The myth of California right? You are who you say you are.

myths are not necessarily untrue they're usually 00:03:33 partly true the danger lies in the part that isn't true and um so it it's partly true we have

Historical mythmaking is made possible only by forgetting.

Which is exactly what you do in the book. And what did you find? - So what I do, I take apart the operating system of capitalism, which is, and I look at seven myths, really that drive it.

One dominant way that people think about poverty, both in scholarship and in publicdiscourse, is to focus on demographic characteristics. This explanation assumes thatthere is something wrong with poor people’s individual characteristics: that they aremore likely to be single parents, they are not working enough, they are too young, orthey are not well-educated. So, the way to attack poverty, from this perspective, wouldbe to reduce single-parenthood or reduce the number of people with low education. Thisexplanation concentrates on the individual characteristics of the poor people themselvesand how they are different from nonpoor people.The problem with this explanation is that it does not adequately explain thebig differences in poverty between countries. For example, think about the big fourindividual risks of poverty—single parenthood, becoming a head of household at anearly age, low- education, and unemployment. These are indisputably the four bigcharacteristics that predict your risk of poverty. If the demographic explanation iscorrect, then the United States should have very high levels of single-parenthood, youngheadship, low educational attainment, and unemployment. That would explain why wehave high poverty: We have a large number of people with those four characteristics.The reality, however, is that the United States is actually below average in these areascompared with other rich democracies.

One of the most enduring poverty myths across the political and ideologicalspectrum is that if we were able to provide individuals with enough educationand skills, poverty could be eliminated.

A final point regarding the myth of hard work and poverty is that this mythis particularly powerful because it implies a sense of justice and fairness. Thosewho do well in life through their hard work are seen as deserving, and thosewho do not do well in life through their lack of hard work are also seen as de-serving of their fate.14 There is something comforting about the idea that peopleget their just rewards. Unfortunately, neither the world nor poverty is fair. AsMichael Harrington wrote in his 1963 book, The Other America:The real explanation of why the poor are where they are is that they madethe mistake of being born to the wrong parents, in the wrong section of thecountry, in the wrong industry, or in the wrong racial or ethnic group. Oncethat mistake has been made, they could have been paragons of will and mo-rality, but most of them would never even have had a chance to get out ofthe other America.15

“Don’t buy into your myth.”

sociologist Elijah Anderson’s memorable phrase, the “iconicghetto.”

The underlying theme tyingthese myths together is that poverty is often perceived to be an issue of“them” rather than an issue of “us”—that those who experience povertyare viewed as strangers to mainstream America, falling outside accept-able behavior, and as such, are to be scorned and stigmatized.

'I don't think it's anything—I mean, I don't think it was ever put to anyuse. That's what I like about it. It's a little chunk of history that they'veforgotten to alter. It's a message from a hundred years ago, if one knew howto read it.'

The myth of the writer sitting down before a completely blankpage, or the artist at a completely blank canvas, is just that—a myth.

For all its flaws and virtues, yellow journalism exerted a powerful influence in American journalism at the turn of the twentieth century. Yellow journalism was much decried but its salient features often were emulated. The genre was appealing and distinctive in its typography, in its lavish use of illustrations, in its aggressive newsgathering techniques.

The Epic Of Gilgamesh 16 4 THE SEARCH FOR EVERLASTING LIFE BITTERLY Gilgamesh wept for his friend Enkidu; he wandered over the wilderness as a hunter, he roamed over the plains; in his bitterness he cried, ‘How can I rest, how can I be at peace? Despair is in my heart. What my brother is now, that shall I be when I am dead. Because I am afraid of death I will go as best I can to find Utnapishtim whom they call the Faraway, for he has entered the assembly of the gods.' So Gilgamesh travelled over the wilderness, he wandered over the grasslands, a long journey, in search of Utnapishtim, whom the gods took after the deluge; and they set him to live in the land of Dilmun, in the garden of the sun; and to him alone of men they gave everlasting life. At night when he came to the mountain passes Gilgamesh prayed: ‘In these mountain passes long ago I saw lions, I was afraid and I lifted my eyes to the moon; I prayed and my prayers went up to the gods, so now, O moon god Sin, protect me.' When he had prayed he lay down to sleep, until he was woken from out of a dream. He saw the lions round him glorying in life; then he took his axe in his hand, he drew his sword from his belt, and he fell upon them like an arrow from the string, and struck and destroyed and scattered them. So at length Gilgamesh came to Mashu, the great mountains about which he had heard many things, which guard the rising and the setting sun. Its twin peaks are as high as the wall of heaven and its paps reach down to the underworld. At its gate the Scorpions stand guard, half man and half dragon; their glory is terrifying, their stare strikes death into men, their shimmering halo sweeps the mountains that guard the rising sun. When Gilgamesh saw them he shielded his eyes for the length of a moment only; then he took courage and approached. When they saw him so undismayed the Man-Scorpion called to his mate, ‘This one who comes to us now is flesh of the gods.' The mate of the Man-Scorpion answered, ‘Two thirds is god but one third is man.' Then he called to the man Gilgamesh, he called to the child of the gods: ‘ Why have you come so great a journey; for what have you travelled so far, crossing the dangerous waters; tell me the reason for your coming?' Gilgamesh answered, ‘For Enkidu; I loved him dearly, together we endured all kinds of hardships; on his account I have come, for the common lot of man has taken him. I have wept for him day and night, I would not give up his body for burial, I thought my friend would come back because of my weeping. Since he went, my life is nothing; that is why I have travelled here in search of Utnapishtim my father; for men say he has entered the assembly of the gods, and has found everlasting life: I have a desire to question him, concerning the living and the dead.' The Man-Scorpion opened his mouth and said, speaking to Gilgamesh, ‘No man born of woman has done what you have asked, no mortal man has gone into the mountain; the length of it is twelve leagues of darkness; in it there is no light, but the heart is oppressed with darkness. From the rising of the sun to the setting of the sun there is no light.' Gilgamesh said, ‘Although I should go in sorrow and in pain, with sighing and with weeping, still I must go. Open the gate ' of the mountain:' And the Man-Scorpion said, ‘Go, Gilgamesh, I permit you to pass through the mountain of Mashu and through the high ranges; may your feet carry you safely home. The gate of the mountain is open.' When Gilgamesh heard this he did as the Man-Scorpion had said, he followed the sun's road to his rising, through the mountain. When he had gone one league the darkness became thick around him, for there was no light, he could see nothing ahead and nothing behind him. After two leagues the darkness was thick and there was no light, he could see nothing ahead and nothing behind him. After three leagues the darkness was thick, and there was no w light, he could see nothing ahead and nothing behind him. After four leagues the darkness was thick and there was no light, he could see nothing ahead and nothing behind him. At the end of five leagues the darkness was thick and there was no light, he could see nothing ahead and nothing behind him. At the end of six leagues the darkness was thick and there was no light, he could see nothing ahead and nothing behind him. When he had gone seven leagues the darkness was thick and there was no light, he could see nothing ahead and nothing behind him.

Big tech can patiently sit through some zingers about their business model, as long as the person delivering those one-liners comes around to repeating big tech’s latest Sinophobic talking point while repeating the “they meant well” myth.

a significant number of them retire.

But as historians have shown, trains actually did not run on time in Mussolini's Italy.

Teachers often avoid discussion of myths and folktales after the freshman year because they can envision no way of incorporating the material into their present units

My ninth-grade unit on mythology requires stu- dents to learn and tell stories to the class. As part of the unit students rehearse skills in outlining and notetaking as well as develop dramatic skills

Because few un- dergraduate degrees require instruction in my- thology and its related fields, most teachers ac- quire a BA without coming near them. Conse- quently, few high-school curricula require myth instruction because (in a tautological stance) few colleges require undergraduate coursework in i

An effective ap- proach to mythology should illustrate the connec- tion among international myths, folktales, and leg- ends that continue to be told in current literature and media, including films, songs, television, and cultural icons.

Discussion and review of the categories always brings up modern parallels so that students al- ready begin to see how heroes, quests, and other archetypes are a part of their contemporary world.

This would consist of two phases: (1) an introductory unit on the ninth- or tenth-grade level illustrating promi- nent archetypes or themes through stories drawn from around the world; and (2) reacquaintance with these archetypes/themes on later levels by showing their appearance in varied works of liter- ature

By noting how the trickster behavior of Odysseus in his confrontation with Polyphemus is echoed in Chaucer's "Miller's Tale," Shake- speare's fools, and R. P. McMurphy,

more aware of cultures that have often been better educated about us than we have about them. Knowledge of other people's cultural bases increases both respect for others and an apprecia- tion of our own place in the world

An effective ap- proach to mythology should illustrate the connec- tion among international myths, folktales, and leg- ends that continue to be told in current literature and media, including films, songs, television, and cultural icons.

By failing to acquaint our students with these cultural building blocks, we fail to illustrate fully their heritage and their connection with cultures out- side their own. And by making them aware that myths and folktales embody more than a handful of tales about Greek gods and heroes, that they touch a core that reaches back to the roots of our evolution,

Teachers often avoid discussion of myths and folktales after the freshman year because they can envision no way of incorporating the material into their present units

, I model the unit by provid- ing the class with outlines of the story of Oedipus, which I then relate. Following the presentation, I provide a copy of the story, showing how I reduced the tale to its key points to develop both an outline and a sketch I could work with in pre- paring the recitation. I then ascertain what infor- mation the students gleaned from the telling, lead- ing into a discussion on notetaking.

more aware of cultures that have often been better educated about us than we have about them. Knowledge of other people's cultural bases increases both respect for others and an apprecia- tion of our own place in the world

mythmaking is very much alive, a multicultural expression of universal symbols and beliefs. An effective ap- proach to mythology should illustrate the connec- tion among international myths, folktales, and leg- ends that continue to be told in current literature and media, including films, songs, television, and cultural icons.