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LIHAT AKU SEKARANG

Hei semua mantan-mantanku ingatkah padaku Kekasihmu yang dulu jadi tempat bohongmu Di belakangku kamu janjian Di belakangku kamu jadian Hei semua mantan-mantanku ingatkah padaku Kekasihmu yang dulu sering kau bercemburu Di belakangku kamu bercumbu Di belakangku kamu selingkuh Lihat aku sekarang Begitu mudahnya orang Bilang sayang Mereka memujaku Inginkan untuk memiliki Walau dalam mimpi Hei semua mantan-mantanku ingatkah padaku Kekasihmu yang dulu jadi tempat bohongmu Di belakangku kamu janjian Di belakangku kamu jadian Lihat aku sekarang Begitu mudahnya orang Bilang sayang Mereka memujaku Inginkan untuk memiliki Walau dalam mimpi Bila mungi aku tak bisa apa-apa Tapi kini jangan harap bisa menggoda Lihat aku sekarang Begitu mudahnya orang Bilang sayang Mereka memujaku Inginkan untuk memiliki Dan mencintai walau dalam mimpi http://musiklib.org/Astrid-Lihat_Aku_Sekarang-Lirik_Lagu.htm> LIHAT AKU SEKARANG

SOMASI UNTUK PARTAI YANG MENGGUNAKAN GAMBAR GUS DUR

saco-indonesia.com, Istri mediang Gus Dur atau KH Abdurrahman Wahid, Hj Sinta Nuriyah Wahid telah menegaskan, jika ada salah satu partai yang akan menggunakan gambar almarhum suaminya itu, sama saja dengan mencuri. Sebab, itu pernah diwasiatkan oleh Gus Dur sendiri, sebelum wafat. Siapa saja atau lembaga apapun untuk dapat disomasi jika menggunakan gambarnya.

Hal ini telah disampaikan oleh Sinta Nuriyah saat menjadi pembicara di acara Partai NasDem di Surabaya, Jawa Timur, Kamis (26/12). Menurut Sinta Nuriyah, dia dan almarhum suaminya itu tidak membatasi harus ada di mana.

"Saya juga mengatakan ada di mana-mana. Gus Dur juga ada di mana-mana. Saya ada di Hanura, ada di Gerindra, dan ada di partai manapun. Sekarang saya ada di Partai NasDem, kecuali di satu itu (PKB)," tegas Sinta.

Lalu kenapa gambar Gus Dur digunakan sebagai sarana untuk kampanye di Partai Kebangkitan Bangsa (PKB)? Pada baliho calon legislatif (caleg) dari PKB, terdapat gambar Gus Dur dan tulisan: Penerus Perjuangan Gus Dur.

"Saya telah menegaskan, sebelum wafat, Gus Dur berwasiat. Dalam surat wasiat yang telah ditulis melalui pengacara dan ditandatangani oleh Gus Dur itu, beliau berpesan: Barang siapa yang menggunakan gambar dan kata-kata beliau, maka mereka berhak disomasi. Itu harus disomasi," kata Sinta Nuriyah saat menceritakan isi surat wasiat Gus Dur yang telah dibuat pada tahun 2008 lalu , pasca dibuang oleh PKB.

Sementara dalam menghadapi Pemilu 2014 mendatang, PKB yang telah menyingkirkan Gus Dur justru mengklaim, sebagai partai penerus perjuangan Gus Dur.

Bahkan, Sinta Nuriyah telah menyatakan, penggunaan gambar itu sama saja dengan mencuri. Penggunaan gambar Gus Dur yang telah dilakukan oleh PKB itu tanpa izin dan sepengetahuan keluarga Gus Dur.

"Itu namanya nyolong (mencuri), dan harus segera di turunkan," tegas Sinta Nuriyah tanpa menyebut partai yang menggunakan simbol-simbol milik Gus Dur.

Cucu pendiri Nahdlatul Ulama itu, saat ini juga sudah menjadi milik bangsa Indonesia. Sebagai guru bangsa. Namun, kata Sinta Nuriyah, untuk wilayah politik, Gus Dur punya 'rumah' sendiri.

"Gus Dur memang sudah menjadi milik bangsa. Namun, untuk masalah politik, Gus Dur juga punya rumah sendiri. Jadi kalau ada yang menggunakan gambar dan kalimat Gus Dur untuk kepentingan politik, inilah yang harus disomasi," tandas dia.


Editor : Dian Sukmawati

> SOMASI UNTUK PARTAI YANG MENGGUNAKAN GAMBAR GUS DUR

MARI BETERNAK AYAM KAMPUNG

Ayam kampung atau biasa disebut ayam Buras (Bukan Ras) merupakan jenis ayam yang sudah yang banyak di ternakan secara tradisional  di pedesaana. Sebutan ayam kampung adalah merujuk kepada ayam yang memang kenyataanya banyak ditemukan di kampung-kampung, walaupun memang ada juga Beternak ayam Kampung di Perkotaan. Jenis ayam kampung cukup beragam, tetapi pada umumnya memiliki sifat yang relatif sama yaitu lebih kebal/tahan terhadap penyakit dibandingkan dengan ayam ras . Ayam kampung juga lebih tahan terhadap gejala Stress. Dan itulah salah-satu keunggulan Ayam kampung, disamping masih banyak lagi keunggulan-keunggulan ayam kampung (Ayam Ras) dibandingkan dengan ayam ras. Beberapa keunggulan ayam kampung dibandingkan dengan ayam ras. Ayam kampong lebih kebal terhadap serangan berbagai penyakit Lebih tahan stress, tidak terganggu dengan suasana lingkungan yang hiruk pikuk. Memiliki adaptasi yang tinggi terhadap perubahan lingkungan . Lebih toleran terhadap perubahan cuaca Harga jual lebih tinggi disbanding ayam ras Telurnya di anggap lebih berkhasiat, sehingga harga jual telurnya lebih mahal Dagingnya lebih enak dan gurih di banding ayam potong (ras) Permintaan akan kebutuhan ayam kampung cukup tinggi Bangsa-bangsa ayam kampung sampai saat ini tidak diketahui dengan pasti, tetapi ayam hutan (gallus varius linnaeus) diperkirakan sebagai nenek moyang ayam kampung. Hal ini terlihat dari sifat-sifat dan morfologi ayam kampung yang mempunyai kemiripan dengan ayam hutan. Warna bulu ayam kampung sangat beragam, yaitu mulai dari hitam, putih, kekuningan, merah tua,atau kombinasi, dari warna-warna tersebut. Pemeliharaan ternak ayam buras di Pandaisikek Pemilihan Bibit Ternak. Pemilihan bibit ayam kampung secara umum juga sama dengan ayam ras, yaitu dipilih bibit dari induk yang mempunyai kemampuan produksi tinggi, misalnya dari kemampuan bertelurnya, sifat tumbuhnya dan mempunyai performance yang sehat, lincah, tidak cacat, mata cerah, tidak ada kotoran yang menempel dibubur, serta bulu tampak baik dan mengembang. Kandang Ternak Ayam Buras. Perkandangan untuk pemeliharaan ayam kampung sangat tergantung dari cara pemeliharaan itu sendiri. Pemeliharaan ayam secara ekstensif atau dilepas hanya memerlukan jenis perkandangan yang seadanya. Kandang hanya berfungsi untuk tidur pada malam hari. Jenis kandang atau pemeliharaan ternak ayam buras/ ternak ayam kampung secara semi intensif dibuat lebih baik dari kandang untuk pemeliharaan secara akstensif karena selain untuk tidur pada malam hari, kandang juga digunakan untuk melakukan aktifitas. Sementara kandang untuk pemeliharaan ayam kampung secara intensif perlu mendapatkan perhatian khusus. Kandang dapat dibuat seperti pada kandang ayam ras karena pada pemeliharaan ternak ayam buras/ ternak ayam kampung secara intensif, ayam kampung akan dipelihara secara terus menerus didalam sehingga kandang berfungsi sebagai tempat tinggal, aktifitas makan, minum, istirahat, dan berproduksi. Sistem kandang yang digunakan bisa sama dengan sistem-sistem kandang ayam ras petelur, yaitu sistem liter dan sistem sangkar. Kepadatan kandang juga perlu diperhatikan. Penggunaan wadah pakan dan minum juga sama dengan ayam petelur. Penempatan wadah dan pakan minuman juga sama yaitu ditempatkan secara berdekatan. Pemeliharaan ayam kampung juga bisa dilakukan secara ekstensif dan intensif. Pemeliharaan secara ekstensif adalah pemeliharaan dengan cara dilepas dan ayam dibiarkan berkeliaran mencari pakan sendiri. Pemeliharaan ini menghasilkan produksi yang rendah. Sementara pemeliharaan secara intensif yaitu dengan cara mengandangkan ayam. Kebutuhan ayam seperti meningkatkan produksi. Pada pemeliharaan secara tradisional, produksi telur rata-rata 30-40 butir per tahun. sementara dengan pemeliharaan intensif dapat meningkat menjadi 163 butir per 200 hari. Pakan Ayam Buras. Pada pemeliharaan ayam kampung secara intensif, pemberian pakan dapat dilakukan seperti pada ayam ras petelur. Namun karena kemampuan produksi ayam kampung terbatas tidak seperti ayam ras petelur. Pemberian pakannya bisa dicampur sendiri. Bahan pakan yang digunakan antara lain jagung giling, bekatul dan konsentrat jadi dan sayur-sayuran. Konversi pakan pada ayam kampung sekitar 4,9. Pemberian pakan dibedakan dalam pakan awal (starter), pertumbuhan (grower) dan masa bertelur (layer). Selain hasil ramuan sendiri, pakan yang diberikan pada ayam pedaging juga bisa berupa pakan jadi. Pencegahan Penyakit Ternak Ayam Buras. Pemeliharaan kesehatan pada ayam kampung tidak jauh beda dengan ayam ras, yaitu melalui program pembersihan kandang, perlengkapannya dan lingkungannya; sanitasi; serta hapus hama kandang. Penyakit yang sering menyerang ayam kampung yaitu new castle (NW), cronic deceaces (CRD) dan cacar. Hal-hal yang biasa dilakukan dalam pencegahan penyakit pada ayam kampung sebagai berikut: -      Hindarkan anak ayam dari perubahan cuaca, anak ayam dapat diberi tambahan vitamin karena pada kondisi ini, anak ayam mudah terserang penyakit. -      Memberikan vaksinasi ND secara teratur -      Berikan pakan yang cukup berkualitas -      Jaga kerbersihan, perlengkapan dan lingkup kandang -      Berikan obat bila perlu saja -      Berikan obat cacing dan antibiotik secara berkala Akan tetapi perlakuan-perlakuan tersebut di atas belumlah dilaksanakn oleh peternak ayam, hal ini disebabkan karena tujuan beternak ayam hanyalah sebagai usaha sampingan dan ada juga yang hanay sekedar hobby saja. Panen Ternak Ayam Buras. Hasil panen ayam kampung berupa telur dan daging. Dibandingkan ayam ras, telur dan daging ayam kampung yang mempunyai rasa yang lebih khas dan lebih disukai oleh konsumen. Produksi daging ayam kampung dapat dilakukan pada ayam dara atau ayam dara apkir. Ayam kampung bisa dijual dalam keadaan hidup atau karkas. Pembibitan pada ayam kampung. tidak seperti ayam ras yang dilakukan oleh breding farm. Pembibitan ayam kampung dilakukan secara alami oleh induk yang menetaskan telurnya sendiri atau secara penetasan buatan dengan menggunakan mesin tetes oleh peternak atau pengusaha peternakan. Lama penetasan telur ayam kampung sekitar 18 hari. Cara penetasan sama dengan ayam ras. (EC-1266).> MARI BETERNAK AYAM KAMPUNG

DIBALIAK MAKNA MAKANAN TRADISIONAL

Dulu,dikampung saat ada acara perhelatan, sebelum acara utama di kemukakan sebelumnya disuguhkan kepada undangan makanan tradisional yang dihidangkan oleh anak-anak muda yang memakai peci dan sarung dipinggang. Makanan tersebut dihidangkan dengan dulang yang berisikan : KALAMAI, NASI LAMAK, PINYARAM,dan ANAK INTI . Orang tua-tua selalu mengingatkan kepada generasi muda bahwa hidangan yang disebut SIJAMBA LANGKOK tersebut adalah makanan adat yang penuh simbol dan filosofinya dan tidak dapat diganti dengan bentuk lain. ********** Sijamba langkok adalah simbol dari urang ampek jinih yaitu : (penghulu,malin,manti dan dubalang) dalam bentuk makanan adat seperti : KALAMAI merupakan simbol dari penghulu dengan filosofinya dipacik baganggam taguah . Kato penghulu manyalasai. NASI LAMAK merupakan simbol dari malin dengan filosofinya dipacik arek diganggam taguah, suluah bendang dalam nagari, nan tahu dihala nan joharam. Kato alim kato hakikat. PINYARAM merupakan simbol dari manti , dengan filosofinya pipih nan buliah dilayangkan . Manti adalah urang yang arif bijaksano, nan tahu tinggi nan jo randah. Kato manti kato bahubuang. ANAK INTI merupakan simbol dari dubalang dengan filosofinya bulek nan buliah digolongkon. Dubalang berfungsi untuk parik paga dalam nagari, tahu jo ereang nan jo gendeang. Kato dubalang kato mandareh. Apabila kita tilik jumlah pinyaram dalam piring sebanyak 8 buah, melambangkan adalah undang-undang nan salapan, sementara 12 buah anak inti didalamnya adalah undang-undang nan 12 baleh. Keduanya disebut dengan undang-undang duo puluah. Undang-Undang Nan Duo Puluah. UU ini mengatur tentang tuduhan, kejahatan/kesalahan dan cemooh. Undang-Undang Dua Puluh dibagi atas dua bagian besar, yakni Undang-Undang Dua Belas dan Undang-Undang Nan Delapan. Undang-undang nan salapan, namo kasalahan supayo jaleh, sadang panyatokan kasalahan, iyolah undang-undang nan duo baleh. Kalau batamu di nan salapan, basuo pulo di nan duo baleh, baru marupo kasalahan mamanuhi adat nan babakeh. Pantun diatas menyatakan bahwa undang-undang nan salapan berisi nama kesalahan yang sudah jelas, sedangkan undang-undang nan duo baleh memperjelas dari suatu kesalahan. UNDANG-UNDANG NAN SALAPAN UU Nan Salapan adalah UU yang menyatakan kejahatan atau kesalahan besar yang disebut juga dengan "Cemo nan bakaadaan", yang artinya perkiraan orang banyak terhadap seseorang yang melakukan kejahatan, yang dibuktikan dengan "basuluah matohari, bagalanggang mato urang rami". 1. DAGO-DAGI MAMBARI MALU. adalah membantahi adat yang sudah biasa, atau bisa juga diartikan dago adalah bawahan kepada atasan sedangkan dagi salah atasan kepada bawahan. Seorang panghulu yang bersalah biasanya akan dihukum malam, artinya disuruh berhenti jadi panghulu dengan diam-diam, tak perlu diketahui oleh orang banyak karena akan memperoleh malu. Jadi cukup yang bersangkutan sendiri mengundurkan diri sambil mengatakan, "bukiklah tinggi, lurahlah dalam. 2. SUMBANG SALAH LAKU PARANGAI. Sumbang adalah perbuatan yang salah dipandang mata namun belum dapat dijatuhkan hukuman secara adat. Misalnya sering bertamu ke rumah seorang janda yang tidak pada waktunya, merebut istri orang. Sedangkan salah adalah perbuatan yang sudah dapat dijatuhi hukuman, contohnya "manggungguang mambaok tabang", artinya melarikan istri orang atau mengawini seseorang yang melanggar adat. 3.SAMUN SAKA TAGAK DI BATEH. Samun ialah mengambil barang orang dengan paksa ditempat yang sepi, sedangkan saka adalah menyamun (merampok) dengan membunuh atau memukul korbanya dengan alat sehingga dapat menyebabkan kematian. Hukuman bagi samun adalah "andam" atau dipenjara kemudian dapat dibebaskan kembali, sedangkan hukuman bagi saka adalah "andam karam" atau dipenjara seumur hidup. 4. UMBUAK UMBI BUDI MARANGKAK. Umbuak maksudnya menipu orang dengan rayuan-rayuan atau tipu muslihat, sedangkan umbi menipu orang dengan jalan kekerasan dan ancaman. 5. CURI MALIANG TALUANG DINDIANG. Curi adalah mengambil harta benda orang lain dengan cara bersembunyi yang dilakukan pada siang hari, sedangkan maling adalah mengambil pada waktu malam hari. Sebagai bukti bahwa ada kemalingan pada suatu rumah adalah "taluang dindiang", atau rusaknya dinding atau pintu yang digunakan oleh maling untuk masuk ke dalam rumah. 6. TIKAM BUNUAH PADANG BADARAH. Tikam adalah menikamkan senjata atau benda tajam kepada orang lain sampai luka yang dibuktikan dengan terlukanya anggota tubuh dan darah yang meleleh serta senjata yang digunakannya berdarah. Sedangkan bunuah adalah menikam senjata atau atau tidak kepada seseorang untuk melenyapkan nyawa orang lain, yang dibuktikan dengan mayat yang terbujur. 7. SIA BAKA SABATANG SULUAH. Sia adalah menyulutkan api kepada suatu barang tetapi tidak sampai menghanguskan atau hanya sebahagian yang terbakar. Sedangkan baka adalah membakar sesuatu dengan tujuan untuk menghanguskan sampai menjadi abu. 8. UPEH RACUN BATABUANG SAYAK. Upeh adalah ramuan yang dijadikan racun yang dapat mematikan, baik dalam seketika atau dalam waktu yang lama. Sedangkan "tabuang sayak" adalah tempat menyimpan upeh atau racun tersebut yang digunakan sebagai alat bukti. UNDANG-UNDANG NAN DUO BALEH 1.ANGGANG LALU ANTAH JATUAH. Misalnya kita lewat di jalan kampung. Sepeninggal kita ada rumah orang dijalan tersebut yang kehilangan, sedangkan tidak ada orang lain yang lewat jalan tersebut. Tentu kecurigaan orang akan jatuh kepada kita. 2. PULANG PAGI BABASAH-BASAH. Misalnya kita ketemu dengan orang yang pakaiannya basah kuyup. Satu hari kemudian, kita mendengar di kampung lain ada orang yang kehilangan (dimaling), dan malingnya lari setelah jatuh ke dalam kolam. Tentu saja kita akan curiga kepada orang yang kita temui dalam keadaan basah tersebut. 3. BAJALAN BAGAGEH-GAGEH. Misalnya ketika duduk di warung kita melihat ada orang yang berjalan cepat dan tergesa-gesa sehingga orang di warung tercengang dibuatnya. Tak berapa lama kemudian, terdengar kabar ada kemalingan atau kebaran di suatu tempat, tentu pikiran orang yang ada di warung, orang yang berjalan cepat-cepat tadilah pelakunya. 4. KACINDORONGAN MATO URANG BANYAK. Misalnya pagi hari kita bersama-sama duduk di warung, kemudian melihat seseorang pulang pagi dan berjalan cepat-cepat, sehingga semua pandangan mata orang yang duduk di warung tertuju kepadanya. 5. DIBAOK RIBUIK DIBAOK ANGIN. Ada seseorang yang menganiaya orang lain, kemudian diketahui oleh orang lain. Orang tersebut tentu akan menceritakan kejadian itu kepada yang lainnya sehingga orang sekampung akhirnya tahu kejadian itu. 6. DIBAOK PIKEK DIBAOK LANGAU. Misalnya ada orang yang membunuh, kemudian mayat korbannya dibuang ke semak-semak belukar. Perbuatan itu diketahui oleh seseorang. Walaupun awalnya dia takut untuk menceritakan kejadian itu kepada orang lain karena diancam oleh pelaku, lama-kelamaan tentu dia akan menceritakan juga kejadian itu kepada orang lain sehingga akhirnya khalayak umum tahu dengan kejadian tersebut. 7. TATUKIAK JAJAK MANDAKI. Adalah jejak yang tinggal ketika seseorang melakukan suatu kejahatan, misalnya mencuri pada suatu rumah. Walaupun begitu, tentu tidak bisa menuduh seseorang hanya dengan jejak yang tertinggal. 8. TADORONG JAJAK MANURUN. Sama dengan "tatukiak jajak manurun", yaitu jejak yang tinggal ketika seseorang melakukan suatu kejahatan. 9.BAJUA BAMURAH-MURAH. Biasanya, orang yang mengambil milik orang lain akan menjual barang yang dicurinya dengan harga murah agar cepat dibeli oleh orang lain, karena apabila barang tersebut lama berada ditangannya, tentu akan cepat ketahuan bahwa dialah yang mengambil barang tersebut. Sipembeli, (seharusnya) tentu merasa curiga dengan harga tersebut, dan dia (juga seharusnya) akan mencari informasi tentang identitas penjual barang. Apabila dia mendengar ada orang kehilangan barang yang sama dengan yang ditawarkan pemuda tersebut, orang akan menarik kesimpulan bahwa barang tersebut adalah hasil curian. 10. BATIMBANG JAWEK DITANYOI. Pengertiannya dalam bahasa Indonesia adalah berselisih faham atau bisa juga diartikan dengan menjawab bertele-tele. Misalnya, ada kasus kemalingan kemudian pihak berwajib menanyai beberapa penduduk. Ketika tertanya kepada pelaku pencurian, tentu saja jawaban yang akan diberikannya bertele-tele sehingga aparat segera mengambil kesimpulan bahwa dialah pelaku pencurian itu. 11. LAH BAURIAH BAK SIPASIN. Misalnya seseorang melakukan pencurian, ketika sedang beraksi, tersenggol benda tajam sehingga melukai tangannya dan darahnya ada yang tercecer. Ketika aparat berwajib melakukan pengusutan, tentu salah satu bukti yang bisa digunakan adalah darah yang tercecer tersebut. 12. LAH BAJAJAK BAK BAKIAK. Maksudnya disini adalah, ketika seseorang melakukan pencurian kepergok oleh orang lain sehingga penduduk beramai-ramai dapat menangkap pelaku pencurian tersebut. Di Pandai Sikek dikenal salah nan salapan sebagai berikut : Salah kato , Salah rupo , Salah cando, Salah raso, Salah cotok, Salah lulue, Salah tariak, Sumbang Salah . Empat salah patamo seperti : Salah kato, salah rupo, salah cando, salah raso, tamasuak kasalahan ringan nan cukup disapo (ditegur) sajo, dan diubahi. Salah cotok, salah lulue, salah tariak, pernah diberi sangsi nan barek . Salah cotok bakuduang paruah Salah lulue babadah paruik Salah tariak mangumbalikan. Sumbang-salah adolah kasalan nan paliang barek: sudahlah sumbang, salah pulo. Biasonyo mambaie dando ka nagari.> DIBALIAK MAKNA MAKANAN TRADISIONAL

MASJID PERTAMA YANG DI BANGUN RASULULLAH

REPUBLIKA.CO.ID, Rasulullah SAW meletakkan batu pertama Masjid Quba tepat di kiblatnya.

Semua masjid yang berada di Makkah, Madinah, dan Palestina selalu istimewa bagi umat Islam. Masjid-masjid ini punya nilai yang lekat dengan sejarah peradaban Islam. Begitupun dengan masjid Quba.

Menilik dari sejarahnya, Masjid Quba punya nilai historis yang sangat tinggi. Masjid ini adalah masjid pertama yang dibangun Rasulullah SAW.

Masjid Quba dibangun pada awal peradaban Islam. Tepatnya, 8 Rabiul Awal pada 1 Hijriyah. Lokasinya berada di sebelah tenggara Kota Madinah, lima kilometer di luarnya.

Dulu, masjid ini dibangun dengan bahan yang sangat sederhana. Seiring berjalannya waktu, renovasi banyak dilakukan Kerajaan Arab Saudi.

Masjid ini juga mengalami perluasan. Dalam buku berjudul Sejarah Madinah Munawwarah yang ditulis Dr Muhammad Ilyas Abdul Ghani, dijelaskan masjid ini direnovasi besar-besaran pada 1986.

Kala itu, Pemerintah Arab Saudi bahkan mengeluarkan dana hingga 90 juta riyal Saudi untuk memperluas masjid ini yang nantinya bisa menampung 20 ribu jamaah yang mengunjunginya.

Dalam sejarah yang dituliskan, tokoh Islam yang memegang peranan penting dalam pembangunan masjid ini adalah Sayyidina ‘Ammar Radhiyallahu lanhu.

Ketika Rasulullah SAW berhijrah dari Makkah ke Madinah, pria ini mengusulkan untuk membangun tempat berteduh bagi sang Nabi di kampung Quba yang tadinya hanya terdiri atas hamparan kebun kurma.

Kemudian, dikumpulkanlah batu-batu dan disusun menjadi masjid yang sangat sederhana. Meskipun tak seberapa besar, paling tidak bangunan ini bisa menjadi tempat berteduh bagi rombongan Rasulullah. Mereka pun bisa beristirahat kala siang hari dan mendirikan shalat dengan tenang.

Rasulullah SAW meletakkan batu pertama tepat di kiblatnya dan ikut menyusun batu-batu selanjutnya hingga bisa menjadi pondasi dan dinding masjid.

Rasullullah SAW dibantu para sahabat dan kaum Muslim yang lain. Ammar menjadi pengikut Rasulullah yang paling rajin dalam membangun masjid ini.

Tanpa kenal lelah, ia membawa batu-batu yang ukurannya sangat besar, hingga orang lain tak sanggup mengangkatnya. Ammar mengikatkan batu itu ke perutnya sendiri dan membawanya untuk dijadikan bahan bangunan penyusun masjid ini.

Ammar memang selalu dikisahkan sebagai prajurit yang sangat perkasa bagi pasukan Islam. Dia mati syahid pada usia 92 tahun.

Pada awal pembangunannya yang dibangun dengan tangan Rasulullah sendiri masjid ini berdiri di atas kebun kurma. Luas kebun kurmanya kala itu 5.000 meter persegi dan masjidnya baru sekitar 1.200 meter persegi. Rasulullah sendiri pula yang mengonsep desain dan model masjidnya.

Meskipun sangat sederhana, Masjid Quba boleh dianggap sebagai contoh bentuk masjid-masjid selanjutnya. Bangunan yang sangat sederhana kala itu sudah memenuhi syarat-syarat yang perlu untuk pendirian masjid.

Masjid ini telah memiliki sebuah ruang persegi empat dan berdinding di sekelilingnya. Di sebelah utara dibuat serambi untuk tempat sembahyang.

Dulu, ruangan ini bertiangkan pohon kurma, beratap datar dari pelepah, dan daun korma yang dicampur dengan tanah liat. Di tengah-tengah ruang terbuka dalam masjid yang kemudian biasa disebut sahn terdapat sebuah sumur tempat wudhu.

Di sini, jamaah bisa mengambil air untuk membersihkan diri. Dalam masjid ini, kebersihan selalu terjaga, cahaya matahari dan udara pun dapat masuk dengan leluasa. – (jurnalhaji.com)

Sumber : http://saharakafila.com

Baca Artikel Lainnya : PERLUASAN MASJIDIL HARAM

> MASJID PERTAMA YANG DI BANGUN RASULULLAH

Native American Actors Work to Overcome a Long-Documented Bias

Late in April, after Native American actors walked off in disgust from the set of Adam Sandler’s latest film, a western sendup that its distributor, Netflix, has defended as being equally offensive to all, a glow of pride spread through several Native American communities.

Tantoo Cardinal, a Canadian indigenous actress who played Black Shawl in “Dances With Wolves,” recalled thinking to herself, “It’s come.” Larry Sellers, who starred as Cloud Dancing in the 1990s television show “Dr. Quinn, Medicine Woman,” thought, “It’s about time.” Jesse Wente, who is Ojibwe and directs film programming at the TIFF Bell Lightbox in Toronto, found himself encouraged and surprised. There are so few film roles for indigenous actors, he said, that walking off the set of a major production showed real mettle.

But what didn’t surprise Mr. Wente was the content of the script. According to the actors who walked off the set, the film, titled “The Ridiculous Six,” included a Native American woman who passes out and is revived after white men douse her with alcohol, and another woman squatting to urinate while lighting a peace pipe. “There’s enough history at this point to have set some expectations around these sort of Hollywood depictions,” Mr. Wente said.

The walkout prompted a rhetorical “What do you expect from an Adam Sandler film?,” and a Netflix spokesman said that in the movie, blacks, Mexicans and whites were lampooned as well. But Native American actors and critics said a broader issue was at stake. While mainstream portrayals of native peoples have, Mr. Wente said, become “incrementally better” over the decades, he and others say, they remain far from accurate and reflect a lack of opportunities for Native American performers. What’s more, as Native Americans hunger for representation on screen, critics say the absence of three-dimensional portrayals has very real off-screen consequences.

“Our people are still healing from historical trauma,” said Loren Anthony, one of the actors who walked out. “Our youth are still trying to figure out who they are, where they fit in this society. Kids are killing themselves. They’re not proud of who they are.” They also don’t, he added, see themselves on prime time television or the big screen. Netflix noted while about five people walked off the “The Ridiculous Six” set, 100 or so Native American actors and extras stayed.

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But in interviews, nearly a dozen Native American actors and film industry experts said that Mr. Sandler’s humor perpetuated decades-old negative stereotypes. Mr. Anthony said such depictions helped feed the despondency many Native Americans feel, with deadly results: Native Americans have the highest suicide rate out of all the country’s ethnicities.

The on-screen problem is twofold, Mr. Anthony and others said: There’s a paucity of roles for Native Americans — according to the Screen Actors Guild in 2008 they accounted for 0.3 percent of all on-screen parts (those figures have yet to be updated), compared to about 2 percent of the general population — and Native American actors are often perceived in a narrow way.

In his Peabody Award-winning documentary “Reel Injun,” the Cree filmmaker Neil Diamond explored Hollywood depictions of Native Americans over the years, and found they fell into a few stereotypical categories: the Noble Savage, the Drunk Indian, the Mystic, the Indian Princess, the backward tribal people futilely fighting John Wayne and manifest destiny. While the 1990 film “Dances With Wolves” won praise for depicting Native Americans as fully fleshed out human beings, not all indigenous people embraced it. It was still told, critics said, from the colonialists’ point of view. In an interview, John Trudell, a Santee Sioux writer, actor (“Thunderheart”) and the former chairman of the American Indian Movement, described the film as “a story of two white people.”

“God bless ‘Dances with Wolves,’ ” Michael Horse, who played Deputy Hawk in “Twin Peaks,” said sarcastically. “Even ‘Avatar.’ Someone’s got to come save the tribal people.”

Dan Spilo, a partner at Industry Entertainment who represents Adam Beach, one of today’s most prominent Native American actors, said while typecasting dogs many minorities, it is especially intractable when it comes to Native Americans. Casting directors, he said, rarely cast them as police officers, doctors or lawyers. “There’s the belief that the Native American character should be on reservations or riding a horse,” he said.

“We don’t see ourselves,” Mr. Horse said. “We’re still an antiquated culture to them, and to the rest of the world.”

Ms. Cardinal said she was once turned down for the role of the wife of a child-abusing cop because the filmmakers felt that casting her would somehow be “too political.”

Another sore point is the long run of white actors playing American Indians, among them Burt Lancaster, Rock Hudson, Audrey Hepburn and, more recently, Johnny Depp, whose depiction of Tonto in the 2013 film “Lone Ranger,” was viewed as racist by detractors. There are, of course, exceptions. The former A&E series “Longmire,” which, as it happens, will now be on Netflix, was roundly praised for its depiction of life on a Northern Cheyenne reservation, with Lou Diamond Phillips, who is of Cherokee descent, playing a Northern Cheyenne man.

Others also point to the success of Mr. Beach, who played a Mohawk detective in “Law & Order: Special Victims Unit” and landed a starring role in the forthcoming D C Comics picture “Suicide Squad.” Mr. Beach said he had come across insulting scripts backed by people who don’t see anything wrong with them.

“I’d rather starve than do something that is offensive to my ancestral roots,” Mr. Beach said. “But I think there will always be attempts to drawn on the weakness of native people’s struggles. The savage Indian will always be the savage Indian. The white man will always be smarter and more cunning. The cavalry will always win.”

The solution, Mr. Wente, Mr. Trudell and others said, lies in getting more stories written by and starring Native Americans. But Mr. Wente noted that while independent indigenous film has blossomed in the last two decades, mainstream depictions have yet to catch up. “You have to stop expecting for Hollywood to correct it, because there seems to be no ability or desire to correct it,” Mr. Wente said.

There have been calls to boycott Netflix but, writing for Indian Country Today Media Network, which first broke news of the walk off, the filmmaker Brian Young noted that the distributor also offered a number of films by or about Native Americans.

The furor around “The Ridiculous Six” may drive more people to see it. Then one of the questions that Mr. Trudell, echoing others, had about the film will be answered: “Who the hell laughs at this stuff?”

Native American Actors Work to Overcome a Long-Documented Bias | PAKET UMROH BULAN JANUARI 2016

Robert Patterson Jr., Lawyer and Judge Who Fought for the Accused, Dies at 91

Judge Patterson helped to protect the rights of Attica inmates after the prison riot in 1971 and later served on the Federal District Court in Manhattan.

Robert Patterson Jr., Lawyer and Judge Who Fought for the Accused, Dies at 91 | PAKET UMROH BULAN JANUARI 2016

Top News China’s Intents Are Questioned as It Builds in Antarctica

HOBART, Tasmania — Few places seem out of reach for China’s leader, Xi Jinping, who has traveled from European capitals to obscure Pacific and Caribbean islands in pursuit of his nation’s strategic interests.

So perhaps it was not surprising when he turned up last fall in this city on the edge of the Southern Ocean to put down a long-distance marker in another faraway region, Antarctica, 2,000 miles south of this Australian port.

Standing on the deck of an icebreaker that ferries Chinese scientists from this last stop before the frozen continent, Mr. Xi pledged that China would continue to expand in one of the few places on earth that remain unexploited by humans.

He signed a five-year accord with the Australian government that allows Chinese vessels and, in the future, aircraft to resupply for fuel and food before heading south. That will help secure easier access to a region that is believed to have vast oil and mineral resources; huge quantities of high-protein sea life; and for times of possible future dire need, fresh water contained in icebergs.

It was not until 1985, about seven decades after Robert Scott and Roald Amundsen raced to the South Pole, that a team representing Beijing hoisted the Chinese flag over the nation’s first Antarctic research base, the Great Wall Station on King George Island.

But now China seems determined to catch up. As it has bolstered spending on Antarctic research, and as the early explorers, especially the United States and Australia, confront stagnant budgets, there is growing concern about its intentions.

China’s operations on the continent — it opened its fourth research station last year, chose a site for a fifth, and is investing in a second icebreaker and new ice-capable planes and helicopters — are already the fastest growing of the 52 signatories to the Antarctic Treaty. That gentlemen’s agreement reached in 1959 bans military activity on the continent and aims to preserve it as one of the world’s last wildernesses; a related pact prohibits mining.

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But Mr. Xi’s visit was another sign that China is positioning itself to take advantage of the continent’s resource potential when the treaty expires in 2048 — or in the event that it is ripped up before, Chinese and Australian experts say.

“So far, our research is natural-science based, but we know there is more and more concern about resource security,” said Yang Huigen, director general of the Polar Research Institute of China, who accompanied Mr. Xi last November on his visit to Hobart and stood with him on the icebreaker, Xue Long, or Snow Dragon.

With that in mind, the polar institute recently opened a new division devoted to the study of resources, law, geopolitics and governance in Antarctica and the Arctic, Mr. Yang said.

Australia, a strategic ally of the United States that has strong economic relations with China, is watching China’s buildup in the Antarctic with a mix of gratitude — China’s presence offers support for Australia’s Antarctic science program, which is short of cash — and wariness.

“We should have no illusions about the deeper agenda — one that has not even been agreed to by Chinese scientists but is driven by Xi, and most likely his successors,” said Peter Jennings, executive director of the Australian Strategic Policy Institute and a former senior official in the Australian Department of Defense.

“This is part of a broader pattern of a mercantilist approach all around the world,” Mr. Jennings added. “A big driver of Chinese policy is to secure long-term energy supply and food supply.”

That approach was evident last month when a large Chinese agriculture enterprise announced an expansion of its fishing operations around Antarctica to catch more krill — small, protein-rich crustaceans that are abundant in Antarctic waters.

“The Antarctic is a treasure house for all human beings, and China should go there and share,” Liu Shenli, the chairman of the China National Agricultural Development Group, told China Daily, a state-owned newspaper. China would aim to fish up to two million tons of krill a year, he said, a substantial increase from what it currently harvests.

Because sovereignty over Antarctica is unclear, nations have sought to strengthen their claims over the ice-covered land by building research bases and naming geographic features. China’s fifth station will put it within reach of the six American facilities, and ahead of Australia’s three.

Chinese mappers have also given Chinese names to more than 300 sites, compared with the thousands of locations on the continent with English names.

In the unspoken competition for Antarctica’s future, scientific achievement can also translate into influence. Chinese scientists are driving to be the first to drill and recover an ice core containing tiny air bubbles that provide a record of climate change stretching as far back as 1.5 million years. It is an expensive and delicate effort at which others, including the European Union and Australia, have failed.

In a breakthrough a decade ago, European scientists extracted an ice core nearly two miles long that revealed 800,000 years of climate history. But finding an ice core going back further would allow scientists to examine a change in the earth’s climate cycles believed to have occurred 900,000 to 1.2 million years ago.

China is betting it has found the best location to drill, at an area called Dome A, or Dome Argus, the highest point on the East Antarctic Ice Sheet. Though it is considered one of the coldest places on the planet, with temperatures of 130 degrees below zero Fahrenheit, a Chinese expedition explored the area in 2005 and established a research station in 2009.

“The international community has drilled in lots of places, but no luck so far,” said Xiao Cunde, a member of the first party to reach the site and the deputy director of the Institute for Climate Change at the Chinese Academy of Meteorological Sciences. “We think at Dome A we will have a straight shot at the one-million-year ice core.”

Mr. Xiao said China had already begun drilling and hoped to find what scientists are looking for in four to five years.

To support its Antarctic aspirations, China is building a sophisticated $300 million icebreaker that is expected to be ready in a few years, said Xia Limin, deputy director of the Chinese Arctic and Antarctic Administration in Beijing. It has also bought a high-tech fixed-wing aircraft, outfitted in the United States, for taking sensitive scientific soundings from the ice.

China has chosen the site for its fifth research station at Inexpressible Island, named by a group of British explorers who were stranded at the desolate site in 1912 and survived the winter by excavating a small ice cave.

Mr. Xia said the inhospitable spot was ideal because China did not have a presence in that part of Antarctica, and because the rocky site did not have much snow, making it relatively cheap to build there.

Anne-Marie Brady, a professor of political science at the University of Canterbury in New Zealand and the author of a soon-to-be-released book, “China as a Polar Great Power,” said Chinese scientists also believed they had a good chance of finding mineral and energy resources near the site.

“China is playing a long game in Antarctica and keeping other states guessing about its true intentions and interests are part of its poker hand,” she said. But she noted that China’s interest in finding minerals was presented “loud and clear to domestic audiences” as the main reason it was investing in Antarctica.

Because commercial drilling is banned, estimates of energy and mineral resources in Antarctica rely on remote sensing data and comparisons with similar geological environments elsewhere, said Millard F. Coffin, executive director of the Institute for Marine and Antarctic Studies in Hobart.

But the difficulty of extraction in such severe conditions and uncertainty about future commodity prices make it unlikely that China or any country would defy the ban on mining anytime soon.

Tourism, however, is already booming. Travelers from China are still a relatively small contingent in the Antarctic compared with the more than 13,000 Americans who visited in 2013, and as yet there are no licensed Chinese tour operators.

But that is about to change, said Anthony Bergin, deputy director of the Australian Strategic Policy Institute. “I understand very soon there will be Chinese tourists on Chinese vessels with all-Chinese crew in the Antarctic,” he said.

 

Top News China’s Intents Are Questioned as It Builds in Antarctica | PAKET UMROH BULAN JANUARI 2016

G.O.P. Hopefuls Now Aiming to Woo the Middle Class

WASHINGTON — The last three men to win the Republican nomination have been the prosperous son of a president (George W. Bush), a senator who could not recall how many homes his family owned (John McCain of Arizona; it was seven) and a private equity executive worth an estimated $200 million (Mitt Romney).

The candidates hoping to be the party’s nominee in 2016 are trying to create a very different set of associations. On Sunday, Ben Carson, a retired neurosurgeon, joined the presidential field.

Senator Marco Rubio of Florida praises his parents, a bartender and a Kmart stock clerk, as he urges audiences not to forget “the workers in our hotel kitchens, the landscaping crews in our neighborhoods, the late-night janitorial staff that clean our offices.”

Gov. Scott Walker of Wisconsin, a preacher’s son, posts on Twitter about his ham-and-cheese sandwiches and boasts of his coupon-clipping frugality. His $1 Kohl’s sweater has become a campaign celebrity in its own right.

Senator Rand Paul of Kentucky laments the existence of “two Americas,” borrowing the Rev. Dr. Martin Luther King Jr.’s phrase to describe economically and racially troubled communities like Ferguson, Mo., and Detroit.

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Senator Marco Rubio of Florida praises his parents, a bartender and a Kmart stock clerk. Credit Joe Raedle/Getty Images

“Some say, ‘But Democrats care more about the poor,’ ” Mr. Paul likes to say. “If that’s true, why is black unemployment still twice white unemployment? Why has household income declined by $3,500 over the past six years?”

We are in the midst of the Empathy Primary — the rhetorical battleground shaping the Republican presidential field of 2016.

Harmed by the perception that they favor the wealthy at the expense of middle-of-the-road Americans, the party’s contenders are each trying their hardest to get across what the elder George Bush once inelegantly told recession-battered voters in 1992: “Message: I care.”

Their ability to do so — less bluntly, more sincerely — could prove decisive in an election year when power, privilege and family connections will loom large for both parties.

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Questions of understanding and compassion cost Republicans in the last election. Mr. Romney, who memorably dismissed the “47 percent” of Americans as freeloaders, lost to President Obama by 63 percentage points among voters who cast their ballots for the candidate who “cares about people like me,” according to exit polls.

And a Pew poll from February showed that people still believe Republicans are indifferent to working Americans: 54 percent said the Republican Party does not care about the middle class.

That taint of callousness explains why Senator Ted Cruz of Texas declared last week that Republicans “are and should be the party of the 47 percent” — and why another son of a president, Jeb Bush, has made economic opportunity the centerpiece of his message.

With his pedigree and considerable wealth — since he left the Florida governor’s office almost a decade ago he has earned millions of dollars sitting on corporate boards and advising banks — Mr. Bush probably has the most complicated task making the argument to voters that he understands their concerns.

On a visit last week to Puerto Rico, Mr. Bush sounded every bit the populist, railing against “elites” who have stifled economic growth and innovation. In the kind of economy he envisions leading, he said: “We wouldn’t have the middle being squeezed. People in poverty would have a chance to rise up. And the social strains that exist — because the haves and have-nots is the big debate in our country today — would subside.”

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Who Is Running for President (and Who’s Not)?

Republicans’ emphasis on poorer and working-class Americans now represents a shift from the party’s longstanding focus on business owners and “job creators” as the drivers of economic opportunity.

This is intentional, Republican operatives said.

In the last presidential election, Republicans rushed to defend business owners against what they saw as hostility by Democrats to successful, wealthy entrepreneurs.

“Part of what you had was a reaction to the Democrats’ dehumanization of business owners: ‘Oh, you think you started your plumbing company? No you didn’t,’ ” said Grover Norquist, the conservative activist and president of Americans for Tax Reform.

But now, Mr. Norquist said, Republicans should move past that. “Focus on the people in the room who know someone who couldn’t get a job, or a promotion, or a raise because taxes are too high or regulations eat up companies’ time,” he said. “The rich guy can take care of himself.”

Democrats argue that the public will ultimately see through such an approach because Republican positions like opposing a minimum-wage increase and giving private banks a larger role in student loans would hurt working Americans.

“If Republican candidates are just repeating the same tired policies, I’m not sure that smiling while saying it is going to be enough,” said Guy Cecil, a Democratic strategist who is joining a “super PAC” working on behalf of Hillary Rodham Clinton.

Republicans have already attacked Mrs. Clinton over the wealth and power she and her husband have accumulated, caricaturing her as an out-of-touch multimillionaire who earns hundreds of thousands of dollars per speech and has not driven a car since 1996.

Mr. Walker hit this theme recently on Fox News, pointing to Mrs. Clinton’s lucrative book deals and her multiple residences. “This is not someone who is connected with everyday Americans,” he said. His own net worth, according to The Milwaukee Journal Sentinel, is less than a half-million dollars; Mr. Walker also owes tens of thousands of dollars on his credit cards.

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But showing off a cheap sweater or boasting of a bootstraps family background not only helps draw a contrast with Mrs. Clinton’s latter-day affluence, it is also an implicit argument against Mr. Bush.

Mr. Walker, who featured a 1998 Saturn with more than 100,000 miles on the odometer in a 2010 campaign ad during his first run for governor, likes to talk about flipping burgers at McDonald’s as a young person. His mother, he has said, grew up on a farm with no indoor plumbing until she was in high school.

Mr. Rubio, among the least wealthy members of the Senate, with an estimated net worth of around a half-million dollars, uses his working-class upbringing as evidence of the “exceptionalism” of America, “where even the son of a bartender and a maid can have the same dreams and the same future as those who come from power and privilege.”

Mr. Cruz alludes to his family’s dysfunction — his parents, he says, were heavy drinkers — and recounts his father’s tale of fleeing Cuba with $100 sewn into his underwear.

Gov. Chris Christie of New Jersey notes that his father paid his way through college working nights at an ice cream plant.

But sometimes the attempts at projecting authenticity can seem forced. Mr. Christie recently found himself on the defensive after telling a New Hampshire audience, “I don’t consider myself a wealthy man.” Tax returns showed that he and his wife, a longtime Wall Street executive, earned nearly $700,000 in 2013.

The story of success against the odds is a political classic, even if it is one the Republican Party has not been able to tell for a long time. Ronald Reagan liked to say that while he had not been born on the wrong side of the tracks, he could always hear the whistle. Richard Nixon was fond of reminding voters how he was born in a house his father had built.

“Probably the idea that is most attractive to an average voter, and an idea that both Republicans and Democrats try to craft into their messages, is this idea that you can rise from nothing,” said Charles C. W. Cooke, a writer for National Review.

There is a certain delight Republicans take in turning that message to their advantage now.

“That’s what Obama did with Hillary,” Mr. Cooke said. “He acknowledged it openly: ‘This is ridiculous. Look at me, this one-term senator with dark skin and all of America’s unsolved racial problems, running against the wife of the last Democratic president.”

G.O.P. Hopefuls Now Aiming to Woo the Middle Class | PAKET UMROH BULAN JANUARI 2016

Baltimore Residents Away From Turmoil Consider Their Role

BALTIMORE — In the afternoons, the streets of Locust Point are clean and nearly silent. In front of the rowhouses, potted plants rest next to steps of brick or concrete. There is a shopping center nearby with restaurants, and a grocery store filled with fresh foods.

And the National Guard and the police are largely absent. So, too, residents say, are worries about what happened a few miles away on April 27 when, in a space of hours, parts of this city became riot zones.

“They’re not our reality,” Ashley Fowler, 30, said on Monday at the restaurant where she works. “They’re not what we’re living right now. We live in, not to be racist, white America.”

As Baltimore considers its way forward after the violent unrest brought by the death of Freddie Gray, a 25-year-old black man who died of injuries he suffered while in police custody, residents in its predominantly white neighborhoods acknowledge that they are sometimes struggling to understand what beyond Mr. Gray’s death spurred the turmoil here. For many, the poverty and troubled schools of gritty West Baltimore are distant troubles, glimpsed only when they pass through the area on their way somewhere else.

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Officers blocked traffic at Pennsylvania and West North Avenues after reports that a gun was discharged in the area. Credit Drew Angerer for The New York Times

And so neighborhoods of Baltimore are facing altogether different reckonings after Mr. Gray’s death. In mostly black communities like Sandtown-Winchester, where some of the most destructive rioting played out last week, residents are hoping businesses will reopen and that the police will change their strategies. But in mostly white areas like Canton and Locust Point, some residents wonder what role, if any, they should play in reimagining stretches of Baltimore where they do not live.

“Most of the people are kind of at a loss as to what they’re supposed to do,” said Dr. Richard Lamb, a dentist who has practiced in the same Locust Point office for nearly 39 years. “I listen to the news reports. I listen to the clergymen. I listen to the facts of the rampant unemployment and the lack of opportunities in the area. Listen, I pay my taxes. Exactly what can I do?”

And in Canton, where the restaurants have clever names like Nacho Mama’s and Holy Crepe Bakery and Café, Sara Bahr said solutions seemed out of reach for a proudly liberal city.

“I can only imagine how frustrated they must be,” said Ms. Bahr, 36, a nurse who was out with her 3-year-old daughter, Sally. “I just wish I knew how to solve poverty. I don’t know what to do to make it better.”

The day of unrest and the overwhelmingly peaceful demonstrations that followed led to hundreds of arrests, often for violations of the curfew imposed on the city for five consecutive nights while National Guard soldiers patrolled the streets. Although there were isolated instances of trouble in Canton, the neighborhood association said on its website, many parts of southeast Baltimore were physically untouched by the tumult.

Tensions in the city bubbled anew on Monday after reports that the police had wounded a black man in Northwest Baltimore. The authorities denied those reports and sent officers to talk with the crowds that gathered while other officers clutching shields blocked traffic at Pennsylvania and West North Avenues.

Lt. Col. Melvin Russell, a community police officer, said officers had stopped a man suspected of carrying a handgun and that “one of those rounds was spent.”

Colonel Russell said officers had not opened fire, “so we couldn’t have shot him.”

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Lambi Vasilakopoulos, right, who runs a casual restaurant in Canton, said he was incensed by last week's looting and predicted tensions would worsen. Credit Drew Angerer for The New York Times

The colonel said the man had not been injured but was taken to a hospital as a precaution. Nearby, many people stood in disbelief, despite the efforts by the authorities to quash reports they described as “unfounded.”

Monday’s episode was a brief moment in a larger drama that has yielded anger and confusion. Although many people said they were familiar with accounts of the police harassing or intimidating residents, many in Canton and Locust Point said they had never experienced it themselves. When they watched the unrest, which many protesters said was fueled by feelings that they lived only on Baltimore’s margins, even those like Ms. Bahr who were pained by what they saw said they could scarcely comprehend the emotions associated with it.

But others, like Lambi Vasilakopoulos, who runs a casual restaurant in Canton, said they were incensed by what unfolded last week.

“What happened wasn’t called for. Protests are one thing; looting is another thing,” he said, adding, “We’re very frustrated because we’re the ones who are going to pay for this.”

There were pockets of optimism, though, that Baltimore would enter a period of reconciliation.

“I’m just hoping for peace,” Natalie Boies, 53, said in front of the Locust Point home where she has lived for 50 years. “Learn to love each other; be patient with each other; find justice; and care.”

A skeptical Mr. Vasilakopoulos predicted tensions would worsen.

“It cannot be fixed,” he said. “It’s going to get worse. Why? Because people don’t obey the laws. They don’t want to obey them.”

But there were few fears that the violence that plagued West Baltimore last week would play out on these relaxed streets. The authorities, Ms. Fowler said, would make sure of that.

“They kept us safe here,” she said. “I didn’t feel uncomfortable when I was in my house three blocks away from here. I knew I was going to be O.K. because I knew they weren’t going to let anyone come and loot our properties or our businesses or burn our cars.”

Baltimore Residents Away From Turmoil Consider Their Role | PAKET UMROH BULAN JANUARI 2016

Bruce Alger, 96, Dies; Led ‘Mink Coat’ Protest Against Lyndon Johnson

Mr. Alger, who served five terms from Texas, led Republican women in a confrontation with Lyndon B. Johnson that may have cost Richard M. Nixon the 1960 presidential election.

Bruce Alger, 96, Dies; Led ‘Mink Coat’ Protest Against Lyndon Johnson | PAKET UMROH BULAN JANUARI 2016

Marcel Pronovost, 84, Dies; Hall of Famer Shared in Five N.H.L. Titles

Pronovost, who played for the Red Wings, was not a prolific scorer, but he was a consummate team player with bruising checks and fearless bursts up the ice that could puncture a defense.

Marcel Pronovost, 84, Dies; Hall of Famer Shared in Five N.H.L. Titles | PAKET UMROH BULAN JANUARI 2016

From T Magazine: Street Lit’s Power Couple

THE WRITERS ASHLEY AND JAQUAVIS COLEMAN know the value of a good curtain-raiser. The couple have co-authored dozens of novels, and they like to start them with a bang: a headlong action sequence, a blast of violence or sex that rocks readers back on their heels. But the Colemans concede they would be hard-pressed to dream up anything more gripping than their own real-life opening scene.

In the summer of 2001, JaQuavis Coleman was a 16-year-old foster child in Flint, Mich., the former auto-manufacturing mecca that had devolved, in the wake of General Motors’ plant closures, into one of the country’s most dangerous cities, with a decimated economy and a violent crime rate more than three times the national average. When JaQuavis was 8, social services had removed him from his mother’s home. He spent years bouncing between foster families. At 16, JaQuavis was also a businessman: a crack dealer with a network of street-corner peddlers in his employ.

One day that summer, JaQuavis met a fellow dealer in a parking lot on Flint’s west side. He was there to make a bulk sale of a quarter-brick, or “nine-piece” — a nine-ounce parcel of cocaine, with a street value of about $11,000. In the middle of the transaction, JaQuavis heard the telltale chirp of a walkie-talkie. His customer, he now realized, was an undercover policeman. JaQuavis jumped into his car and spun out onto the road, with two unmarked police cars in pursuit. He didn’t want to get into a high-speed chase, so he whipped his car into a church parking lot and made a run for it, darting into an alleyway behind a row of small houses, where he tossed the quarter-brick into some bushes. When JaQuavis reached the small residential street on the other side of the houses, he was greeted by the police, who handcuffed him and went to search behind the houses where, they told him, they were certain he had ditched the drugs. JaQuavis had been dealing since he was 12, had amassed more than $100,000 and had never been arrested. Now, he thought: It’s over.

But when the police looked in the bushes, they couldn’t find any cocaine. They interrogated JaQuavis, who denied having ever possessed or sold drugs. They combed the backyard alley some more. After an hour of fruitless efforts, the police were forced to unlock the handcuffs and release their suspect.

JaQuavis was baffled by the turn of events until the next day, when he received a phone call. The previous afternoon, a 15-year-old girl had been sitting in her home on the west side of Flint when she heard sirens. She looked out of the window of her bedroom, and watched a young man throw a package in the bushes behind her house. She recognized him. He was a high school classmate — a handsome, charismatic boy whom she had admired from afar. The girl crept outside and grabbed the bundle, which she hid in her basement. “I have something that belongs to you,” Ashley Snell told JaQuavis Coleman when she reached him by phone. “You wanna come over here and pick it up?”

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Three of the nearly 50 works of urban fiction published by the Colemans over the last decade, often featuring drug deals, violence, sex and a brash kind of feminism.Credit Marko Metzinger

In the Colemans’ first novel, “Dirty Money” (2005), they told a version of this story. The outline was the same: the drug deal gone bad, the dope chucked in the bushes, the fateful phone call. To the extent that the authors took poetic license, it was to tone down the meet-cute improbability of the true-life events. In “Dirty Money,” the girl, Anari, and the crack dealer, Maurice, circle each other warily for a year or so before coupling up. But the facts of Ashley and JaQuavis’s romance outstripped pulp fiction. They fell in love more or less at first sight, moved into their own apartment while still in high school and were married in 2008. “We were together from the day we met,” Ashley says. “I don’t think we’ve spent more than a week apart in total over the past 14 years.”

That partnership turned out to be creative and entrepreneurial as well as romantic. Over the past decade, the Colemans have published nearly 50 books, sometimes as solo writers, sometimes under pseudonyms, but usually as collaborators with a byline that has become a trusted brand: “Ashley & JaQuavis.” They are marquee stars of urban fiction, or street lit, a genre whose inner-city settings and lurid mix of crime, sex and sensationalism have earned it comparisons to gangsta rap. The emergence of street lit is one of the big stories in recent American publishing, a juggernaut that has generated huge sales by catering to a readership — young, black and, for the most part, female — that historically has been ill-served by the book business. But the genre is also widely maligned. Street lit is subject to a kind of triple snobbery: scorned by literati who look down on genre fiction generally, ignored by a white publishing establishment that remains largely indifferent to black books and disparaged by African-American intellectuals for poor writing, coarse values and trafficking in racial stereotypes.

But if a certain kind of cultural prestige is shut off to the Colemans, they have reaped other rewards. They’ve built a large and loyal fan base, which gobbles up the new Ashley & JaQuavis titles that arrive every few months. Many of those books are sold at street-corner stands and other off-the-grid venues in African-American neighborhoods, a literary gray market that doesn’t register a blip on best-seller tallies. Yet the Colemans’ most popular series now regularly crack the trade fiction best-seller lists of The New York Times and Publishers Weekly. For years, the pair had no literary agent; they sold hundreds of thousands of books without banking a penny in royalties. Still, they have earned millions of dollars, almost exclusively from cash-for-manuscript deals negotiated directly with independent publishing houses. In short, though little known outside of the world of urban fiction, the Colemans are one of America’s most successful literary couples, a distinction they’ve achieved, they insist, because of their work’s gritty authenticity and their devotion to a primal literary virtue: the power of the ripping yarn.

“When you read our books, you’re gonna realize: ‘Ashley & JaQuavis are storytellers,’ ” says Ashley. “Our tales will get your heart pounding.”

THE COLEMANS’ HOME BASE — the cottage from which they operate their cottage industry — is a spacious four-bedroom house in a genteel suburb about 35 miles north of downtown Detroit. The house is plush, but when I visited this past winter, it was sparsely appointed. The couple had just recently moved in, and had only had time to fully furnish the bedroom of their 4-year-old son, Quaye.

In conversation, Ashley and JaQuavis exude both modesty and bravado: gratitude for their good fortune and bootstrappers’ pride in having made their own luck. They talk a lot about their time in the trenches, the years they spent as a drug dealer and “ride-or-die girl” tandem. In Flint they learned to “grind hard.” Writing, they say, is merely a more elevated kind of grind.

“Instead of hitting the block like we used to, we hit the laptops,” says Ashley. “I know what every word is worth. So while I’m writing, I’m like: ‘Okay, there’s a hundred dollars. There’s a thousand dollars. There’s five thousand dollars.’ ”

They maintain a rigorous regimen. They each try to write 5,000 words per day, five days a week. The writers stagger their shifts: JaQuavis goes to bed at 7 p.m. and wakes up early, around 3 or 4 in the morning, to work while his wife and child sleep. Ashley writes during the day, often in libraries or at Starbucks.

They divide the labor in other ways. Chapters are divvied up more or less equally, with tasks assigned according to individual strengths. (JaQuavis typically handles character development. Ashley loves writing murder scenes.) The results are stitched together, with no editorial interference from one author in the other’s text. The real work, they contend, is the brainstorming. The Colemans spend weeks mapping out their plot-driven books — long conversations that turn into elaborate diagrams on dry-erase boards. “JaQuavis and I are so close, it makes the process real easy,” says Ashley. “Sometimes when I’m thinking of something, a plot point, he’ll say it out loud, and I’m like: ‘Wait — did I say that?’ ”

Their collaboration developed by accident, and on the fly. Both were bookish teenagers. Ashley read lots of Judy Blume and John Grisham; JaQuavis liked Shakespeare, Richard Wright and “Atlas Shrugged.” (Their first official date was at a Borders bookstore, where Ashley bought “The Coldest Winter Ever,” the Sister Souljah novel often credited with kick-starting the contemporary street-lit movement.) In 2003, Ashley, then 17, was forced to terminate an ectopic pregnancy. She was bedridden for three weeks, and to provide distraction and boost her spirits, JaQuavis challenged his girlfriend to a writing contest. “She just wasn’t talking. She was laying in bed. I said, ‘You know what? I bet you I could write a better book than you.’ My wife is real competitive. So I said, ‘Yo, all right, $500 bet.’ And I saw her eyes spark, like, ‘What?! You can’t write no better book than me!’ So I wrote about three chapters. She wrote about three chapters. Two days later, we switched.”

The result, hammered out in a few days, would become “Dirty Money.” Two years later, when Ashley and JaQuavis were students at Ferris State University in Western Michigan, they sold the manuscript to Urban Books, a street-lit imprint founded by the best-selling author Carl Weber. At the time, JaQuavis was still making his living selling drugs. When Ashley got the phone call informing her that their book had been bought, she assumed they’d hit it big, and flushed more than $10,000 worth of cocaine down the toilet. Their advance was a mere $4,000.

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The roots of street lit, found in the midcentury detective novels of Chester Himes and the ‘60s and ‘70s “ghetto fiction” of Iceberg Slim and Donald Goines.Credit Marko Metzinger

Those advances would soon increase, eventually reaching five and six figures. The Colemans built their career, JaQuavis says, in a manner that made sense to him as a veteran dope peddler: by flooding the street with product. From the start, they were prolific, churning out books at a rate of four or five a year. Their novels made their way into stores; the now-defunct chain Waldenbooks, which had stores in urban areas typically bypassed by booksellers, was a major engine of the street-lit market. But Ashley and JaQuavis took advantage of distribution channels established by pioneering urban fiction authors such as Teri Woods and Vickie Stringer, and a network of street-corner tables, magazine stands, corner shops and bodegas. Like rappers who establish their bona fides with gray-market mixtapes, street-lit authors use this system to circumnavigate industry gatekeepers, bringing their work straight to the genre’s core readership. But urban fiction has other aficionados, in less likely places. “Our books are so popular in the prison system,” JaQuavis says. “We’re banned in certain penitentiaries. Inmates fight over the books — there are incidents, you know? I have loved ones in jail, and they’re like: ‘Yo, your books can’t come in here. It’s against the rules.’ ”

The appeal of the Colemans’ work is not hard to fathom. The books are formulaic and taut; they deliver the expected goods efficiently and exuberantly. The titles telegraph the contents: “Diary of a Street Diva,” “Kiss Kiss, Bang Bang,” “Murderville.” The novels serve up a stream of explicit sex and violence in a slangy, tangy, profane voice. In Ashley & JaQuavis’s books people don’t get killed: they get “popped,” “laid out,” get their “cap twisted back.” The smut is constant, with emphasis on the earthy, sticky, olfactory particulars. Romance novel clichés — shuddering orgasms, heroic carnal feats, superlative sexual skill sets — are rendered in the Colemans’ punchy patois.

Subtlety, in other words, isn’t Ashley & JaQuavis’s forte. But their books do have a grainy specificity. In “The Cartel” (2008), the first novel in the Colemans’ best-selling saga of a Miami drug syndicate, they catch the sights and smells of a crack workshop in a housing project: the nostril-stinging scent of cocaine and baking soda bubbling on stovetops; the teams of women, stripped naked except for hospital masks so they can’t pilfer the merchandise, “cutting up the cooked coke on the round wood table.” The subject matter is dark, but the Colemans’ tone is not quite noir. Even in the grimmest scenes, the mood is high-spirited, with the writers palpably relishing the lewd and gory details: the bodies writhing in boudoirs and crumpling under volleys of bullets, the geysers of blood and other bodily fluids.

The luridness of street lit has made it a flashpoint, inciting controversy reminiscent of the hip-hop culture wars of the 1980s and ’90s. But the street-lit debate touches deeper historical roots, reviving decades-old arguments in black literary circles about the mandate to uplift the race and present wholesome images of African-Americans. In 1928, W. E. B. Du Bois slammed the “licentiousness” of “Home to Harlem,” Claude McKay’s rollicking novel of Harlem nightlife. McKay’s book, Du Bois wrote, “for the most part nauseates me, and after the dirtier parts of its filth I feel distinctly like taking a bath.” Similar sentiments have greeted 21st-century street lit. In a 2006 New York Times Op-Ed essay, the journalist and author Nick Chiles decried “the sexualization and degradation of black fiction.” African-American bookstores, Chiles complained, are “overrun with novels that . . . appeal exclusively to our most prurient natures — as if these nasty books were pairing off back in the stockrooms like little paperback rabbits and churning out even more graphic offspring that make Ralph Ellison books cringe into a dusty corner.”

Copulating paperbacks aside, it’s clear that the street-lit debate is about more than literature, touching on questions of paternalism versus populism, and on middle-class anxieties about the black underclass. “It’s part and parcel of black elites’ efforts to define not only a literary tradition, but a racial politics,” said Kinohi Nishikawa, an assistant professor of English and African-American Studies at Princeton University. “There has always been a sense that because African-Americans’ opportunities to represent themselves are so limited in the first place, any hint of criminality or salaciousness would necessarily be a knock on the entire racial politics. One of the pressing debates about African-American literature today is: If we can’t include writers like Ashley & JaQuavis, to what extent is the foundation of our thinking about black literature faulty? Is it just a literature for elites? Or can it be inclusive, bringing urban fiction under the purview of our umbrella term ‘African-American literature’?”

Defenders of street lit note that the genre has a pedigree: a tradition of black pulp fiction that stretches from Chester Himes, the midcentury author of hardboiled Harlem detective stories, to the 1960s and ’70s “ghetto fiction” of Iceberg Slim and Donald Goines, to the current wave of urban fiction authors. Others argue for street lit as a social good, noting that it attracts a large audience that might otherwise never read at all. Scholars like Nishikawa link street lit to recent studies showing increased reading among African-Americans. A 2014 Pew Research Center report found that a greater percentage of black Americans are book readers than whites or Latinos.

For their part, the Colemans place their work in the broader black literary tradition. “You have Maya Angelou, Alice Walker, James Baldwin — all of these traditional black writers, who wrote about the struggles of racism, injustice, inequality,” says Ashley. “We’re writing about the struggle as it happens now. It’s just a different struggle. I’m telling my story. I’m telling the struggle of a black girl from Flint, Michigan, who grew up on welfare.”

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The Colemans in their new four-bedroom house in the northern suburbs of Detroit.Credit Courtesy of Ashley and JaQuavis Coleman

Perhaps there is a high-minded case to be made for street lit. But the virtues of Ashley & JaQuavis’s work are more basic. Their novels do lack literary polish. The writing is not graceful; there are passages of clunky exposition and sex scenes that induce guffaws and eye rolls. But the pleasure quotient is high. The books flaunt a garish brand of feminism, with women characters cast not just as vixens, but also as gangsters — cold-blooded killers, “murder mamas.” The stories are exceptionally well-plotted. “The Cartel” opens by introducing its hero, the crime boss Carter Diamond; on page 9, a gunshot spatters Diamond’s brain across the interior of a police cruiser. The book then flashes back seven years and begins to hurtle forward again — a bullet train, whizzing readers through shifting alliances, romantic entanglements and betrayals, kidnappings, shootouts with Haitian and Dominican gangsters, and a cliffhanger closing scene that leaves the novel’s heroine tied to a chair in a basement, gruesomely tortured to the edge of death. Ashley & JaQuavis’s books are not Ralph Ellison, certainly, but they build up quite a head of steam. They move.

The Colemans are moving themselves these days. They recently signed a deal with St. Martin’s Press, which will bring out the next installment in the “Cartel” series as well as new solo series by both writers. The St. Martin’s deal is both lucrative and legitimizing — a validation of Ashley and JaQuavis’s work by one of publishing’s most venerable houses. The Colemans’ ambitions have grown, as well. A recent trilogy, “Murderville,” tackles human trafficking and the blood-diamond industry in West Africa, with storylines that sweep from Sierra Leone to Mexico to Los Angeles. Increasingly, Ashley & JaQuavis are leaning on research — traveling to far-flung settings and hitting the books in the libraries — and spending less time mining their own rough-and-tumble past.

But Flint remains a source of inspiration. One evening not long ago, JaQuavis led me on a tour of his hometown: a popular roadside bar; the parking lot where he met the undercover cop for the ill-fated drug deal; Ashley’s old house, the site of his almost-arrest. He took me to a ramshackle vehicle repair shop on Flint’s west side, where he worked as a kid, washing cars. He showed me a bathroom at the rear of the garage, where, at age 12, he sneaked away to inspect the first “boulder” of crack that he ever sold. A spray-painted sign on the garage wall, which JaQuavis remembered from his time at the car wash, offered words of warning:

WHAT EVERY YOUNG MAN SHOULD KNOW
ABOUT USING A GUN:
MURDER . . . 30 Years
ARMED ROBBERY . . . 15 Years
ASSAULT . . . 15 Years
RAPE . . . 20 Years
POSSESSION . . . 5 Years
JACKING . . . 20 YEARS

“We still love Flint, Michigan,” JaQuavis says. “It’s so seedy, so treacherous. But there’s some heart in this city. This is where it all started, selling books out the box. In the days when we would get those little $40,000 advances, they’d send us a couple boxes of books for free. We would hit the streets to sell our books, right out of the car trunk. It was a hustle. It still is.”

One old neighborhood asset that the Colemans have not shaken off is swagger. “My wife is the best female writer in the game,” JaQuavis told me. “I believe I’m the best male writer in the game. I’m sleeping next to the best writer in the world. And she’s doing the same.”

 
From T Magazine: Street Lit’s Power Couple | PAKET UMROH BULAN JANUARI 2016

Dave Goldberg, Head of Web Survey Company and Half of a Silicon Valley Power Couple, Dies at 47

Mr. Goldberg was a serial Silicon Valley entrepreneur and venture capitalist who was married to Sheryl Sandberg, the chief operating officer of Facebook.

Dave Goldberg Was Lifelong Women’s Advocate

Dave Goldberg, Head of Web Survey Company and Half of a Silicon Valley Power Couple, Dies at 47 | PAKET UMROH BULAN JANUARI 2016

Rhapsody, a Lofty Literary Journal, Perused at 39,000 Feet

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United’s first-class and business fliers get Rhapsody, its high-minded in-flight magazine, seen here at its office in Brooklyn. Credit Sam Hodgson for The New York Times

Last summer at a writers’ workshop in Oregon, the novelists Anthony Doerr, Karen Russell and Elissa Schappell were chatting over cocktails when they realized they had all published work in the same magazine. It wasn’t one of the usual literary outlets, like Tin House, The Paris Review or The New Yorker. It was Rhapsody, an in-flight magazine for United Airlines.

It seemed like a weird coincidence. Then again, considering Rhapsody’s growing roster of A-list fiction writers, maybe not. Since its first issue hit plane cabins a year and a half ago, Rhapsody has published original works by literary stars like Joyce Carol Oates, Rick Moody, Amy Bloom, Emma Straub and Mr. Doerr, who won the Pulitzer Prize for fiction two weeks ago.

As airlines try to distinguish their high-end service with luxuries like private sleeping chambers, showers, butler service and meals from five-star chefs, United Airlines is offering a loftier, more cerebral amenity to its first-class and business-class passengers: elegant prose by prominent novelists. There are no airport maps or disheartening lists of in-flight meal and entertainment options in Rhapsody. Instead, the magazine has published ruminative first-person travel accounts, cultural dispatches and probing essays about flight by more than 30 literary fiction writers.

 

Photo
 
Sean Manning, executive editor of Rhapsody, which publishes works by the likes of Joyce Carol Oates, Amy Bloom and Anthony Doerr, who won a Pulitzer Prize. Credit Sam Hodgson for The New York Times

 

An airline might seem like an odd literary patron. But as publishers and writers look for new ways to reach readers in a shaky retail climate, many have formed corporate alliances with transit companies, including American Airlines, JetBlue and Amtrak, that provide a captive audience.

Mark Krolick, United Airlines’ managing director of marketing and product development, said the quality of the writing in Rhapsody brings a patina of sophistication to its first-class service, along with other opulent touches like mood lighting, soft music and a branded scent.

“The high-end leisure or business-class traveler has higher expectations, even in the entertainment we provide,” he said.

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Some of Rhapsody’s contributing writers say they were lured by the promise of free airfare and luxury accommodations provided by United, as well as exposure to an elite audience of some two million first-class and business-class travelers.

“It’s not your normal Park Slope Community Bookstore types who read Rhapsody,” Mr. Moody, author of the 1994 novel “The Ice Storm,” who wrote an introspective, philosophical piece about traveling to the Aran Islands of Ireland for Rhapsody, said in an email. “I’m not sure I myself am in that Rhapsody demographic, but I would like them to buy my books one day.”

In addition to offering travel perks, the magazine pays well and gives writers freedom, within reason, to choose their subject matter and write with style. Certain genres of flight stories are off limits, naturally: no plane crashes or woeful tales of lost luggage or rude flight attendants, and nothing too risqué.

“We’re not going to have someone write about joining the mile-high club,” said Jordan Heller, the editor in chief of Rhapsody. “Despite those restrictions, we’ve managed to come up with a lot of high-minded literary content.”

Guiding writers toward the right idea occasionally requires some gentle prodding. When Rhapsody’s executive editor asked Ms. Russell to contribute an essay about a memorable flight experience, she first pitched a story about the time she was chaperoning a group of teenagers on a trip to Europe, and their delayed plane sat at the airport in New York for several hours while other passengers got progressively drunker.

“He pointed out that disaster flights are not what people want to read about when they’re in transit, and very diplomatically suggested that maybe people want to read something that casts air travel in a more positive light,” said Ms. Russell, whose novel “Swamplandia!” was a finalist for the 2012 Pulitzer Prize.

She turned in a nostalgia-tinged essay about her first flight on a trip to Disney World when she was 6. “The Magic Kingdom was an anticlimax,” she wrote. “What ride could compare to that first flight?”

Ms. Oates also wrote about her first flight, in a tiny yellow propeller plane piloted by her father. The novelist Joyce Maynard told of the constant disappointment of never seeing her books in airport bookstores and the thrill of finally spotting a fellow plane passenger reading her novel “Labor Day.” Emily St. John Mandel, who was a finalist for the National Book Award in fiction last year, wrote about agonizing over which books to bring on a long flight.

“There’s nobody that’s looked down their noses at us as an in-flight magazine,” said Sean Manning, the magazine’s executive editor. “As big as these people are in the literary world, there’s still this untapped audience for them of luxury travelers.”

United is one of a handful of companies showcasing work by literary writers as a way to elevate their brands and engage customers. Chipotle has printed original work from writers like Toni Morrison, Jeffrey Eugenides and Barbara Kingsolver on its disposable cups and paper bags. The eyeglass company Warby Parker hosts parties for authors and sells books from 14 independent publishers in its stores.

JetBlue offers around 40 e-books from HarperCollins and Penguin Random House on its free wireless network, allowing passengers to read free samples and buy and download books. JetBlue will start offering 11 digital titles from Simon & Schuster soon. Amtrak recently forged an alliance with Penguin Random House to provide free digital samples from 28 popular titles, which passengers can buy and download over Amtrak’s admittedly spotty wireless service.

Amtrak is becoming an incubator for literary talent in its own right. Last year, it started a residency program, offering writers a free long-distance train trip and complimentary food. More than 16,000 writers applied and 24 made the cut.

Like Amtrak, Rhapsody has found that writers are eager to get onboard. On a rainy spring afternoon, Rhapsody’s editorial staff sat around a conference table discussing the June issue, which will feature an essay by the novelist Hannah Pittard and an unpublished short story by the late Elmore Leonard.

“Do you have that photo of Elmore Leonard? Can I see it?” Mr. Heller, the editor in chief, asked Rhapsody’s design director, Christos Hannides. Mr. Hannides slid it across the table and noted that they also had a photograph of cowboy spurs. “It’s very simple; it won’t take away from the literature,” he said.

Rhapsody’s office, an open space with exposed pipes and a vaulted brick ceiling, sits in Dumbo at the epicenter of literary Brooklyn, in the same converted tea warehouse as the literary journal N+1 and the digital publisher Atavist. Two of the magazine’s seven staff members hold graduate degrees in creative writing. Mr. Manning, the executive editor, has published a memoir and edited five literary anthologies.

Mr. Manning said Rhapsody was conceived from the start as a place for literary novelists to write with voice and style, and nobody had been put off that their work would live in plane cabins and airport lounges.

Still, some contributors say they wish the magazine were more widely circulated.

“I would love it if I could read it,” said Ms. Schappell, a Brooklyn-based novelist who wrote a feature story for Rhapsody’s inaugural issue. “But I never fly first class.”

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