An American Editor

September 27, 2016

On Politics: Mirror, Mirror

“Mirror, mirror on the wall, who is the fairest one of all” is the daily question asked of the magic mirror by the queen in the fairy tale Snow White. Thankfully, the magic mirror wasn’t a protégé of Donald Trump or the answer might never have become “My Queen, you are the fairest here so true. But Snow White is a thousand times more beautiful than you.”

Asking a magic mirror is not possible for most of us. Consequently, we look to messages from others. Some messages are very powerful, as was “Daisy” from the 1964 Johnson vs Goldwater presidential campaign:

In this year’s presidential campaign, we are seeing what may well turn out to be the next “Daisy” — Hillary Clinton’s “Mirrors,” which gives us a chance to see how a Trumpian magic mirror would respond to “Mirror, mirror on the wall, who is the fairest one of all”:

Every parent voting for Donald Trump should be asked how they will explain their vote to their children. How will they justify voting for a bully? I know I couldn’t give a credible justification were I to vote for Trump. Can you?

If you aren’t voting for Hillary Clinton, you should be!

Richard Adin, An American Editor


September 25, 2016

On Politics: Do Facts Matter?

When editors discuss editing — whether among themselves or with clients — it is pretty clear that facts are important. If an author were to write that Columbus sailed the ocean for the Americas in 1692, I’m willing to bet that the manuscript’s editor would note that factual error. Getting facts right is one of the pillars supporting the concept of consistency in editing.

Alas, as we all know an editor’s penchant for fact accuracy does not seem to be a cornerstone of politics and this year’s presidential campaign may be the worst example of factual honesty thanks to Donald Trump. I doubt Pinocchio’s nose could grow long enough to envelope all his falsities.

With the first debate quickly approaching (Monday, September 26, 2016 at 9:00 PM EST), the question of facts in politics takes a front seat. An excellent opinion essay  on the issue of whether facts matter, see

Facts Matter

by Barbra Streisand at The Huffington Post. And when it comes to corruption, Trump is no slouch, as noted in this opinion piece by Paul Waldman in The Washington Post:

Trump’s history of corruption is mind-boggling. So why is Clinton supposedly the corrupt one?

I find it odd that facts matter to editors and authors in their daily work but that some are willing to set aside the requirement for facts when choosing the president of the United States. Perhaps the presidential debates will demonstrate why we should be supporting and voting for Hillary Clinton and against Donald Trump in the 2016 election.

For me there is one overriding fact that supports my decision to support and vote for Hillary Clinton: I am confident that with Hillary Clinton as president there will still be an America for grandchildren 4 (or 8) years from now. I have no confidence that will be true should Trump be elected.

And if I were younger, a second fact that supports my decision is the economic harm that Trumpism promises to bring to America with his isolationism, and which I discussed  in On Politics: Freelancing in a Trumpian World.

Just as facts matter in editing, they matter in politics — especially when electing a president of the United States.

Richard Adin, An American Editor

August 1, 2016

On Politics: Freelancing in a Trumpian World

I’m worried. Neither U.S. presidential hopeful is my ideal choice, and no, I was not a Cruzian; nor did I feel the Bern — in my 50-plus years of voting and following politics, I can’t remember a worse lot of primary candidates to choose from. But if I set aside general policy disagreements with the nominees and instead focus on my future as a freelancer, I can’t get past the Trumpian worldview.

Freelance editing has been globalized for decades. The globalization began in the 1980s with the consolidation of publishing companies into a few international conglomerates, the laying off of in-house staff, and the increased use of freelancers to fulfill previously in-house functions. I worked with several publishers over the years who had no in-house editing staff, just production staff, and even the number of production staff was limited because much of the production work was outsourced.

Globalization, of course, rapidly grew with the rise of the Internet and ever-faster computers with more capable software. When I began my career, the dominant software program for copyediting was XyWrite. Lippincott, which was at the time an independent, major book publisher, required freelancers to travel to its New York City office to be tested on their XyWrite skills and to be “taught” how to use the Lippincott version of the program. XyWrite’s primary competitor was WordPerfect. When Windows began to take over the desktop, XyWrite struggled to create a Windows version; the ultimate product was poor. WordPerfect did much better and became the leading word processing program until it was sold to Novell, a company that had no clue about consumer-focused software. Ultimately, Microsoft Word was crowned king.

Once Word took the throne, once Windows came to dominate the desktop computer, and once the Internet became truly usable from anywhere on Earth, the freelance editing industry became a global industry. Freelancers now obtained work from all over the planet, and the packaging industry began taking over the production of books. Today, American freelance editors may receive work from India, England, Australia — any place you can name. Similarly, freelance editors in those countries can and do receive work originating in the United States.

So, what happens when globalization becomes threatened? Donald Trump speaks of retreating from globalization, making the retreat a goal of his presidency. He talks of canceling trade treaties, of demanding that foreign-sourced work now be brought back to the United States. We know he is focused on manufacturing, but to think that there will be no ripple effect is to be naïve.

According to some pundits in publishing, the book industry is in trouble. We all know reading is in decline (see, e.g., “Sharp Decline in Children Reading for Pleasure, Survey Finds” by Alison Flood [The Guardian (US Edition), January 9, 2015], “Reading Study Shows Remarkable Decline in U.S.” by Lynn Neary [All Things Considered, NPR, WNYC Radio, November 19, 2007 (Transcript of program)], “The Decline of the American Book Lover” by Jordan Weissman [The Atlantic, January 21, 2014], and “Decline in Reading in the U.S.” [EBSCO Host Connection]), and it appears that overall book sales are either stagnant or declining. To make more money, publishers are cutting costs. One way is by increasing the tasks that are outsourced and paying less to the freelancers to whom the work is outsourced. (I find it interesting that executive pay in publishing has increased since 1995 but that most publishers and packagers are offering freelance editors the same pay as was handed out in 1995. No adjustment for inflation.) Bringing those tasks back to the United States will not result in higher-paying in-house jobs for editors.

In fact, it is unlikely that the jobs will be brought back at all. More likely, books will be edited by non-American editors. I have seen the start of this trend; in recent years, I have watched projects that I wouldn’t do for the offered fee be assigned to foreign editors.

Not long ago, I was contacted by a packager from Ireland. We had no problem coming to agreement, except when it came to price. With the maximum they were willing to pay, I would have received 96 cents per page for editing technical material on a short deadline. The packager is clearly able to find editors willing to work for that price, but how many American editors can accept so little money to edit technical material?

I see a practical problem for freelance editors in the event of a Trump presidency: if the United States becomes protectionist in trade policy, should we not expect retaliation and/or reciprocation? With much of the publishing industry consolidated into non-American firms, how effective can a retreat from globalization be for us? Economists are already saying that if we want to see how well the Trump program will work, we only need to look at Walmart’s re-Americanization efforts (see “If Wal-Mart Can’t Bring Manufacturing Back to America, How Can Trump?” by Shannon Pettypiece, Bloomberg Businessweek, July 14, 2016).

So, because I’m a freelance editor who relies on business from around the world, the prospect of having Donald Trump as president alarms me. Some Trump supporters say that this is just bluster on Trump’s part, that he will not really upset the American economy, and that he will modify his stance once elected. That is a gamble I am unwilling to take.

Trump reminds me of Berzelius “Buzz” Windrip, the populist U.S. senator who is elected president after promising America First economic policies in Sinclair Lewis’s novel It Can’t Happen Here. If you haven’t read the novel, you should. Although written in 1935, it could be about the 2016 election. Also worth reading is “Trump’s Bigotry Revives Fears of ‘It Can’t Happen Here’” by Michael Winship (Moyers & Company, December 8, 2015).

There are, in my view, many economic reasons not to vote for Trump for president (e.g., “After 9/11, Trump Took Money Marked for Small Businesses” by Michael Warren [The Weekly Standard, February 15, 2016], “Donald Trump Sued Everyone but His Hairdresser” by Olivia Nuzzi [The Daily Beast, July 6, 2015], “How Donald Trump Bankrupted His Atlantic City Casinos, but Still Earned Millions” by Russ Buettner and Charles V. Bagli [The New York Times, June 11, 2016], and “Donald Trump’s Deals Rely on Being Creative With the Truth” by David Barstow [The New York Times, July 16, 2016]) as well as the social and cultural downsides to him as a candidate (e.g., his view of women [see, e.g., “Crossing the Line: How Donald Trump Behaved With Women in Private” by Michael Barbaro and Megan Twoheymay (The New York Times, May 14, 2016), “Donald Trump Hates Women: It’s the One Position He’s Never Changed” by Franklin Foer (Slate, March 24, 2016), and “Sorry, Ivanka. I’m Not Buying that Donald Trump Will Be a Champion for Women” by Vivien Labaton (CNBC, July 22, 2016)]); his denial of human involvement in climate change [see, e.g., “Trump and Pence Are a Match Made in Climate Change Denial Heaven” by Natalie Schreyer (Newsweek, July 15, 2016) and “Water World: Rising Tides Close in on Trump, the Climate Change Denier” by Suzanne Goldenberg (The Guardian [US Edition], July 6, 2016)]; his clear dislike of non–Northern European immigrants; his willingness to tear apart families; his lack of trustworthiness; his short temper; and his threat to America’s existence even four years from now. But the danger he poses to the way the freelance editing business works in the real world is sufficient reason for me to vote for Hillary Clinton. That is what I encourage all freelancers to do — vote for Hillary Clinton because Donald Trump’s world economic view is a danger to our livelihood.

(Addendum: Recently, Donald Trump asked a foreign government to intervene in the upcoming election. A petition to the White House asking for an investigation of Trump’s actions has been created at We the People, which is the government’s website for petitioning the White House. If you would like to review the petition and perhaps sign it, go to the petition at We the People. Sadly, as each day passes there are additional revelations, such as this one in The Guardian: “Donald Trump and Russia: A Web That Grows More Tangled All the Time.”)

Richard Adin, An American Editor

May 30, 2016

Sita Sings the Blues on Copyright


About 7 years ago, I stumbled on a great music video, Sita Sings the Blues. If you haven’t seen/heard the video, I urge you to do so. It is available free online or for download from Nina Paley’s website. She is its creator.

Regardless of whether you view the movie, you should listen to Nina Paley’s TED talk “Copyright is Brain Damage.” It is a different perspective on copyright by an artist whose work is copyrightable.

Do you agree with Ms. Paley? If yes, why; if no, why not.

Thanks to The Digital Reader for bringing Ms. Paley’s TED talk to my attention.

Richard Adin, An American Editor

March 9, 2016

Barnes & Noble: Years Later & Still No Clue

As long-time readers of An American Editor know, I prefer to purchase my books at Barnes & Noble (B&N), largely so as to keep a competitor to Amazon alive. But I have to admit, even after years of struggling against Amazon, B&N still doesn’t have a clue and seems to not care that it is following a path of self-destruction.

Consider these past essays on AAE about B&N: On Mourning the Passing of Barnes & Noble (2014), B&N in a Fantasy World (2014), Can Barnes & Noble Be Saved? (2013), and And Then There Was One: Barnes & Noble’s Lack of Customer Service (2012). You would think that by now, especially with all the troubles that B&N has had, a light bulb would come on and B&N management would have an epiphany: “We need to greatly improve our customer service, because our poor customer service is what keeps us down!” Alas, dimwittedness continues to prevail.

I preorder a lot of hardcovers. At the beginning of last week I had 17 hardcovers on preorder and another dozen I have been thinking about. Last week I received four of those 17 hardcovers, in addition to two hardcovers in addition to two hardcovers that I read about or saw an ad for that I ordered. Six hardcovers purchased and received last week alone. In addition, I added 11 more hardcovers to my list of books that I want to preorder but have not.

And therein begins my tale, with one of the preorders I received last week: “Strange Gods: A Secular History of Conversion” by Susan Jacoby.

I preordered the book many months ago. At the time of the preorder, the price was an undiscounted $30.00. Because it was an early preorder, I didn’t worry about the price, because I (wrongly) assumed that if the book was discounted, B&N would bill me the discounted price. I wanted the book and if it wasn’t discounted, well, I’d pay the $30.00.

When the book arrived, I looked at the invoice and saw it was for $30.00. So I decided to check B&N’s website to see if that was the correct price. It wasn’t. B&N was selling the book for $20.63 — a $9.37 discount. Had the difference in price been a few cents, I would have let it go, but the difference was too much to not call B&N customer service.

I called B&N and the representative told me that “as a one-time courtesy” they would refund the difference but that it is B&N’s policy “not to match prices.” Match prices? I was not asking B&N to match a competitor’s price; I was asking it to sell me the book for the price B&N itself was selling the book, not the inflated preorder price. I thought perhaps I was not getting through because the representative was clearly not a native American English speaker, so I asked to speak to a supervisor.

Even the customer service supervisor seemed to have no clue. She began repeating the excuses the original representative gave — none of which were pertinent, such as “the preorder price depends on inventory, depends on number of preorders, and depends on the publisher” — and then repeated the words, “as a one-time courtesy.”

Unbelievable. I stopped the supervisor and asked, “If this is B&N’s policy, why would I ever preorder a book from you? You do know, do you not, that your biggest competitor, Amazon, offers a preorder price guarantee; that is, if I preorder a book I will be charged the lowest price that Amazon advertised the book for between the time of preorder and the time of delivery?” A waste of breath because she started to repeat the excuses, beginning with “Barnes & Noble doesn’t match prices.”

I decided to give it one more try. I said: “Does it make sense that I can return this book to you at your cost and get a full refund and then reorder the book at the discounted price, which you will ship to me at no charge? If I do that, you will have paid the cost of shipping three times rather than once, and thus lose even more money.” The supervisor’s response was that it is B&N’s policy not to match prices.

I gave up.

I know that contrary to what our Supreme Court has declared, corporations are not human; they are inanimate objects that cannot think. Consequently, they rely on human beings to do their thinking. And that appears to be the difference between corporations: some have smart humans doing their thinking and others not-so-smart, bordering on ill-informed, humans doing their thinking. Sadly, B&N continues to flail in the not-so-smart category.

It doesn’t take much of a light bulb to recognize that if you have a successful competitor who does X, you should be looking at X and figuring out how to make X yours. It doesn’t take much of a light bulb to see that good, credible, noteworthy customer-centric service is the one thing Amazon has going for it, the one thing that Amazon is really well-known in the marketplace for, the most important thing Amazon has that B&N does not have — customer-centric service.

It is not that Amazon never fails at customer service. I stopped buying from its subsidiary Woot a couple of years ago because of exceedingly poor customer service. But the Amazon that B&N competes with has a stellar reputation for customer service. Amazon has consistently said that it may not have the lowest price but it has the best customer service, and I know people who will vouch for that and have said they’d rather pay a bit more to Amazon and know they’ll get great customer service than save a few cents and risk poor customer service.

Is this a difficult concept? Not really. I would think any businessperson would know this, but then B&N management is the exception that proves the rule.

B&N is a struggling company that with a little bit of effort wouldn’t need to struggle so much. All it needs to do is change its culture by putting customers first. This was pointed out to B&N years ago, but even with changes in management it refuses to learn the lesson.

I am the customer that B&N needs and wants. I buy a book because I want it, not because of the price, and I buy hardcovers. I also preorder books, which tells B&N that it has a sure sale. B&N knows this (or should); all it has to do is look at my purchases in its databases. It’s computers must recognize me as a desirable customer because my membership has been renewed at no charge to me. The problem is getting B&N’s human staff to recognize what the computers recognize.

But B&N is driving me away. The customer service supervisor didn’t seem to care when I suggested that perhaps I should cancel all my B&N preorders and instead preorder the books at Amazon. I suspect she would have given me Amazon’s URL, thinking she was passing a problem customer to Amazon.

Years ago I said that B&N’s problem was very poor management. Even though there has been some management change, its poor quality seems to continue. If I were a shareholder, I’d be complaining loudly about how poor management is killing my investment by failing to invest in great customer relations. But I’m not a shareholder; I am just a customer who is thinking of jumping ship because I have had enough poor customer service and I am sure I can find some other bookseller who would like a customer who buys dozens of hardcovers every year.

Richard Adin, An American Editor

November 11, 2015

The Business of Editing: A Fifth Fundamental Business Mistake That Editors Make

Profit & Business Model

A business has to either be profitable so that its owners can earn a living or it has to have investors who are willing to fund the business for years and let the business lose money during those years because of greater future profit expectations or the business has to go out of business.

The first option is usually the option of the freelance editor. We rarely can convince people to invest in our business and let us generate losses for years (the Amazon model), because of the type of business editing is — personal and hands on. Amazon sells goods; the goods are not unique and buyers of the goods do not care whether Jeff Bezos has ever touched the goods. Amazon sells to us based on customer service and price.

Editing, as we know, is different. We are usually hired because of our skills (there are semi-exceptions as in my business model in which clients hire me because of my skills and because of the skills of the editors who work for me) and those skills are hands-on skills. We are hired to read each and every word and pass judgment on the words, the sentence structure, the grammar, and so on. Editors are hired to exercise judgment and improve a product; we do not expect Amazon to edit the book we buy from it.

As a result of this difference, Amazon can go years without making a profit, but freelance editors cannot. And Amazon can get people to invest money in it based on a not-written-in-stone promise of future rewards; outside editors themselves and immediate family, it is the rare person who will invest in an editor’s business with the expectation of a future profit.

Yet there is something in our business model and in Amazon’s business model that is identical (aside from the need for stellar customer service): We both need data to determine how we are doing and what we should be doing. The types of data we need are different, but we both need data.

Why Collect Data?

And this is where editors make a fundamental business mistake. Many editors simply do not collect data or if they do collect data, they make no business use of it. Yet data can tell us lots of things about our business. For example, data can tell us whether

  • a client should be kept or fired
  • certain types of projects should be avoided or sought
  • we are charging too little or too much
  • our focus is wrong or right
  • we need to start a marketing campaign now or can wait
  • our marketing campaign is a success or failure
  • making an investment is likely to increase or decrease our profitability
  • subcontracting would be a smart or dumb direction to go
  • and myriad other things

— all we need to do is gather and explore the data.

We’ve discussed several times how to calculate what to charge (see the five-part series, Business of Editing: What to Charge), but knowing what you need to earn and charge does not necessarily equate to profitability. It is not difficult to have calculated the rate you need to charge, charge that rate, yet be unprofitable. That’s because knowing what to charge is only part of the necessary information.

Consider the type of editing you do. I focus on long manuscripts, the longer the better, preferably 1,000 manuscript pages or longer. Offer me a manuscript that runs 15,000 pages and you will make me happy. Over the years I have been professionally editing, I have collected data on hundreds of projects — in fact, on every project that has passed through my office. Among the information I collected was project subject matter; whether single author or multiauthor; number of manuscript pages (which was calculated using my own formula); the time it took to complete the project; the number of projects I was offered, indicating the number I accepted and the number I turned down; the reason for acceptance or rejection; and the fee I was paid. (I gathered other data, too, but for our discussion, this list is sufficient.)

Analyzing Data

From this data, I learned what manuscripts were likely to be profitable for me. It is important to remember that we are not all alike; that is, what is profitable for me may be highly unprofitable for you. What is important, however, is to know whether what you are doing is, in fact, profitable for you.

Editors focus on editing — it is what they know best and what they feel most comfortable doing. But freelancers wear multiple hats. Not only do they wear an editing hat, but they wear the business owner’s hat. When wearing the business owner’s hat, editors need to assess their business objectively. It does not matter whether they love or hate editing; what matters is whether they are running a profitable business. To make that determination, editors must objectively collect and analyze data about their business.

One of the most important bits of data is time. How long a project takes to edit — not approximately, but exactly — is key information. It is information that is used to determine your effective hourly rate as well as the number of pages you can edit in an hour. It also is information that is needed when giving a client a quote. An editor needs to know whether, as a general rule, a heavy edit means 2 pages an hour or 6 pages an hour, because that helps you determine the likelihood of profitability at different price points.

The Excuses

I have heard editors say that data collection isn’t all that important for them because they bill by the hour, not by the page or project. Contrary to such sentiment, it is equally important to collect data regardless of how you charge, unless your clients have unlimited budgets (and I have yet to meet a client who does). It is also important because in the absence of data, it is not possible to determine whether you are making a sufficient profit.

Editors have told me that they know they are making a sufficient profit because they are able to pay their bills, put a little bit away in savings, and have money for entertainment, and that they are doing this without collecting and analyzing data about their business. Accepting that as true, data collection is still necessary because you may well discover, for example, that you can earn the same but in less time and with less effort. Or you might discover after analyzing the data that although you are making a profit, you are spending more time and effort to do so than is warranted and that making some changes in your business would increase your profit but require less effort.

The Reason

Data collection is key to business growth and profitability. Data inform decisions; data provide a foundation for action. It is a fundamental business error to not collect as much data as you can about your business.

Richard Adin, An American Editor

Related An American Editor essays include:

November 6, 2015

Worth Celebrating: Ruth Thaler-Carter

The good news about An American Editor essayists continues.

Congratulations to our On the Basics essayist, Ruth Thaler-Carter, who will receive a Big Pencil Award on November 14, 2015, from Writers & Books in her hometown of Rochester, NY, for being “A teacher of adults who has inspired the creation and appreciation of literature” and having “contributed significantly in the advancement, creation, and understanding of literature in the Rochester community.”

Richard Adin, An American Editor

November 4, 2015

Worth Celebrating: Carolyn Haley

Congratulations to our Thinking Fiction essayist, Carolyn Haley, for winning second place in the Contemporary Novel category in the International Digital Awards (IDA) contest sponsored by Oklahoma Romance Writers of America for her novel Into the Sunrise. For those interested, the book is available at Barnes & Noble and Amazon.

Richard Adin, An American Editor

August 21, 2015

Worth Reading: Is Wikipedia Reliable?

Need to know whether a “fact” is really a “fact”? A lot of editors turn to Wikipedia. Is that what an editor should do?

A recent study, written by Adam Wilson and Gene Likens, regarding Wikipedia’s reliability was published August 14, 2015 in the journal PLoS ONE and is well worth reading:

Content Volatility of Scientific Topics in Wikipedia: A Cautionary Tale

I admit I rarely look at Wikipedia and have never been comfortable with crowd-sourced “research”, but I attribute that to a generational hangup. Yet perhaps there is some reason to be cautious.

What do you think?

Richard Adin, An American Editor

July 6, 2015

Thinking About Charleston

Filed under: Miscellaneous Opinion,Politics — americaneditor @ 4:00 am
Tags: , , ,

It’s July 4, Independence Day, and I am still thinking about Charleston. It isn’t as if Charleston hasn’t happened before; it has. I guess I am wondering why it still happens.

Part of what keeps Charleston in my mind is that I recently watched the Kevin Costner movie, “Black or White.” The movie was well acted, but could have been better written. The movie’s topic is important, but it fails to resonate because the neither the black nor the white families that are the focus are representative.

But the courtroom scene does contain something very important. Costner’s character is asked about his racial prejudice, and he replies that yes, when he sees a black person the very first thing he sees is that they are black, just as the very first thing a black person sees when looking at a white person is that the person is white. What matters, Costner’s character says, is not that first thought but the second and third thoughts and how fleeting the first thought is. I think Costner’s character has it right.

No matter what we look at, our first thought is to characterize/classify it; when it comes to people, as opposed to objects,what matters is the fleetingness of that characterization/classification and what our second and third thoughts are.

Perhaps I am an oddity in today’s America. I do not understand why so many of us get stuck on that first thought, that characterization/classification. I live in what is perhaps the best neighborhood in all of America. The street is U-shaped, which means no through traffic, which also means that the neighborhood is readily identifiable, and residents have a sense of community.

In my neighborhood live all sorts of people. We have single, cohabiting, and married;  blacks, whites, Hispanics, and Indians; young, old, and elderly; blue collar and white collar; furniture movers, physicians, lawyers, college professors, school teachers, stay-at-home mothers, real estate agents, plumbers, stone masons, laborers, government employees, truck drivers, and more. We also have military, nurses, police, and LGTB. We have Sikhs, Jews, Catholics, Protestants, atheists, and probably some other religions in the mix. The list goes on.

The point is that I live in what I consider to be the ideal neighborhood — a mix of all that makes America great. We speak to each other; we visit each others’ homes and share meals; when we walk our dogs, the pack gets larger as additional neighbors join the walk and the camaraderie. My wife, who walks the neighborhood more than I, knows all but the newest members, and it is difficult to walk the 1-mile circuit in less than 90 minutes because people always want to stop and chat. We even exchange house keys so that access is readily achieved in case of emergency.

I look at my neighborhood and think this is the type of neighborhood that every child should grow up in because it is the kind of neighborhood that teaches we are all the same.

Perhaps that is what is missing in America’s Charlestons — that opportunity to learn that we are all the same. To learn that the first thought should be a fleeting thought; to learn that it is the second and third thoughts that really matter. I guess that is what bothers me — the need to constantly fight the Civil War and the war against racism and the war against segregation and the war against poverty. We seem to not be gaining ground; we seem to be refighting the same battles that we were fighting decades and generations ago.

Why do we need, in the 21st century, to refight the battles of the 20th century? It is because we have yet to digest the idea that the first thought should be fleeting.

I mourn for the victims of Charleston and I mourn for the America that cannot move forward when it comes to civil rights. On my block, in my neighborhood, in my world, we are one, we are Americans.

Richard Adin, An American Editor

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