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Rental Mobil Batam merupakan perusahaan yang bergerak di bidang jasa sewa mobil di Batam yang berkomitmen untuk memberikan pelayanan jasa sewa mobil yang murah ditambah dengan pelayanan yang professional di Batam. Rental Mobil Batam menyediakan berbagai jenis mobil dapat disesuaikan dengan kebutuhan anda seperti sewa mobil setir sendiri, sewa mobil dengan supir, maupun sewa mobil dengan supir dan BBM.

Armada Mobil Sewa Automatic dan Manual
Kami menyediakan berbagai jenis mobil mulai dari city car sampai dengan mobil sewa untuk keluarga dan rombongan seperti Toyota Avansa, Toyota Innova, Suzuki APV, Innova. Kami juga menyediakan armada mobil sewa transmisi automatic sehingga anda benar-benar menikmati perjalanan liburan atau bisnis anda selama berada di Batam. Semua mobil sewa kami dalam keadaan yang terbaik dan mendapatkan perawatan berkala. Untuk pemesanan mobil ( Car Rental Reservation ) silakan hubungi kami.

layanan Sewa Mobil di Batam Self Drive dan Plus Supir
Sewa mobil setir sendiri sangat cocok untuk para pelanggan atau calon pelanggan yang sudah sering berkunjung ke Batam atau yang sudah sering sewa mobil di Batam. Untuk Para pelanggan atau calon pelanggan yang baru pertama kali berkunjung ke Batam, kami menyarankan untuk menggunakan layanan sewa mobil dengan supir yang sudah menguasai daerah Batam dan obyek wisata di Batam sehingga anda dengan leluasa dapat menikmati keindahan pulau Batam.

RENTAL MOBIL BATAM

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LINGKUP SUHU
Aku awali pesan ini dengan kata bismillah, berharap agar semua berjalan mudah.
Tapi kenyataanya, tak ada cara mudah untuk menyampaikn ini semua.
Dari pada aku berbasa basi banyak alasan, lebih baik ku sampaikan saja secara mengalir laksana sebuah cerita.
 
Semalam waktu aku berkumpul bersama keluarga ku, bapak, ibu, dan adik-adik ku, aku bercerita tentang kamu.
tentang hubungan kita.
Tentang asal usul dan juga setatus mu.
Tapi.. respon yang ku dapat jauh di luar perkiraan yang ku harap.
 
Bahkan harus berahir dengan penyesalan.
mengapa aku tadi bercerita?
kenapa tadi ku tak diam saja?
Aku menggerutu dalam hati yang di penuhi sesal.
 
Tapi begitulah takdir berperan, mengalir bagai arus air.
Tak akan bisa di tahan walau dengan membentang kedua tangan.
Apa kamu tau apa respon mereka?
 
Ibunda ku berkata..
 
“Le..mbok kamu itu tau diri.
Lihat dulu dari kalangan mana kamu berasal.
Dia itu orang yang berpendidikan.
Kuliah, jadi mahasiswi, pasti orang tuanya mengharap masa depan cerah untuk dia.
Mereka ingin hidup anak mereka terjamin, berkecukupan, dan bisa jadi “orang”.
Lha kamu ini apa to le?
Kamu cuma lulusan SD, lulusan pesantren.
Jangankan kuliah le, SMP saja kamu ga’ pernah.
Lha kok berani-beraninya pacaran sama mahasiswa, yang cerah masa depanya.
 
Lebih baik kamu “lepas” saja dia.
Sebelum semua terlambat terlalu jauh.
Sebelum kamu mengecewakanya terlalu dalam.
Ngomong pelan-pelan sama dia.
Yang halus..yang sopan.
Kalo dia marah sama kamu, itu memang haknya dia.
Karena itu memang salah kamu.
Tapi ibu nasehatkan sama kamu, itu semua juga demi kebaikan dia.
Dia ga’ pantes sama kamu.
Dia berhak dapat yang lebih baik dari pada kamu.
 
Kita ini orang kecil le.
Berfikiran yang sederhana.
Yang penting hidup tentram dan mensyukuri apa yang ada.
Kalo kamu memang cinta sama dia, seharusnya kamu ga’ egois.
Kamu juga harus mikir masa depan dia juga.
Kalo dia sama kamu yang orang kampung ini, mau jadi apa dia?
Lagi pula dia jauh juga kan?
Ibu ga’ pengen nanti punya menantu yang jauh.
Apa lagi sampai nyebrang laut.
Kamu ga’ lihat sekarang kapal pada tenggelam?
Pesawat juga pada jatuh?
Kalo memang terpaksa dapat yang jauh, yang penting ga’ nyebrang laut”.
 
Bapak ku juga mendukung kata-kata ibu ku..
“Mumpung belum kenal lebih dalam, mending sudahi skrg.
Dari pada kamu malah lebih membuat dia kecewa nantinya”.
 
Aku berfikir semalaman.
Galau, kecewa, dan marah, karena merasa aku ga’ pernah di anggap benar dalam melangkah.
Tapi.. setelah ku berfikir panjang, kata-kata mereka benar juga.
Kamu ga’ pantas dengan aku.
Kamu berhak mendapat yang lebih baik dari aku.
Aku hanya ingin.. jika hubungan ini harus berahir, ku ingin di ahiri dengan baik-baik..
Sebagaimana kita memulai semua ini dengan baik-baik pula.
 
Ku ingin kau mengerti sayang, ku meninggalkan mu bukan karena rasa benci ku.
Tapi.. Ku ingin kau tau, beginilah cara ku dalam mencintai mu.
Bukankah cinta itu bukan tentang bagaimana cara kita memiliki?
Tapi bagaimana cara kita berkorban demi orang yang paling kita cintai..
Dan dalam kisah ku ini, orang itu adalah kamu..
 
Richa..
Baik-baiklah kau di batas cakrawala sana..
Dan dari belahan bumi yang jauh ini, aku kan selalu mendo’akan untuk kebahagiaan mu..
Dari ku..
Cinta mu di ujung bumi .....
cerita romantis di atas adalah sebuah cerita yang diambil dari kisah perjalanan yang nyata. Begitu romantis dan menyentuh hati...untuk se sengkap nya klik di sini
 
CERITA ROMANTIS SURAT UNTUK RICHA

saco-indonesia.com,

Cara Merawat Printer

Cara merawat printer yang kurang baik sering dapat menimbulkan permasalahan ketika printer digunakan. Bagaimanapun juga, merawat printer juga harus dilakukan tidak hanya bagian luarnya saja namun juga harus memahami cara merawat komponen-komponen di dalamnya, seperti di bawah ini :

    Perhatikan penggunaan printer. Gunakan printer secara berkala, jangan sampai tidak digunakan dalam kurun waktu yang lama. Head pada cartridge juga harus senantiasa biasa basah, namun jika lama tidak digunakan akan dapat membuatnya kering dan akhirnya dapat menyumbat proses print.
    Fitur pembersihan head printer yang biasanya secara langsung bisa digunakan ini, dilakukan secara berkala untuk dapat memudahkan tinta keluar dengan lancar.
    Cara merawat printer selanjutnya dengan cara menjaga perangkat agar tetap bersih, agar tidak ada debu yang bersarang yang dapat menyebabkan tinta macet.
    Ikuti dengan benar cara pemakaian printer, seperti mematikan laptop yang harus dilakuka dengan memencet tombol power terlebih dahulu. Jangan mencabut kabel langsung tanpa mematikannya.
    Gunakan kertas yang sesuai dengan printer untuk cara merawat printer tetap awet digunakan. Pastikan kertas tidak lusuh atau terlipat saat digunakan.
    Jika dengan menggunakan tinta refill, gunakan tinta isi ulang yang telah direkomendasikan. Isi ulang cartridge memang lebih hemat dari pada membelinya lagi namun, perhatikan isi ulang tinta yang direkomendasikan.
    Isi ulang cartridge secepatnya setelah tinta, dalam keadaan kosong. Ingat, head cartridge juga sangat rentan rusak jika kering terlalu lama.

Editor : Dian Sukmawati

CARA MERAWAT MESIN PRINTER

BANDUNG, Saco-Indonesia.com - Sementara sebagian penduduk Jakarta mengutuk musibah banjir yang terjadi hampir setiap datangnya hujan besar, penduduk di wilayah lain justeru menghadapi bahaya kekeringan. Hal ini terungkap dalam penyampaian makalah di Sidang Kolokium Puslitbang Sumber Daya Air Kementerian Pekerjaan Umum, Rabu (15/5/2013).

Perubahan intensitas kekeringan tersebut menimbulkan kerentanan terhadap sektor pertanian, terutama padi dan palawija.
-- Wanny M Putuhena

Subjek mengenai kekeringan ini disampaikan oleh Wanny K. Adidarma berdasakan makalah berjudul "Perubahan Ciri Kekeringan Pertanian di Pulau Jawa". Makalah tersebut merupakan karyanya bersama William M. Putuhena.

Wanny mengatakan, karakteristik musibah kekeringan jauh berbeda dengan musibah banjir. Musibah banjir dapat diantisipasi dengan tindakan-tindakan spontan, sementara kekeringan dapat datang perlahan-lahan tanpa mampu diantisipasi.

Inilah jenis bencana yang seringkali mengalami overlapping dengan pemberitaan bencana banjir. Padahal, keduanya merupakan musibah berbahaya.

"Dampak dari perubahan iklim terhadap kekeringan sudah mulai terasa di beberapa wilayah di Indonesia. Perubahan intensitas kekeringan tersebut menimbulkan kerentanan terhadap sektor pertanian, terutama padi dan palawija," ujar Wanny.

Untuk membuktikan hal tersebut, Wanny melakukan penelitian di lima lokasi. Kelimanya yaitu, wilayah Cidanau Cilisung Ciliman, wilayah Cirebon, Pemali Comal beserta Daerah Aliran Sungai (DAS) Pemali dan DAS Comal, DAS Solo Hulu, dan wilayah Kedu. Kajian dilakukan oleh Wanny dan William itu menyiratkan bahwa jenis kekeringan pertanian mempunyai hubungan dengan dampaknya.

Kekeringan pertanian digambarkan oleh intensitas kekeringan yang pada umumnya kurang dari 220mm/bulan dan durasi kekeringan kurang dari sembilan bulan. Selama dua hingga tiga dasawarsa terakhir, intensitas kekeringan mengalami perubahan jika dibandingkan dengan durasi kekeringan terutama bagi tanaman padi. Kekeringan untuk padi yang terjadi pada tahun-tahun kering sifatnya lebih merata secara ruang dibandingkan kekeringan untuk palawija.

"Kekeringan pertanian terjadi karena kurangnya hujan bulanan, padahal kebutuhan air lebih banyak," kata Wanny.

Perubahan ciri kekeringan pertanian terjadi dalam bentuk pergeseran tingkat keparahan, makin besar periode ulang, artinya semakin parah. Sementara itu, setiap wilayah juga memiliki perubahan berbeda, namun secara garis besar tingkat kekeringan semakin parah. Lewat penelitian dan pemantauan yang dilakukan oleh Wanny dan William, tampak tren terjadinya kekeringan di wilayah-wilayah sampel tersebut.

"Kalau kita tahu dengan pasti intensitasnya berapa, kita bisa tahu kapan kekeringan dapat terjadi," ujarnya.

 
Editor :Liwon Maulana(galipat)
sumber:Kompas.com
Waspadai Bahaya Kekeringan

The 6-foot-10 Phillips played alongside the 6-11 Rick Robey on the Wildcats team that won the 1978 N.C.A.A. men’s basketball title.

Mike Phillips, Half of Kentucky’s ‘Twin Towers’ of Basketball, Dies at 59

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
Photo
 
Many bodies prepared for cremation last week in Kathmandu were of young men from Gongabu, a common stopover for Nepali migrant workers headed overseas. Credit Daniel Berehulak for The New York Times

KATHMANDU, Nepal — When the dense pillar of smoke from cremations by the Bagmati River was thinning late last week, the bodies were all coming from Gongabu, a common stopover for Nepali migrant workers headed overseas, and they were all of young men.

Hindu custom dictates that funeral pyres should be lighted by the oldest son of the deceased, but these men were too young to have sons, so they were burned by their brothers or fathers. Sukla Lal, a maize farmer, made a 14-hour journey by bus to retrieve the body of his 19-year-old son, who had been on his way to the Persian Gulf to work as a laborer.

“He wanted to live in the countryside, but he was compelled to leave by poverty,” Mr. Lal said, gazing ahead steadily as his son’s remains smoldered. “He told me, ‘You can live on your land, and I will come up with money, and we will have a happy family.’ ”

Weeks will pass before the authorities can give a complete accounting of who died in the April 25 earthquake, but it is already clear that Nepal cannot afford the losses. The countryside was largely stripped of its healthy young men even before the quake, as they migrated in great waves — 1,500 a day by some estimates — to work as laborers in India, Malaysia or one of the gulf nations, leaving many small communities populated only by elderly parents, women and children. Economists say that at some times of the year, one-quarter of Nepal’s population is working outside the country.

Nepal’s Young Men, Lost to Migration, Then a Quake

At the National Institutes of Health, Dr. Suzman’s signature accomplishment was the central role he played in creating a global network of surveys on aging.

Richard Suzman, 72, Dies; Researcher Influenced Global Surveys on Aging

Gagne wrestled professionally from the late 1940s until the 1980s and was a transitional figure between the early 20th century barnstormers and the steroidal sideshows of today

Verne Gagne, Wrestler Who Grappled Through Two Eras, Dies at 89
Frontline  An installment of this PBS program looks at the effects of Ebola on Liberia and other countries, as well as the origins of the outbreak.
Frontline

Frontline An installment of this PBS program looks at the effects of Ebola on Liberia and other countries, as well as the origins of the outbreak.

The program traces the outbreak to its origin, thought to be a tree full of bats in Guinea.

Review: ‘9-Man’ Is More Than a Game for Chinese-Americans

A variation of volleyball with nine men on each side is profiled Tuesday night on the World Channel in an absorbing documentary called “9-Man.”

Television

‘Hard Earned’ Documents the Plight of the Working Poor

“Hard Earned,” an Al Jazeera America series, follows five working-class families scrambling to stay ahead on limited incomes.

Review: ‘Frontline’ Looks at Missteps During the Ebola Outbreak

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?”

Photo
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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