PAKET UMROH BULAN FEBRUARI MARET APRIL MEI 2018




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saco-indonesia.com, Lucas Leiva telah menekankan bahwa fokus utama Liverpool saat ini adalah untuk bisa mengamankan jatah menuju Liga Champions musim depan.

Tim asuhan Brendan Rodgers tersebut saat ini telah ada di puncak klasemen sementara di periode Natal. Namun Leiva menolak anggapan bahwa timnya tengah menargetkan untuk bisa mengakhiri puasa gelar Premier League semenjak tahun 1990 lalu .

"Klub ini juga sudah tak bermain di Liga Champions selama tiga tahun, sudah jelas bahwa target utama kami adalah untuk bisa kembali ke kompetisi tersebut," tuturnya pada Perform.

"Untuk gelar juara, saya pikir kami masih harus memiliki banyak laga untuk dimainkan dan kami masih belum bisa membicarakan tentang itu. Ini juga sudah hampir paruh musim, namun masih terlalu dini," pungkas Lucas.

Liverpool juga akan menghadapi Manchester City di laga boxing day tengah pekan ini.


Editor : Dian Sukmawati

LIVERPOOL HANYA BIDIK JATAH EROPA

saco-indonesia.com,

Pemilihan Dan Pengolahan Tanah

Batu bata juga merupakan salah satu bahan dasar dalam proses membuat tembok rumah atau bangunan lain yang telah banyak digunakan oleh masyarakat Indonesia. Permintaan batu bata terus akan meningkat seiring dengan banyaknya masyarakat yang ingin membangun maupun merenofasi rumahnya. Untuk itu, proses pembuatan batu bata juga dapat member peluang bisnis yang sangat menjanjikan.

Agar dapat mencapai kesuksesan, maka perlu memperhatikan langkah-langkah sebagai berikut;

Memilih Tanah Yang Tepat

Hampir semua jenis tanah dapat digunakan sebagai bahan pembuatan batu bata kecuali tanah yang telah mengandung pasir atau kapur. Tanah yang mengandung pasir atau kapur akan dapat membuat batu bata mudah pecah.

Sedangkan untuk dapat menegtahui tanah itu cocok untuk proses pembuatan batu bata, maka ada cara untuk dapat mengetahuinya.

Pertama, ambil tanah tersebut, campur dengan air, kemudian diaduk hingga rata. Setelah itu diinjak-injak hingga lumat dan buang kerikil maupun kotoran yang ada. Setelah lumat, tanah direndam selama sehari semalam dan jangan sampe terkena panas matahri. Jika tanah tersebut tidak merekah, berarti tanah tersebut baik untuk bahan batu bata.

Kedua, tanah tersebut dikeringkan dan di bakar, jika berwarna merah menyala saat dibakar, maka bahan tersebut sangat baik untuk proses pembuatan batu bata.

Pengolahan Tanah

Sebelum tanah diolah sebagai bahan pembuatan batu bata, tanah tersebut harus dibuat gumpalan-gumpalan dan dijemur hingga kering. Kemudian tanah dimasukan ke dalam bak pengolahan tanah sebagai bahan pembuatan batu bata. Bak tersebut tidak memiliki ukuran yang baku, hanya disesuaikan dengan kebutuhan. Di bagian dasar bak tersebut diberi sekam padi secukupnya.

Tanah yang sudah dimasukan dalam bak pengolahan, kemudian diisi air hingga penuh. Diamkan selama 2 jam agar tanah terbasahi oleh air sepenuhnya. Kemudian tanah diaduk hingga rata dan diinjak-injak hingga telah menjadi halus. Sampah yang ada dalam tanah tersebut juga harus dibuang agar hasilnya bagus.

Saat mengaduk, ada baiknya dicampur dengan abu dapur atau sekam padi agar tanah tersebut semakin merekat. Setelah tanah benar-benar halus (lumat), tanah tersebut dibiarkab selama 12 jam agar tanah menjadi liat.


Editor : Dian Sukmawati

PEMILIHAN DAN PENGOLAHAN TANAH


TATA CARA PELAKSANAAN UMROH.
1. Jika seseorang akan melaksanakan UMROH disunnahkan untuk mandi besar (janabah) terlebih dahulu, memakai wangi-wangian (jika ada) dan memakai pakaian ihram.
2. Tata cara memakai pakaian ihram. Untuk laki-laki berupa dua lembar kain ihram yang dijadikan sarung dan selendang, Sedangkan untuk wanita memakai pakaian yang telah di’isyaratkan untuk menutupi aurot, tidak ada hiasan dan tidak diperbolehkan memakai sarung tangan.
3. Niat untuk melaksanakan umrah dalam hati dan mengucapkan labbaikallahumma bi'umrotin atau labbaika'umrotan. dan setelah itu bertalbiyah suaranya di keraskan bagi laki-laki, dan dengan suara cukup yang bisa di dengar orang yang berada di sampingnya bagi wanita, dengan mengucapkan labbaikallahumma labbaika laa syarika laka labbaik. innal hamda wan ni'mata laka wal mulk laa syarika laka.

4. Jika sudah sampai di kota MAKKAH, maka disunnahkan untukmandi terlebih dahulu sebelum masuk.
5. Sesampai di ka’bah,masuk ke masjidil haram dengan mendahulukan kaki kanan dan membaca doa masuk masjid : “Allahumaf-tahlii abwaba rohmatik.”
6. Menuju ke hajar aswad sambil menyentuhnya dengan tangan kanan dan menciumnya bila mampu dengan mengucapkan Bismillahi wallahu akbar. Jika tidak bisa menyentuh atau menciumnya maka cukup memberi isyarat dan berkata Allahu Akbar.
7. Thawah UMROH  sebanyak 7 putaran. Disunnahkan berlari-lari kecil pada 3 putaran pertama dan berjalan biasa di 4 putaran terakhir, yang dimulai dari hajar aswad dan diakhiri di hajar aswad juga.
8. Ketika berada di antara rukun yamani dan hajar aswad disunnahkan membaca : “Robbana atina fiddunya hasanah, wa fill akhiroti hasanah wa qinaadzaban naar.”
9. Setelah melakukan thawaf , kemudian menutup kedua pundaknya lalu menuju makam nabi ibrahim dan sambil membaca “Wattakhodzu mim maqoomi ibrohima musholla.”
10. Shalat sunnah dua raka’at di belakang makam nabi ibrahim. Pada rakaat pertama setelah membaca Al Fatihah kemudian dilanjutkan dengan membaca surat Al-Kafirun, dan pada rakaat kedua setelah membaca surat Al Fatihah kemudian di lanjutkan surat Al Ikhlas.
11. Kemudian, menuju ke bukit shafa untuk melaksanakan sa’i UMROH dan setelah mendekati shafa dianjurkan untuk membaca :” Innash shafaa wal marwatamin sya’aririllah” lalu mengucapkan “Nabda u bimaa bada allah bih”. Kemudian bertakbir 3 kali tanpa isyarat dan mengucapkan Laa ilaha illallahu wahdahu laa syarika lahu. Lahul mulku wa lahul hamdu wahuwa 'alaa kulli syai'in qodir. Laa ilaha illallahu wahdahu anjaza wa'dahu wa shodaqo 'abdahu wa hazamal ahzaaba wahdahu 3x. Kemudian berdoa.
12. Kembali turun adri shafa menuju MARWAH. Disunnahkan berlari-lari kecil di antara dua tanda lampu hijau yang baeda di mas’a (tempat sa’i) bagi laki-laki, dan berjalan biasa menuju menaiki MARWAH .
13. Sesampai di MARWAH kerjakanlah seperti yang dikerjakan di shafa, yaitu dengan menghadap kiblat, bertakbir, membaca dzikir Laa ilaha illallahu wahdahu laa syarika lahu. Lahul mulku wa lahul hamdu wahuwa 'alaa kulli syai'in qodir. Laa ilaha illallahu wahdahu anjaza wa'dahu wa shodaqo 'abdahu wa hazamal ahzaaba wahdahu 3x, dan berdoa apa yang dikehendaki.
14. Kemudian turun menuju ke shafa dengan berjalan di tempat yang sudah di tentukan dan berlari bagi laki-laki di tempat yang sudah di tentukan, kemudian naik ke shafa dan lakukan seperti semula. Lakukan hal ini sebanyak tujuh kali dan dengan berakhir di MARWAH.
15. Setelah sa’i , maka bertahallul dengan mencukur seluruh atau sebagian rambut kepala bagi laki-laki, tetapi lebih afdhal apabila di cukur gundul. Dan bagi wanita cukup memotong rambutnya sebatas ujung jari.
16. Setelah mencukur rambut, maka berakhirlah sudah ibadah UMROH yang dilaksanakan, dan telah diperbolehkan untuk mengerjakan hal-hal yang tadinya dilarang ketika dalam keadaan ihram.
 

BEBERAPA CARA DALAM PELAKSANAAN UMROH

saco-indonesia.com, Di tangan kelompok teroris Ciputat ini lima personil polisi yang telah bertugas di wilayah Polda Metro Jaya telah ditembak, 4 di antaranya tewas, hanya dalam 3 bulan.

Tindakan keji itu telah mereka lakukan lantaran polisi telah dianggap sebagai musuh yang kerap menghalangi ‘misi’ mereka dalam mencari fa’i (dana operasional terorisme) dengan cara merampok. Selain itu juga diduga sebagai bentuk balas dendam atas perlakuan polisi terhadap terduga teroris yang telah ditangkap.

Para teroris tersebut adalah: Nurul Haq, Hendi Albar, Daeng alias Dayat Kacamata, Ozi alias Tomo, Rizal alias Teguh, dan Edi alias Amril. Ke-6 teroris ini telah ditembak mati oleh petugas Densus 88 Mabes Polri dalam baku tembak di Ciputat, Rabu (1/1) dinihari.

Satu pelaku lain berhasil ditangkap hidup-hidup di Banyumas, Jateng, yakni Anton alias Septi. Ia juga merupakan anggota kelompok teroris Mujahidin Indonesia Barat pimpinan Abu Roban yang tewas ditembak oleh pasukan anti terror di Kendal, Jateng pada Mei 2013 lalu. Kelompok ini juga bersinergi dengan kelompok teroris Mujahidin Indonesia Timur pimpinan Santoso di Poso, Sulawesi.

Jaringan Abu Roban telah memiliki andil mendistribusikan dana untuk keperluan aksi teror di Poso. Upaya Fa’i telah ditempuh Abu Roban dengan cara merampok. Aksi perampokan kelompok ini:

•    Bank  BPR Cililin,  Bandung
•    Kantor Pos Cibaduyut
•    Toko emas di Tambora
•    Bank BRI di Panongan, Tangerang. pada Selasa (24/12) lalu.

5 POLISI JADI KORBAN:

o. Aipda Patah Saktiyono, 53. Anggota Polsek Gambir ini ditembak di depan  Sekolah Al Fath, Ciputat, Sabtu (27/7). Patah luput dari maut.

o. Aiptu Dwiyatno, 50.  Anggota Babinkamtibmas Polsek Cilandak ini tewas ditembak di depan RS Sari Asih, Tangerang Selatan pada Rabu (7/8).

o. Aiptu Kus Hendratno, 44.  Anggota Polsek Pondok Aren ini tewas ditembak di Jl. Graha Bintaro, Pondok Aren, Tangsel, pada Jumat (16/8).

o. Bripka Ahmad Maulana, 35. Anggota Polsek Pondok Aren ini tewas ditembak ini di Jl Graha Bintaro, Pondok Aren, pada Jumat (16/8).

o. Bripka Sukardi, 46.  Anggota Baharkam Mabes Polri ini tewas ditembak di depan Gedung KPK, Jalan HR Rasuna Said, pada Selasa (10/9).


Editor : Dian Sukmawati

TERORIS TEMBAK 4 POLISI

Saco-Indonesia.com - Sejak masih jejaka, Suno (58), warga Desa Karang Kedawang, Kecamatan Sooko, Kabupaten Mojokerto, Jawa Timur, sudah akrab dengan usaha persepatuan. Walau kala itu ”sekadar” sebagai tukang sol sepatu. Kini, ia menjadi salah satu pelaku usaha kecil dan menengah dengan produksi sampai 70 kodi sandal per hari.

Sebagai tukang sol sepatu, Suno yang memulai membuka usaha sendiri pembuatan sandal dengan merek Expo, enam tahun silam, telah malang melintang dari satu tempat kerja pembuatan sepatu ke tempat pembuatan sepatu lain.

”Awalnya saya bekerja menjadi tukang sol sepatu di Surabaya, tepatnya di Petemon, lalu pindah ke Rangkah, dan terakhir kerja di pabrik sepatu di Sukomanunggal,” katanya.

Suno adalah salah satu dari sekitar 1.300 pelaku usaha kecil dan menengah (UKM) di wilayah kerja Bank Tabungan Pensiunan Nasional (BTPN) Cabang Mojokerto yang menjadi nasabah sekaligus binaan bank ini.

Sejak tahun 2010 Suno mendapat kucuran kredit Rp 30 juta untuk tambahan modal sekaligus pengembangan usahanya. Setahun berikutnya, Suno kembali mendapat kucuran kredit Rp 60 juta. Pada 2012, dia mendapat kredit lagi sebesar Rp 98 juta.

”Sebelum kucuran kredit dari BTPN sampai tiga kali, modal awal untuk mulai membuka usaha sandal ini saya pinjam dari koperasi sebesar Rp 10 juta,” kata Suno.

Setelah menjadi binaan BTPN dan mendapat pelatihan, khususnya menyangkut manajemen keuangan dalam pengelolaan usaha kecil, usaha sandal Suno berkembang cepat.

Rugi

Suno bercerita, pada awal memulai usaha, dia sering menyerahkan pengerjaan pembuatan sandal kepada orang lain. ”Istilahnya, saya men- sub- kan pesanan itu kepada perajin sandal lain,” ujarnya.

Namun, hasilnya justru tak menguntungkan, bahkan Suno menelan kerugian. ”Saya sempat tak mengerjakan sendiri pesanan sandal itu. Hasilnya, dalam dua bulan saya rugi sekitar Rp 3,5 juta.”

Pengalaman pahit itulah yang memaksa Suno mengerjakan sendiri produk sandal Expo miliknya. Seiring berjalannya waktu, usahanya tumbuh dan berkembang. Pesanan dari pedagang grosir di Pasar Turi, Surabaya, misalnya, terus meningkat.

”Sekarang saya sudah bisa membayar orang. Di sini ada tujuh karyawan dari tukang sol, tukang kap, dan seorang sekretaris,” kata Suno.

Dibantu anaknya yang masih lajang, Sugianto, untuk memasarkan produknya, Suno bangga bisa memberikan lapangan pekerjaan kepada orang lain.

”Rata-rata setiap hari usaha saya ini bisa memproduksi 30 sampai 50 kodi sandal. Kalau pesanan sedang ramai, dalam sehari bisa mencapai 70 kodi. Kalau sudah begini, saya juga menyerahkan pengerjaan pembuatan sandal kepada enam tukang sol, tukang kap, dan tukang katokan di rumah. Mereka mengerjakan pesanan itu di rumah masing-masing, saya mengontrol hasilnya,” kata Suno.

Pedagang grosir

Sekarang, usaha skala kecil yang digeluti Suno dengan produk sandal untuk dewasa dan anak-anak serta sandal perempuan ini tak hanya dipasarkan di Surabaya dan sekitarnya, tetapi juga sudah sampai ke Tulungagung, Jawa Timur, hingga Solo, Jawa Tengah.

”Selain melayani pedagang bedak (eceran di pasar atau kaki lima), saya juga mendapat pesanan dari para pedagang grosir,” kata Suno.

Seminggu sekali ditemani Sugianto, salah satu anaknya, dengan mobil boks, Suno membawa ribuan pasang sandal menyusuri jalur tengah antara Jawa Timur dan Jawa Tengah.

Sebagai mitra usaha kecil dan menengah, BTPN Mojokerto telah menyalurkan kredit usaha kecil dan menengah sejak tahun 2009 hingga 2012. Kredit yang disalurkan itu mencapai lebih dari Rp 110 miliar.

”Ada 30 sampai 40 debitor UKM sepatu dan sandal yang menerima kucuran kredit kami, salah satunya yang berhasil, ya, usaha sandal milik Suno,” kata Mashudi, Area Daya Spesialis BTPN Cabang Mojokerto.

Suno mengakui, sebelum mendapat pelatihan manajemen keuangan dari BTPN, usahanya sekadar berjalan saja. Susno yang tak sempat menamatkan sekolah dasar (SD) itu sama sekali tak mempunyai pengetahuan soal pengelolaan keuangan usaha.

”Dulu, manajemennya campur aduk tidak karuan, tetapi sekarang pembukuan usaha ini sudah mulai rapi,” kata Suno.

Ketangguhan

Usaha sandal yang digeluti Suno adalah potret ketangguhan lapisan wong cilik yang berhasil dalam mengembangkan usaha. Walau dalam skala kecil, dia bisa memberikan sumber penghasilan dan penghidupan bagi orang lain.

”Saya masih punya impian untuk memiliki atau setidaknya membuka toko sandal dan sepatu di Pasar Klewer, Solo. Di toko itu tidak hanya menjual hasil produksi saya, tetapi juga hasil produksi perajin lain,” tutur Suno tentang harapannya.

”Keinginan saya ke depan menciptakan lebih banyak lagi lapangan kerja untuk orang-orang kecil dan susah,” katanya.

Soal keuntungan dari hasil usahanya itu, Suno mengaku masih sangat bergantung pada permintaan pasar, selain kelancaran pembayaran dari grosir ataupun pedagang bedak. ”Setidaknya dalam setahun saya masih bisa menikmati keuntungan bersih sekitar Rp 20 juta untuk ditabung. Itu kalau semuanya berjalan lancar. Namun, sering pembayarannya molor, bahkan ada yang bayar 50 persen di muka, sisanya baru dibayar satu-dua bulan,” tuturnya.

Suno, sang juragan sandal yang lahir di tanah Majapahit itu, kini bisa bernapas lega walau setiap hari harus berpikir keras untuk menjaga agar usahanya tetap berdenyut dalam situasi politik dan ekonomi yang kurang memihak kepada wong cilik ini.

 

Sumber : Kompas Cetak/Kompas.com
Editor :Liwon Maulana
Awalnya Tukang Sol Sepatu Kini Menjadi Produsen

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WASHINGTON — A decade after emergency trailers meant to shelter Hurricane Katrina victims instead caused burning eyes, sore throats and other more serious ailments, the Environmental Protection Agency is on the verge of regulating the culprit: formaldehyde, a chemical that can be found in commonplace things like clothes and furniture.

But an unusual assortment of players, including furniture makers, the Chinese government, Republicans from states with a large base of furniture manufacturing and even some Democrats who championed early regulatory efforts, have questioned the E.P.A. proposal. The sustained opposition has held sway, as the agency is now preparing to ease key testing requirements before it releases the landmark federal health standard.

The E.P.A.’s five-year effort to adopt this rule offers another example of how industry opposition can delay and hamper attempts by the federal government to issue regulations, even to control substances known to be harmful to human health.

Continue reading the main story
 

Document: The Formaldehyde Fight

Formaldehyde is a known carcinogen that can also cause respiratory ailments like asthma, but the potential of long-term exposure to cause cancers like myeloid leukemia is less well understood.

The E.P.A.’s decision would be the first time that the federal government has regulated formaldehyde inside most American homes.

“The stakes are high for public health,” said Tom Neltner, senior adviser for regulatory affairs at the National Center for Healthy Housing, who has closely monitored the debate over the rules. “What we can’t have here is an outcome that fails to confront the health threat we all know exists.”

The proposal would not ban formaldehyde — commonly used as an ingredient in wood glue in furniture and flooring — but it would impose rules that prevent dangerous levels of the chemical’s vapors from those products, and would set testing standards to ensure that products sold in the United States comply with those limits. The debate has sharpened in the face of growing concern about the safety of formaldehyde-treated flooring imported from Asia, especially China.

What is certain is that a lot of money is at stake: American companies sell billions of dollars’ worth of wood products each year that contain formaldehyde, and some argue that the proposed regulation would impose unfair costs and restrictions.

Determined to block the agency’s rule as proposed, these industry players have turned to the White House, members of Congress and top E.P.A. officials, pressing them to roll back the testing requirements in particular, calling them redundant and too expensive.

“There are potentially over a million manufacturing jobs that will be impacted if the proposed rule is finalized without changes,” wrote Bill Perdue, the chief lobbyist at the American Home Furnishings Alliance, a leading critic of the testing requirements in the proposed regulation, in one letter to the E.P.A.

Industry opposition helped create an odd alignment of forces working to thwart the rule. The White House moved to strike out key aspects of the proposal. Subsequent appeals for more changes were voiced by players as varied as Senator Barbara Boxer, Democrat of California, and Senator Roger Wicker, Republican of Mississippi, as well as furniture industry lobbyists.

Hurricane Katrina in 2005 helped ignite the public debate over formaldehyde, after the deadly storm destroyed or damaged hundreds of thousands of homes along the Gulf of Mexico, forcing families into temporary trailers provided by the Federal Emergency Management Agency.

The displaced storm victims quickly began reporting respiratory problems, burning eyes and other issues, and tests then confirmed high levels of formaldehyde fumes leaking into the air inside the trailers, which in many cases had been hastily constructed.

Public health advocates petitioned the E.P.A. to issue limits on formaldehyde in building materials and furniture used in homes, given that limits already existed for exposure in workplaces. But three years after the storm, only California had issued such limits.

Industry groups like the American Chemistry Council have repeatedly challenged the science linking formaldehyde to cancer, a position championed by David Vitter, the Republican senator from Louisiana, who is a major recipient of chemical industry campaign contributions, and whom environmental groups have mockingly nicknamed “Senator Formaldehyde.”

Continue reading the main story

Formaldehyde in Laminate Flooring

In laminate flooring, formaldehyde is used as a bonding agent in the fiberboard (or other composite wood) core layer and may also be used in glues that bind layers together. Concerns were raised in March when certain laminate flooring imported from China was reported to contain levels of formaldehyde far exceeding the limit permitted by California.

Typical

laminate

flooring

CLEAR FINISH LAYER

Often made of melamine resin

PATTERN LAYER

Paper printed to resemble wood,

or a thin wood veneer

GLUE

Layers may be bound using

formaldehyde-based glues

CORE LAYER

Fiberboard or other

composite, formed using

formaldehyde-based adhesives

BASE LAYER

Moisture-resistant vapor barrier

What is formaldehyde?

Formaldehyde is a common chemical used in many industrial and household products as an adhesive, bonding agent or preservative. It is classified as a volatile organic compound. The term volatile means that, at room temperature, formaldehyde will vaporize, or become a gas. Products made with formaldehyde tend to release this gas into the air. If breathed in large quantities, it may cause health problems.

WHERE IT IS COMMONLY FOUND

POTENTIAL HEALTH RISKS

Pressed-wood and composite wood products

Wallpaper and paints

Spray foam insulation used in construction

Commercial wood floor finishes

Crease-resistant fabrics

In cigarette smoke, or in the fumes from combustion of other materials, including wood, oil and gasoline.

Exposure to formaldehyde in sufficient amounts may cause eye, throat or skin irritation, allergic reactions, and respiratory problems like coughing, wheezing or asthma.

Long-term exposure to high levels has been associated with cancer in humans and laboratory animals.

Exposure to formaldehyde may affect some people more severely than others.

By 2010, public health advocates and some industry groups secured bipartisan support in Congress for legislation that ordered the E.P.A. to issue federal rules that largely mirrored California’s restrictions. At the time, concerns were rising over the growing number of lower-priced furniture imports from Asia that might include contaminated products, while also hurting sales of American-made products.

Maneuvering began almost immediately after the E.P.A. prepared draft rules to formally enact the new standards.

White House records show at least five meetings in mid-2012 with industry executives — kitchen cabinet makers, chemical manufacturers, furniture trade associations and their lobbyists, like Brock R. Landry, of the Venable law firm. These parties, along with Senator Vitter’s office, appealed to top administration officials, asking them to intervene to roll back the E.P.A. proposal.

The White House Office of Management and Budget, which reviews major federal regulations before they are adopted, apparently agreed. After the White House review, the E.P.A. “redlined” many of the estimates of the monetary benefits that would be gained by reductions in related health ailments, like asthma and fertility issues, documents reviewed by The New York Times show.

As a result, the estimated benefit of the proposed rule dropped to $48 million a year, from as much as $278 million a year. The much-reduced amount deeply weakened the agency’s justification for the sometimes costly new testing that would be required under the new rules, a federal official involved in the effort said.

“It’s a redlining blood bath,” said Lisa Heinzerling, a Georgetown University Law School professor and a former E.P.A. official, using the Washington phrase to describe when language is stricken from a proposed rule. “Almost the entire discussion of these potential benefits was excised.”

Senator Vitter’s staff was pleased.

“That’s a huge difference,” said Luke Bolar, a spokesman for Mr. Vitter, of the reduced estimated financial benefits, saying the change was “clearly highlighting more mismanagement” at the E.P.A.

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The review’s outcome galvanized opponents in the furniture industry. They then targeted a provision that mandated new testing of laminated wood, a cheaper alternative to hardwood. (The California standard on which the law was based did not require such testing.)

But E.P.A. scientists had concluded that these laminate products — millions of which are sold annually in the United States — posed a particular risk. They said that when thin layers of wood, also known as laminate or veneer, are added to furniture or flooring in the final stages of manufacturing, the resulting product can generate dangerous levels of fumes from often-used formaldehyde-based glues.

Industry executives, outraged by what they considered an unnecessary and financially burdensome level of testing, turned every lever within reach to get the requirement removed. It would be particularly onerous, they argued, for small manufacturers that would have to repeatedly interrupt their work to do expensive new testing. The E.P.A. estimated that the expanded requirements for laminate products would cost the furniture industry tens of millions of dollars annually, while the industry said that the proposed rule over all would cost its 7,000 American manufacturing facilities over $200 million each year.

“A lot of people don’t seem to appreciate what a lot of these requirements do to a small operation,” said Dick Titus, executive vice president of the Kitchen Cabinet Manufacturers Association, whose members are predominantly small businesses. “A 10-person shop, for example, just really isn’t equipped to handle that type of thing.”

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Becky Gillette wants strong regulation of formaldehyde. Credit Beth Hall for The New York Times

Big industry players also weighed in. Executives from companies including La-Z-Boy, Hooker Furniture and Ashley Furniture all flew to Washington for a series of meetings with the offices of lawmakers including House Speaker John Boehner, Republican of Ohio, and about a dozen other lawmakers, asking several of them to sign a letter prepared by the industry to press the E.P.A. to back down, according to an industry report describing the lobbying visit.

Within a matter of weeks, two letters — using nearly identical language — were sent by House and Senate lawmakers to the E.P.A. — with the industry group forwarding copies of the letters to the agency as well, and then posting them on its website.

The industry lobbyists also held their own meeting at E.P.A. headquarters, and they urged Jim Jones, who oversaw the rule-making process as the assistant administrator for the agency’s Office of Chemical Safety and Pollution Prevention, to visit a North Carolina furniture manufacturing plant. According to the trade group, Mr. Jones told them that the visit had “helped the agency shift its thinking” about the rules and how laminated products should be treated.

The resistance was particularly intense from lawmakers like Mr. Wicker of Mississippi, whose state is home to major manufacturing plants owned by Ashley Furniture Industries, the world’s largest furniture maker, and who is one of the biggest recipients in Congress of donations from the industry’s trade association. Asked if the political support played a role, a spokesman for Mr. Wicker replied: “Thousands of Mississippians depend on the furniture manufacturing industry for their livelihoods. Senator Wicker is committed to defending all Mississippians from government overreach.”

Individual companies like Ikea also intervened, as did the Chinese government, which claimed that the new rule would create a “great barrier” to the import of Chinese products because of higher costs.

Perhaps the most surprising objection came from Senator Boxer, of California, a longtime environmental advocate, whose office questioned why the E.P.A.’s rule went further than her home state’s in seeking testing on laminated products. “We did not advocate an outcome, other than safety,” her office said in a statement about why the senator raised concerns. “We said ‘Take a look to see if you have it right.’ ”

Safety advocates say that tighter restrictions — like the ones Ms. Boxer and Mr. Wicker, along with Representative Doris Matsui, a California Democrat, have questioned — are necessary, particularly for products coming from China, where items as varied as toys and Christmas lights have been found to violate American safety standards.

While Mr. Neltner, the environmental advocate who has been most involved in the review process, has been open to compromise, he has pressed the E.P.A. not to back down entirely, and to maintain a requirement that laminators verify that their products are safe.

An episode of CBS’s “60 Minutes” in March brought attention to the issue when it accused Lumber Liquidators, the discount flooring retailer, of selling laminate products with dangerous levels of formaldehyde. The company has disputed the show’s findings and test methods, maintaining that its products are safe.

“People think that just because Congress passed the legislation five years ago, the problem has been fixed,” said Becky Gillette, who then lived in coastal Mississippi, in the area hit by Hurricane Katrina, and was among the first to notice a pattern of complaints from people living in the trailers. “Real people’s faces and names come up in front of me when I think of the thousands of people who could get sick if this rule is not done right.”

An aide to Ms. Matsui rejected any suggestion that she was bending to industry pressure.

“From the beginning the public health has been our No. 1 concern,” said Kyle J. Victor, an aide to Ms. Matsui.

But further changes to the rule are likely, agency officials concede, as they say they are searching for a way to reduce the cost of complying with any final rule while maintaining public health goals. The question is just how radically the agency will revamp the testing requirement for laminated products — if it keeps it at all.

“It’s not a secret to anybody that is the most challenging issue,” said Mr. Jones, the E.P.A. official overseeing the process, adding that the health consequences from formaldehyde are real. “We have to reduce those exposures so that people can live healthy lives and not have to worry about being in their homes.”

The Uphill Battle to Better Regulate Formaldehyde

WASHINGTON — The former deputy director of the C.I.A. asserts in a forthcoming book that Republicans, in their eagerness to politicize the killing of the American ambassador to Libya, repeatedly distorted the agency’s analysis of events. But he also argues that the C.I.A. should get out of the business of providing “talking points” for administration officials in national security events that quickly become partisan, as happened after the Benghazi attack in 2012.

The official, Michael J. Morell, dismisses the allegation that the United States military and C.I.A. officers “were ordered to stand down and not come to the rescue of their comrades,” and he says there is “no evidence” to support the charge that “there was a conspiracy between C.I.A. and the White House to spin the Benghazi story in a way that would protect the political interests of the president and Secretary Clinton,” referring to the secretary of state at the time, Hillary Rodham Clinton.

But he also concludes that the White House itself embellished some of the talking points provided by the Central Intelligence Agency and had blocked him from sending an internal study of agency conclusions to Congress.

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Michael J. Morell Credit Mark Wilson/Getty Images

“I finally did so without asking,” just before leaving government, he writes, and after the White House released internal emails to a committee investigating the State Department’s handling of the issue.

A lengthy congressional investigation remains underway, one that many Republicans hope to use against Mrs. Clinton in the 2016 election cycle.

In parts of the book, “The Great War of Our Time” (Twelve), Mr. Morell praises his C.I.A. colleagues for many successes in stopping terrorist attacks, but he is surprisingly critical of other C.I.A. failings — and those of the National Security Agency.

Soon after Mr. Morell retired in 2013 after 33 years in the agency, President Obama appointed him to a commission reviewing the actions of the National Security Agency after the disclosures of Edward J. Snowden, a former intelligence contractor who released classified documents about the government’s eavesdropping abilities. Mr. Morell writes that he was surprised by what he found.

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“You would have thought that of all the government entities on the planet, the one least vulnerable to such grand theft would have been the N.S.A.,” he writes. “But it turned out that the N.S.A. had left itself vulnerable.”

He concludes that most Wall Street firms had better cybersecurity than the N.S.A. had when Mr. Snowden swept information from its systems in 2013. While he said he found himself “chagrined by how well the N.S.A. was doing” compared with the C.I.A. in stepping up its collection of data on intelligence targets, he also sensed that the N.S.A., which specializes in electronic spying, was operating without considering the implications of its methods.

“The N.S.A. had largely been collecting information because it could, not necessarily in all cases because it should,” he says.

The book is to be released next week.

Mr. Morell was a career analyst who rose through the ranks of the agency, and he ended up in the No. 2 post. He served as President George W. Bush’s personal intelligence briefer in the first months of his presidency — in those days, he could often be spotted at the Starbucks in Waco, Tex., catching up on his reading — and was with him in the schoolhouse in Florida on the morning of Sept. 11, 2001, when the Bush presidency changed in an instant.

Mr. Morell twice took over as acting C.I.A. director, first when Leon E. Panetta was appointed secretary of defense and then when retired Gen. David H. Petraeus resigned over an extramarital affair with his biographer, a relationship that included his handing her classified notes of his time as America’s best-known military commander.

Mr. Morell says he first learned of the affair from Mr. Petraeus only the night before he resigned, and just as the Benghazi events were turning into a political firestorm. While praising Mr. Petraeus, who had told his deputy “I am very lucky” to run the C.I.A., Mr. Morell writes that “the organization did not feel the same way about him.” The former general “created the impression through the tone of his voice and his body language that he did not want people to disagree with him (which was not true in my own interaction with him),” he says.

But it is his account of the Benghazi attacks — and how the C.I.A. was drawn into the debate over whether the Obama White House deliberately distorted its account of the death of Ambassador J. Christopher Stevens — that is bound to attract attention, at least partly because of its relevance to the coming presidential election. The initial assessments that the C.I.A. gave to the White House said demonstrations had preceded the attack. By the time analysts reversed their opinion, Susan E. Rice, now the national security adviser, had made a series of statements on Sunday talk shows describing the initial assessment. The controversy and other comments Ms. Rice made derailed Mr. Obama’s plan to appoint her as secretary of state.

The experience prompted Mr. Morell to write that the C.I.A. should stay out of the business of preparing talking points — especially on issues that are being seized upon for “political purposes.” He is critical of the State Department for not beefing up security in Libya for its diplomats, as the C.I.A., he said, did for its employees.

But he concludes that the assault in which the ambassador was killed took place “with little or no advance planning” and “was not well organized.” He says the attackers “did not appear to be looking for Americans to harm. They appeared intent on looting and conducting some vandalism,” setting fires that killed Mr. Stevens and a security official, Sean Smith.

Mr. Morell paints a picture of an agency that was struggling, largely unsuccessfully, to understand dynamics in the Middle East and North Africa when the Arab Spring broke out in late 2011 in Tunisia. The agency’s analysts failed to see the forces of revolution coming — and then failed again, he writes, when they told Mr. Obama that the uprisings would undercut Al Qaeda by showing there was a democratic pathway to change.

“There is no good explanation for our not being able to see the pressures growing to dangerous levels across the region,” he writes. The agency had again relied too heavily “on a handful of strong leaders in the countries of concern to help us understand what was going on in the Arab street,” he says, and those leaders themselves were clueless.

Moreover, an agency that has always overvalued secretly gathered intelligence and undervalued “open source” material “was not doing enough to mine the wealth of information available through social media,” he writes. “We thought and told policy makers that this outburst of popular revolt would damage Al Qaeda by undermining the group’s narrative,” he writes.

Instead, weak governments in Egypt, and the absence of governance from Libya to Yemen, were “a boon to Islamic extremists across both the Middle East and North Africa.”

Mr. Morell is gentle about most of the politicians he dealt with — he expresses admiration for both Mr. Bush and Mr. Obama, though he accuses former Vice President Dick Cheney of deliberately implying a connection between Al Qaeda and Iraq that the C.I.A. had concluded probably did not exist. But when it comes to the events leading up to the Bush administration’s decision to go to war in Iraq, he is critical of his own agency.

Mr. Morell concludes that the Bush White House did not have to twist intelligence on Saddam Hussein’s alleged effort to rekindle the country’s work on weapons of mass destruction.

“The view that hard-liners in the Bush administration forced the intelligence community into its position on W.M.D. is just flat wrong,” he writes. “No one pushed. The analysts were already there and they had been there for years, long before Bush came to office.”

Ex-C.I.A. Official Rebuts Republican Claims on Benghazi Attack in ‘The Great War of Our Time’

Even as a high school student, Dave Goldberg was urging female classmates to speak up. As a young dot-com executive, he had one girlfriend after another, but fell hard for a driven friend named Sheryl Sandberg, pining after her for years. After they wed, Mr. Goldberg pushed her to negotiate hard for high compensation and arranged his schedule so that he could be home with their children when she was traveling for work.

Mr. Goldberg, who died unexpectedly on Friday, was a genial, 47-year-old Silicon Valley entrepreneur who built his latest company, SurveyMonkey, from a modest enterprise to one recently valued by investors at $2 billion. But he was also perhaps the signature male feminist of his era: the first major chief executive in memory to spur his wife to become as successful in business as he was, and an essential figure in “Lean In,” Ms. Sandberg’s blockbuster guide to female achievement.

Over the weekend, even strangers were shocked at his death, both because of his relatively young age and because they knew of him as the living, breathing, car-pooling center of a new philosophy of two-career marriage.

“They were very much the role models for what this next generation wants to grapple with,” said Debora L. Spar, the president of Barnard College. In a 2011 commencement speech there, Ms. Sandberg told the graduates that whom they married would be their most important career decision.

In the play “The Heidi Chronicles,” revived on Broadway this spring, a male character who is the founder of a media company says that “I don’t want to come home to an A-plus,” explaining that his ambitions require him to marry an unthreatening helpmeet. Mr. Goldberg grew up to hold the opposite view, starting with his upbringing in progressive Minneapolis circles where “there was woman power in every aspect of our lives,” Jeffrey Dachis, a childhood friend, said in an interview.

The Goldberg parents read “The Feminine Mystique” together — in fact, Mr. Goldberg’s father introduced it to his wife, according to Ms. Sandberg’s book. In 1976, Paula Goldberg helped found a nonprofit to aid children with disabilities. Her husband, Mel, a law professor who taught at night, made the family breakfast at home.

Later, when Dave Goldberg was in high school and his prom date, Jill Chessen, stayed silent in a politics class, he chastised her afterward. He said, “You need to speak up,” Ms. Chessen recalled in an interview. “They need to hear your voice.”

Years later, when Karin Gilford, an early employee at Launch Media, Mr. Goldberg’s digital music company, became a mother, he knew exactly what to do. He kept giving her challenging assignments, she recalled, but also let her work from home one day a week. After Yahoo acquired Launch, Mr. Goldberg became known for distributing roses to all the women in the office on Valentine’s Day.

Ms. Sandberg, who often describes herself as bossy-in-a-good-way, enchanted him when they became friendly in the mid-1990s. He “was smitten with her,” Ms. Chessen remembered. Ms. Sandberg was dating someone else, but Mr. Goldberg still hung around, even helping her and her then-boyfriend move, recalled Bob Roback, a friend and co-founder of Launch. When they finally married in 2004, friends remember thinking how similar the two were, and that the qualities that might have made Ms. Sandberg intimidating to some men drew Mr. Goldberg to her even more.

Over the next decade, Mr. Goldberg and Ms. Sandberg pioneered new ways of capturing information online, had a son and then a daughter, became immensely wealthy, and hashed out their who-does-what-in-this-marriage issues. Mr. Goldberg’s commute from the Bay Area to Los Angeles became a strain, so he relocated, later joking that he “lost the coin flip” of where they would live. He paid the bills, she planned the birthday parties, and both often left their offices at 5:30 so they could eat dinner with their children before resuming work afterward.

Friends in Silicon Valley say they were careful to conduct their careers separately, politely refusing when outsiders would ask one about the other’s work: Ms. Sandberg’s role building Facebook into an information and advertising powerhouse, and Mr. Goldberg at SurveyMonkey, which made polling faster and cheaper. But privately, their work was intertwined. He often began statements to his team with the phrase “Well, Sheryl said” sharing her business advice. He counseled her, too, starting with her salary negotiations with Mark Zuckerberg.

“I wanted Mark to really feel he stretched to get Sheryl, because she was worth it,” Mr. Goldberg explained in a 2013 “60 Minutes” interview, his Minnesota accent and his smile intact as he offered a rare peek of the intersection of marriage and money at the top of corporate life.

 

 

While his wife grew increasingly outspoken about women’s advancement, Mr. Goldberg quietly advised the men in the office on family and partnership matters, an associate said. Six out of 16 members of SurveyMonkey’s management team are female, an almost unheard-of ratio among Silicon Valley “unicorns,” or companies valued at over $1 billion.

When Mellody Hobson, a friend and finance executive, wrote a chapter of “Lean In” about women of color for the college edition of the book, Mr. Goldberg gave her feedback on the draft, a clue to his deep involvement. He joked with Ms. Hobson that she was too long-winded, like Ms. Sandberg, but aside from that, he said he loved the chapter, she said in an interview.

By then, Mr. Goldberg was a figure of fascination who inspired a “where can I get one of those?” reaction among many of the women who had read the best seller “Lean In.” Some lamented that Ms. Sandberg’s advice hinged too much on marrying a Dave Goldberg, who was humble enough to plan around his wife, attentive enough to worry about which shoes his young daughter would wear, and rich enough to help pay for the help that made the family’s balancing act manageable.

Now that he is gone, and Ms. Sandberg goes from being half of a celebrated partnership to perhaps the business world’s most prominent single mother, the pages of “Lean In” carry a new sting of loss.

“We are never at 50-50 at any given moment — perfect equality is hard to define or sustain — but we allow the pendulum to swing back and forth between us,” she wrote in 2013, adding that they were looking forward to raising teenagers together.

“Fortunately, I have Dave to figure it out with me,” she wrote.

Dave Goldberg Was Lifelong Women’s Advocate
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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.

 

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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.”

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

Mr. Pfaff was an international affairs columnist and author who found Washington’s intervention in world affairs often misguided.

William Pfaff, Critic of American Foreign Policy, Dies at 86

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.

Photo
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.”

Photo
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
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