution explains the numerous political implications deep fakes present: “distorting democratic discourse; manipulating elections; eroding trust in institutions; weakening journalism; exacerbating social divisions; undermining public safety; and inflicting hard-to-repair damage on the reputation of prominent individuals, including elected officials and candidates for office.” 

Disinformation goes beyond U.S. politics. The art of fake news and distributing sensationalist content to impact politics is a global phenomenon. The speed at which disinformation can be created and spread through the internet, considering it is the world’s largest and most influential non-governmental actor, poses a significant threat to democracy.  

 “In these post-truth times, deep fakes may decimate our ability to make truth-based decisions.”

The central African country of Gabon has already seen this happen. In 2019, an alleged deep fake may have sparked an attempted coup. Beyond office, deep fakes can also have a seismic effect on political narrative.  

Evidence and information are crucial for the democratic process, and deep fakes can ruin that process. People may believe what they see in deep fakes without question. This idea of “seeing is to believe” is what led computer scientist Aviv Ovayda to coin the term “reality apathy.” Reality apathy describes a potential future where no one believes any information they receive because they cannot tell the difference between truth and fiction.  

The future of deep fakes 

A number of cybersecurity startups are trying to tackle the issue of deep fakes. Faculty, a United Kingdom-based AI company, has generated numerous deep fakes using every open-source algorithm available. The company compiles datasets that will train systems to separate real videos from fake ones.  

The reality is that machine learning detective systems will adapt quicker and better than government legislation. Debating the right to free speech is a difficult fight, and the technology is developping too quickly for politicians to handle. Faculty’s CEO proclaimed in a Financial Times interview, “It’s an extremely challenging problem and it’s likely there will always be an arms race between detection and generation.”  

In the long run, deep fakes may just become another player in the cat-and-mouse game between cybercriminals and cybersecurity officers. Another measure is where major tech giants like Facebook and Twitter take more rigorous steps against sowing disinformation. However, is depending solely on private companies to solve a sociopolitical crisis effective enough? In these post-truth times, deep fakes may decimate our ability to make truth-based decisions. The question going forward should not be how to stop people from making deep fakes, but fostering a digital and political environment that actively targets disinformation. 

Conciliation between Dal Faculty Association and university fails on day one

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Conciliation talks between the Dalhousie University Faculty Association (DFA) and Dal’s board of governors failed on their first day, according to a DFA press release on Oct. 19. In an email sent to students the same day from Frank Harvey, provost and acting vice-president academic, and Jasmine Walsh, assistant vice-president of human resources, Dal says the conciliator has asked the sides to meet again on Nov. 3.  

DFA President Dave Westwood says that email from Dal sent the wrong message to students.  

“The way the board portrayed this is misleading. Conciliation has failed. It’s over,” he said in an interview with the Dalhousie Gazette.  

When the two sides meet to discuss on Nov. 3, it will be two days before the DFA can legally take job action, that is strike. A strike will only be possible on Nov. 5 at the earliest because there is a 14-day waiting period after the provincial conciliator, Peter Lloyd, files his report on the negotiations with the minister of labour and advanced education. 

“So the countdown has started, from the moment [the conciliator] files that report, which he told us he will do on [Oct. 22],” said Westwood. 

Dalhousie declined to provide the Gazette with an interview on this issue, but university spokesperson Janet Bryson said in email that “the university intends to use the time at the table on [Nov. 3] productively.” Bryson continued to say, “We recognize that no one within our community wants a strike and our hope is that through continued, active dialogue we can reach an agreement.”  

In their email to students, Dal says they are committed to students and will do everything possible to properly end the academic term. 

“It won’t come to an end. It will come to a very crashing halt and it will be hugely disruptive for everybody,” Westwood said. “Students need to understand that.” 

“The university certainly agrees that job action would be disruptive to the lives of Dal students and our community,” Bryson told the Gazette by email. “No matter what happens the university will do everything we can to ensure that our students have an opportunity to complete the term.” 

Dalhousie Student Union President Maddie Stinson says the union exists to support students and right now that means supporting the DFA.  

“Ultimately, the faculty’s working conditions are our learning conditions and so we are urging the university to support students through approaching negotiations in good faith,” Stinson told the Gazette by text message.  

Why conciliation failed 

The talks reached an impasse over the same issue a conciliator was brought in for: the restructuring of the pension plan. 

The DFA has a defined benefit pension plan, meaning when a DFA member retires they are given a lump sum of money. The plan has an indexing provision to ensure the sum increases relative to inflation. This is what Dal wants to adjust.  

In Dal’s email to students they said, “the reforms to protect the long-term sustainability of our defined-benefit pension plan — deserve more time at the table.”  

Additionally, Bryson said the university is open to further discussion on this issue prior to the Nov. 3 meeting.  

Westwood says this issue won’t be solved by more time at the table. There’s no middle ground. 

“Either you restructure the pension or you don’t,” he said. If that issue is removed from the bargaining discussion, “we could probably hammer [the deal] out in two hours,” Westwood said.  

Dal’s offer in the Oct. 19 conciliation meeting hadn’t changed much since bargaining began in June, said Westwood. The original demands included a five per cent wage decrease for the first year of the three-year contract, followed by a two-year freeze of regular wage increases and wage adjustments for inflation, as well as the restructuring of the pension plan.  

Those demands were based on an estimate Dal made that enrollment would drop significantly due to COVID-19. It is now known enrolment actually increased. In light of this, the DFA expected  the board would pull back on their demands in September, but this never happened, according to Westwood.  

Prior to the Oct. 19 meeting, Dal adjusted their offer, proposing a three-year freeze of inflation increases on faculty salary. However, the pension restructuring remained. 

On Oct. 19, Dal offered a two-year wage increase of 0.25 per cent as the only change; a decision on wage changes for the third year of the contract will be made at a later date.  

DFA says this should have been avoided 

On May 26, when the potential impacts of COVID-19 on the coming school year were becoming apparent, Westwood sent a letter to Dal President Deep Saini. He suggested the DFA and board of governors wait until May 2021 at the earliest to discuss the new contract, as the DFA understood Dal faced an uncertain financial future. Instead, the board wished to begin negotiations.  

When the board made the decision to bargain this year, they were aware that bringing the pension issue to the table would cause problems, Westwood said.  

“The board knows this. It’s 20 years we’ve been telling them we’re not accepting that proposal, and it’s always been a strike issue and always will be,” Westwood said.  

“We have offered them every opportunity to avoid this. They’re the ones who are pushing the gas pedal on this situation and being completely belligerent, belittling, and disrespectful to faculty members and retirees, and it’s all unnecessary,” Westwood said.  

The board’s decision to leave the pension demand unchanged, while aware the DFA will not concede to the demand, has worsened the negative impacts of COVID-19 on the Dal community, says Westwood.  

“Students are stressed and they’re starting to break. Faculty are starting to break. I’m getting emails from parents now that are concerned about the mental health of their students if the strike happens,” he said.  

What if a strike happens?  

On Nov. 5, Dal professors and instructors could stop teaching their courses. In an email to the students on Oct. 21the University of King’s College vice-president Peter O’Brien said the university is developing a contingency plan and “information will be shared with King’s students as soon as it is available.” 

According to Westwood, it will be difficult to prepare for a strike as professors are bound to their syllabi and cannot adjust evaluation dates without a majority vote from students.  

“I think that’s hard to imagine, in this day, where people are just struggling day-to-day to just get through their courses,” he said. 

Board of governors chair steps down 

Amidst the ongoing negotiations Dal announced on Oct. 21 the chair of the university’s board of governors, Candace Thomas, has stepped down from her position. 

According to Westwood, this won’t have a direct effect on the bargaining negotiations between the board and the DFA. 

Thomas has been a member of the board since 2011, holding the position of chair since 2019.  

Her decision to step down comes after the provincial government appointed her in April as deputy minister of the department of justice, deputy attorney general and deputy minister of the office of social innovation and integrative approaches, which “made juggling her Dalhousie responsibilities simply too much all at once,” according to Dal’s website.  

Thomas will remain on the board until the end of 2020 to aid in the transition period. The current vice-chair, Bob Hanf, will take over as interim chair until the board fills the seat. 

Playing the dead zone

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Volleyball coach Rick Scott
Dal’s women’s volleyball coach Rick Scott has led his team to win the last eight AUS Championships. Although no stranger to success, some of the stranger events in his coaching career still stand out to him today. (Photo by Dalhousie Athletics)

As coach for 11 seasons with the Dalhousie University Tigers women’s volleyball team, Rick Scott has coached in the biggest games in front of the loudest of crowds in Atlantic University Sport (AUS).

Whether it was the day after a residence extravaganza or in the middle of a blizzard, Scott has also coached in the eeriest and spookiest of dead silences.

In an interview with the Gazette, Scott shared two of the deadest places his teams have played at. The circumstances behind these games were unusual and fascinating, but the Gazette confirms the volleyball court built on top of a graveyard was not one of them.

Memorial University, February 2011

The women’s volleyball team travelled to St. John’s, Nfld. to play the Memorial University Sea-Hawks in 2011. They were set to play at 7 p.m. Friday night and 11 a.m. the next morning.

Minutes before the first game, Scott caught a funny feeling about the crowd from Memorial University (MUN).

“People started streaming in, literally by the hundreds,” he said. “Then it just didn’t stop.”

Scott said MUN had a type of residence night, where students were encouraged to come to the game to support the Sea-Hawks and their own residences. The MUN Field House arena has a capacity of 1,400, but Scott guessed almost 2,000 fans squeezed in. That’s compared to 400-500 at a well-attended game at the Dalplex.

“My team couldn’t hear me in the warm-up. I had to yell the whole time so the girls could hear. The crowd was chanting, singing and cheering. It was wild,” Scott said. “MUN beat us three games to none. That crowd inspired them.”

The next day was the exact opposite.

“There might have been 30 people in the crowd, maybe 50,” Scott said.

The big crowd from the night before, he said, slept in after likely celebrating the previous night’s win. The dead silence was what pushed the Tigers to a win of their own that morning.

“You could hear crickets compared to the night before when you couldn’t hear me yelling from five feet away. I didn’t have to yell the next day,” Scott laughed.

He said he’s never coached in a louder building than that first game at MUN, and the odd silence of the second game made the experience much more memorable.

“The players and everyone there will remember that game forever,” he said. “The girls I coached and I still talk about that weekend.”

University of New Brunswick, February 2015

Four years later, Dal was in the hunt for their third straight AUS banner at the AUS Championships hosted by the University of New Brunswick (UNB).

Dal’s Tigers beat the UNB Varsity Reds Saturday night, setting the stage for the final against the Saint Mary’s University (SMU) Huskies. The battle of Halifax universities, for the fourth straight season, would decide the AUS champion.

Then, Saturday night, a massive blizzard hit Fredericton.

“It lasted a couple of days. It was so bad, the highway didn’t open until Monday evening for us to go home,” Scott said. “But the game went on, even with snowdrifts and not good conditions. Both teams were there and the power was on. So, we played.”

After being able to “get the bus through the snow,” both teams played in front of an unsurprisingly smaller crowd. According to the AUS’s records, 978 attended the Dal vs. UNB semi-final. At the final game on Sunday, there were only 152 people “made up mostly of parents from both teams,” Scott said.

“It wasn’t the usual loud, supportive crowd you’d see in an AUS championship,” he said, comparing the game to those played without fans nowadays in pro sports. “Fredericton was shut down, so clearly not as many people were there.”

What Scott remembers most about that game was how the intensity remained despite the lack of fans. Possibly, it’s a lesson teams could use should they play games without fans in the future.

“It was a good battle,” Scott said. “The game was still very hard-fought and exciting, and the win was just as exciting.”

AUS season could still happen, but national championships will not

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A return to Atlantic University Sport (AUS) competition has not been ruled out for winter 2021.

The AUS announced the formation of a Return-To-Play committee on Oct. 15. It consists of one athletic director from each of the four Atlantic provinces, plus the AUS’s director of sport programming. The committee will examine concerns around health and safety, finances and travel caused by COVID-19 in Atlantic Canada. 

The committee will present return to play recommendations to the AUS board of directors by early November. A board decision will come in mid-November regarding whether sports could still go ahead in the winter.

AUS executive director Phil Currie credited the success of the Atlantic bubble for keeping hopes of competition alive this year.

“The remarkable success of the Atlantic Canadian bubble places our conference in a unique position nationally to consider options surrounding return to play,” Currie said in the AUS’s Oct. 15 statement.

U Sports national championships cancelled

The AUS statement came out moments after U Sports officially cancelled winter 2021 national championships. On June 8, U Sports and its conferences called off the fall season and cancelled six fall national championships.

Dick White, U Sports’ interim CEO, summed up the decision in one sentence in their announcement: “It is not logistically possible for teams to be travelling across the country at this time.”

After U Sports’ announcement on national championships, Ontario University Athletics (OUA) announced they would not hold competition in the winter. The Canada West Universities Athletic Association said all sports except curling, swimming and track and field would not happen in the winter. An update on those three sports will come at a later time.

Réseau du sport étudiant du Québec (RSEQ) announced competition would not return until Jan. 15 at the earliest. RSEQ’s deputy CEO Stephane Boudreau said in September that a season update would come after a decision on national championships.

Discovering life in the dead

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It is 12:30 p.m. on Oct. 6, 2020, and the Robie Street entrance of Camp Hill Cemetery is bustling with activity. Sunlight filters into the burial ground through tree branches, breaking against the ornate obelisks and tombstones. This is nothing like the creepy crypts depicted in classic horror movies.  

Craig Ferguson runs the popular Twitter account @deadinhalifax, where he tells the forgotten history of Halifax through its graveyards. (Photo by Mandy King)

Craig Ferguson appears at the gate with a wave. Ferguson is a local TV producer, writer, sports announcer and history buff. Since July 2019, he has also been managing a Twitter page called Dead in Halifax. Ferguson posts photos, descriptions and stories of gravesites around the Halifax Regional Municipality (HRM). Ferguson says he likes “the constraints of Twitter because it forces you to be very tight with your writing.” 

As we walk into the cemetery, Ferguson says he doesn’t find graveyards creepy, but they once gave him a feeling of unease.  

“I used to avoid [Camp Hill Cemetery] all the time,” he says. “When my daughter was very young, our babysitter would walk her through here in the carriage. I thought, ‘She shouldn’t be walking through there.’ I grew up very superstitious.”  

Ferguson compares this feeling to the way some people hold their breath when they drive past a graveyard. However, he says he has now become better acquainted with burial grounds.  

To people who are scared of walking through cemeteries, Ferguson says, “I understand [the fear], but you’re missing out on something.” 

A new perspective on cemeteries 

Ferguson now sees cemeteries as a place to think, sate curiosity and enjoy the calm beauty.  In the United States, he explains, there was a 19th century movement called the rural cemetery movement, which centred on the premise that, “Cemeteries could be places of quiet contemplation and for nature; that they should be more than a burial ground.”   

Established in 1844, as a replacement for the Old Burying Ground on Barrington Street, Camp Hill Cemetery is a resting place for many notable figures including Viola DesmondJoseph Howe and Alexander Keith.  

Today, Ferguson points out some lesser known stories buried within these hallowed grounds. As he walks past Alexander Keith’s obelisk on the way to examine other stones, he stops to point out the various beer receptacles left standing against the nameplate. The Alexander Keith’s brand of beer is one of the most popular in the province

“I mean, obviously, I can’t condone this, but people come in here and have a beer,” Ferguson says. “It’s a tradition and I think it’s obviously something that’s passed on from person to person. It’s not written down anywhere.” 

Ferguson’s version of Halifax history 

Ferguson can trace the history of Halifax and its largest institutions by stopping to talk about certain gravestones.  

Ferguson can track the history of Halifax and its largest institutions by walking through a cemetery. (Photo by Mandy King)

Strolling along, Ferguson spots a stone related to Dalhousie University. This is the resting place of the Nordbeck sisters. Ferguson explains the Nordbecks owned an estate called Studley Farm. One of the sisters was ill and after years of caring for her, the other sister hired a caregiver named Elizabeth Carey. After both sisters passed, they left the estate to Carey. Carey sold the land to Dalhousie and the property eventually became the building site of Dal’s Studley Campus.  

A Dal alumnus rests beneath a small obelisk with the name Abraham Gesner. Ferguson says the obelisk was recently cleaned by the Dalhousie geology department. Gesner was the inventor of kerosene oil. Before his invention, whale blubber was often used as fuel for indoor lamps. Ferguson says he likes to believe Gesner has saved more whales than any other human, but he cannot be sure. 

Moving closer to the opposite end of the graveyard, Ferguson explains, “The cemetery is historically segregated, and a lot of the graves in the Black section don’t have gravestones. How can we get into the history of that and figure out how to tell those stories?”  

Among these stones are several from the No. 2 Construction Battalion, an all-Black military battalion from the First World War. One headstone for Daniel Perry Sampson was funded by the Last Post Fund, a group dedicated to ensuring no veteran is buried without a name.  

Gravestone
The headstone of Daniel Perry Sampson paid for by the Last Post Fund. (Photo by Mandy King)

Sampson’s story is filled with sadness, injustice and racism. It is the story of a man who suffered from mental illness after serving in the war and was arrested for the murder of two young white brothers named Edwin and Bramwell Heffernan. Facing an all-white jury, Sampson was found guilty. He was the last person to be sentenced to death by hanging in Halifax. Questions still remain on whether Sampson truly committed the murder. The further injustice lies in the implication the real murderer of the two boys may have gotten away. 

Sampson’s story points out a crucial role of graveyards in preserving history, good and bad. Ferguson says, “Graveyards are museums of people.” 

Ferguson furthers proves this when he points out the obelisk for the Young family. Ferguson tells the story of a Scottish-born merchant, John Young, who felt Nova Scotia could do more agriculturally and wrote several letters to local newspapers saying so. To write these letters, he used the pseudonym, “Agricola,” which lead to the Halifax street of the same name.  

As it turns out, John Young had his portrait painted by a local artist, William Valentine, whose tombstone is a favourite of Ferguson’s. Starting as a painter, Valentine became the first photographer in Halifax. This, Ferguson explains, was a major turning point in technology for Haligonians and the world at the time.  

Find more stories about local HRM graveyards through Ferguson’s Twitter feed Dead in Halifax

The blacksmiths of Nova Scotia

Frank Smith’s new novel What Once Was Lost explores the world of blacksmithing in Nova Scotia. (Photo by Leah Simonot)

Frank Smith’s new novel What Once Was Lost: The Blacksmith’s Art in Nova Scotia refutes the idea that blacksmithing is archaic, obsolete and alive only in demonstrations by burly men at historic sites. 

Discovering the community 

Frank is a Dalhousie University professor of histology, a subfield of anatomy interested in the microscopic structure of tissue. He teaches in the department of medical neuroscience and researches how the nervous system affects the heart. What many of his colleagues in academia don’t know is Frank is also an amateur blacksmith.  

At 12 years old, Frank watched in wonder as a blacksmith repaired his father’s pickaxe. The impression stayed in the back of his mind for nearly three decades until a working blacksmith invited him to try it on a Sunday outing to Ross Farm Museum. 

“It is totally seductive once you start,” says Frank, charmed as ever even 20 years later. “Working hot metal comes the closest to, I think, total bliss as I can describe.” 

Frank found blacksmiths welcoming and generous in sharing their knowledge of the craft. However, when it came to learning the local history, resources were slim and scattered. Frank aired this frustration at a dinner party in the presence of SSP Publications owner H. M. Scott Smith (no relation to Frank), who challenged him to fill the gap. 

For two years Frank  mined archives and visited the forges of fellow Nova Scotian blacksmiths to collect their stories. He wanted to “recreate, as it were, the Zeitgeist of the time” and showcase the relevance of contemporary blacksmithing.  

Nova Scotian blacksmiths 

Profiles of 14 working blacksmiths comprise the backbone of the book, each written with a narrative candour reminiscent of Ernest Hemingway. Frank laughs off this comparison, but says he did try to avoid “dry history writing.”  

“This was about people doing real jobs in a real environment, so I tried to get some sort of sense of what that might be like,” he says.  

As recounted by Frank, ironwork was crucial to the survival of early Nova Scotian settlements. By the middle of the 20th century, however, machines could mimic the blacksmith’s work with superior efficiency. A wave of blacksmiths closed shop and migrated towards mines, railyards and shipyards.  

What Once Was Lost argues the market for handcrafted ironwork didn’t collapse under this strain, but in fact leaned into artisanal and ornamental iterations of the craft. 

John Little is among the blacksmiths featured in the book whose career spans the so-called “renaissance of blacksmithing,” which began in the 1960s. Just shy of completing a master’s degree in psychology at Dalhousie, John scrapped his thesis, and turned to the land where he eventually built a shop and raised a family with his wife, Nancy. From improvising a shovel from an old oil drum to forging fishermen’s hooks to inventing one-of-a-kind instruments for musicians, he had no idea how his creativity would bloom over the years. 

“Everything about this journey has had a feeling of inevitability,” John says. “It’s like I started and I just put one foot in front of the other.” 

In a chance meeting with Austrian blacksmith Paul Geyer, John happened upon his greatest inspiration: a decorative blacksmith and author by the name of Edwin Roth,  who’d come to work in the Annapolis Valley.  

“[Geyer] opened [Roth’s] book up and I can’t begin to tell you — it was as exciting as the first hammer blow that made the metal move,” John recalls.  

“All of a sudden I saw all this modern, forward-thinking, unbelievably exquisite exploratory contemporary forge work and just such imagination. You could scrape me off the ceiling for two weeks after that. I was so excited.” 

John’s ironwork has been featured in national and international collections. He is a two-time finalist for the Lieutenant Governor of Nova Scotia Masterworks Arts Award and has received six nominations for the Portia White Prize, a provincial award for a Nova Scotian artist who has achieved mastery in their field. 

A family tradition 

John’s daughter is also featured in the book. Two years into her undergrad at Dalhousie, Becky Little decided blacksmithing would be her livelihood. She started out gaining experience in her father’s shop, then received an invitation to work in Germany alongside a father and son duo she met while demonstrating at her first blacksmithing conference. She worked elsewhere in Germany and Switzerland before returning to Canada. 

Becky currently owns an independent shop called Dragonfly Forge in Blind Bay, N.S. With children aged 1, 5 and 7, she says it’s a challenge to spend enough time working. But one bonus to blacksmithing is just being part of a community. 

“It’s kind of unique to be in a business where, in theory, you might be in competition with each other but it’s the absolute opposite. Everybody is trying to help each other out,” Becky says. “[Blacksmithing] is not only a very exciting field to work in, but. . . it kind of covers a lot of territory in terms of teaching and being part of a community.” 

Becky says while demonstrating at conferences alongside people who were advanced in the craft, she started to see herself as a working blacksmith. 

“[It] really made me feel like I could run with this,” she says. “Being in that room and being included in that community and in that category made me think, ‘You know, I have a place here.’”  

Virtual tricks and treats

This year Halloween will look different than ever before. Although COVID-19 has rendered it impossible to participate in many typical Halloween events, there are still dozens of fun things to do. Here is a list of a few options to make Halloween 2020 as great as any other year. 

Halifax walking ghost tour  

The Halifax Ghost Walk offers socially distanced walking ghost tours that begin at Citadel Hill and visit sites around the city. Although there is no tour available on Oct. 31, there is a tour option on Oct. 30, as well as other dates all throughout the month. This is a fun way to get into a spooky Halloween mood and spend safe time with friends.  

Zoom costume party  

Although an in-person costume party may not be possible this year, everyone can dress up in their best costumes and get together over video chat. To make the night more fun, play some games like Kahoot Halloween trivia or Heads Up charades. Tell your best ghost stories, create spooky backgrounds by decorating your spaces, or send a Halloween-themed snack recipe to everyone and make it together. Another option for a virtual party is to carve or paint pumpkins.  

Scary escape room experience  

Captured Escape Rooms and Trapped Halifax, both on Barrington Street, are open and available for one bubble at a time to experience. Escape rooms are a thrilling experience where a group of people solves puzzles in a room against a ticking clock. Bring a few friends and try it out as a safe alternative to typical Halloween events. 

Hazmat Halloween COVID-19
Many people may avoid partying and trick-or-treating this year. But never fear! There are plenty of virtual ways to celebrate Halloween. (Photo by Geoffrey Howard)

Classic Halloween movie night 

If you haven’t seen all of the classic Halloween movies, this is your year to catch up! It could be something lighthearted like Hocus PocusHalloweentown or The Addams Family. It could also be a thriller night with some of the scariest movies like The ExorcistThe ConjuringHalloween, or Hereditary. Whatever you decide, pair it with a creepy Halloween snack idea, like puff pastries that look like mummies or pizza bagels with ghost-shaped pieces of mozzarella.  

Virtual haunted house tour  

Don’t let the fact face-to-face events are at an all-time low stop you from experiencing all the thrills, jumps and scares of a haunted house this Halloween. There are several virtual haunted tours online, which include some of the scariest locations on the planet like the Paris Catacombs, the Chernobyl zone and the Bran Castle in Romania. The Bran Castle is thought to be a possible inspiration for Bram Stoker’s 1897 gothic novel Dracula. 

Book a fortune teller or psychic reading  

Lastly, and my personal favourite on the list: visiting a fortune teller or psychic online is the perfect way to get in a thrilling Halloween mood and celebrate the holiday while still staying safe. There are websites, such as Oranum.com and Psychicsource.com, with lots of different psychics available to book a reading with. 

Although Halloween this year is a bit compromised, don’t let the change in plans get down on your festivities. Use these ideas, or come up with more of your own, to still have a fun Halloween while celebrating safely. 

Fashion in the time of Coronavirus

Although it may not appear evident, the COVID-19 pandemic has turned the world of fashion from a space of glamour to a space of economic bankruptcy.  Although it may not appear evident, the COVID-19 pandemic has turned the world of fashion from a space of glamour to a space of economic bankruptcy. 

Unprecedented changes 

Because buyers are staying indoors to avoid the virus, massive retail stores, such as JC Penney, have declared bankruptcy or permanently closed many locations. Thousands of fashion workers have been laid off from factories in countries like Bangladesh and India. Designers are rethinking their clothing lines and slowing down production in a way that is entirely uncharacteristic for the fast-paced fashion world of the 21st century.  

But it isn’t all bad. By analyzing the response of designers alongside the new initiatives that have bloomed in 2020, one can see how a fashion crisis can turn into a fashion revolution.  

Every year, approximately 100 billion garments are produced worldwide. Most are made at lighting speed by large factories in developing nations  such as Bangladesh and ChinaA 2017 study found the fashion industry produces about 20 per cent of the world’s industrial water pollution. All those statistics allow the fashion industry to earn US$2.5 trillion annually.  

 A survey by Sustainable Apparel Coalition shows a third of decision makers from fashion brands, stores and manufacturers around the world felt very unprepared for COVID-19. Whether that means shifting to an entirely online service, firing many store attendants or modifying lines so they include more comfortable clothes instead of evening wear, each brand is encountering its own drama. 

Adapting to the situation 

High fashion brands such as Louis Vuitton are slowing down production due to COVID-19. But the effects of the pandemic in the fashion industry go far beyond big-name brands. (Photo by Kent Wang on Flickr)

These issues have not stopped the fashion industry from moving forward this time of crisis. In Milan, several designers released their lines at shows held in early February, which allowed buyers to purchase fine clothes before the massive shut down of stores.  

London Fashion Week took place online this past June and September, relying on YouTube and Instagram to display fewer but equally glamorous models wearing couture at home.  

There is also a rising trend of do-it-yourself fashion, with acid wash and tie-dye becoming a common hobby for people as social distancing continues. Platforms such as Instagram, YouTube and TikTok show young influencers transforming their clothes by cropping, colouring or adding pins to them. L.A.-based designer Reese Cooper fabricated a DIY kit to make his trademark workwear coat at home. Cooper’s 1,000 kits cost US$98 each and sold out within days. 

Buying local 

The drive to move forward as the world of fashion slows down can even be seen at the local level. Denise Hajjara fashion designer from Quincy, Mass., has gained a lot of business since March 2020. She started sewing cloth masks and giving them out to healthcare workers for free, and charging US$5 for other customers. Her masks were a local hit. 

“Comfort and fit are most important,” Hajjar says. “My masks are three layers including a lining of Sea Island cotton for a soft feel against the face, a middle layer of organic boiled flannel to act as a natural filter, and the outer layer, which is a cotton with elastane blend, sourced from a European supplier, in a variety of patterns or solid colours. That’s where the fashionable and fun part comes in.” 

As masks turn into a fashion piece required for our daily lives, it will adapt to what people want, whether that means masks match outfits or personalities. Nevertheless, the different layers in Hajjar’s work indicate that fashionable masks need not be impractical.  

Beth Ardon, who owns the Halifax-based clothing company Poison Pear, also started making cloth masks due to COVID-19. 

“The fabrics I use are soft and breathable bamboo, cotton, spandex, doubled up with a pocket for a filter should you wish to use one. They also have wires along the top to make it easier to wear with glasses,” Ardon says. 

Ardon says her process is not only practical but also ecologically sustainable.  

“I’m always looking for ways to use up all my little scraps of screen-printed fabric left over from producing my clothing,” she says.  

Read This: The Hour of the Star

Clarice Lispector’s 1977 novel, The Hour of the Star, is about a woman living in the slums of Rio de Janeiro, Brazil. (Photo by Hannah van den Bosch and Chiara Ferrero Wong)

This summer we read and loved The Hour of the Star by one of Brazil’s most brilliant novelists: Clarice Lispector. We like to recommend books you can read during your studies, and luckily, this month’s read is only 77 pages! Although it’s short, it’s sure to have an impact. 

About the author 

Lispector spent the final years of her life writing The Hour of the Star, which was published two months before her death in 1977. Much of Lispector’s writing is semi-autobiographical, incorporating emotions and thoughts from her childhood and the many tragedies that followed in her adult years.  

Although she was born in the Ukraine to Jewish emigrants, Lispector and her family were forced to emigrate to Brazil due to the violence of the Russian Civil War. When she was nine years old, Lispector’s mother passed away, and the family once again moved from Recife, Brazil to Rio de Janeiro. 

Irish writer Colm Tóibín, in his introduction to The Hour of the Star, describes Lispector as “unliterary.” She never studied writing or spent much time reading. She is unlike any other writer: Her word choices are bizarre and brilliant, her style surreal. She forged her own path to becoming the novelist she is today and thank goodness she did. Every written word feels deliberate in a forceful way; it compels you to believe none of it was written as an afterthought.  

The plot 

The novella is about a young woman named Macabéa who lives in the slums of Rio de Janeiro. She is poor, uneducated and knows very little about the world around her. She also doesn’t seem to realize how terrible her life is. Instead, she claims to be happy.  

The story is narrated by Rodrigo S.M., a writer who feels an intense urgency to record her story. He struggles to  portray her properly, but self-identifies as an unreliable narrator. Again and again, he repeats how ignorant and helpless Macabéa is and calls her an “accident of nature.” But it’s clear Rodrigo cares deeply for Macabéa and is writing her story out of some deep connection he can’t understand. In his own words, “she didn’t have that delicate thing called charm. I’m the only one who finds her charming. Only I, her author, love her.” 

Lispector explores themes of belonging and agency through Macabéa. The narrator makes it clear: “the only thing she desired was to live.” She drifts through her life listening to her clock radio, and eating a diet that consists exclusively of hot dogs and coffee. She thinks she is happy only because “she did not know she existed. . . therefore she wasn’t aware of her own unhappiness.” Lispector’s decision to write a story about someone who is supposed to be completely uninteresting and unrelatable is a lot of what makes this story so phenomenal. Macabéa is an unsung hero in her own weird way.  

This book was one of the most refreshing, confusing and astounding books we’ve read in a long time. It’s hard to believe someone as talented as Lispector just decided to pick up a pen one day and start writing. If you’re interested in a rollercoaster of a novella, there’s a few copies at the Killam Memorial Library, or you can order one from Bookmark or other retailer if you’re looking to buy it for yourself or a friend!