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This article provides a list of books and films that may have been overlooked by mainstream audiences. The books cover a range of topics, including the experiences of Kurds in Iran, the impact of illegal abortion, and the influence of asset manager speculators on society. The films include stories about hiding Jews during the Nazi occupation, the lives of workaday characters in Portland, and a young Jewish art student helping others escape Germany. These works offer diverse perspectives and shed light on important social issues. [Extracted from the article]

This essay argues that, when considered together, Ní Dhuibhne's 2018 memoir, Twelve Thousand Days and her 2020 story collection Little Red and Other Stories offer a fascinating variation on the differing expectations around genre. They also demonstrate her unique and rewarding ability to work against such expectations to good effect. Memoir is often considered confessional and therefore there is an (unspoken) convention that the writer is somehow bound to adhere to guiding principles of truthfulness and veracity. A memoir can never stray into the realms of the imagined, or so it is assumed – but in reality, it often does. Fiction, on the other hand, holds no such limitations for the writer. [ABSTRACT FROM AUTHOR]

This submission is a piece of creative nonfiction that is partly memoir and partly a story about war memories in the context of the ongoing war in Ukraine. [ABSTRACT FROM AUTHOR]

"Jungle Heart of the Khmer Rouge: The Memoirs of Phi Phuon, Pol Pot's Aide-de-Camp, and the Role of Ratanakiri and Its Tribal Minorities on the Cambodian Revolution" is a book that tells the story of Phi Phuon, a member of the Jarai upland ethnic minority who joined Cambodia's communist revolution in the 1960s and served as a bodyguard and aide to the Khmer Rouge leaders. The book also includes a contextual analysis by Henri Locard, which proposes that the highland minorities played a significant role in the creation of the Khmer Rouge regime. The book provides insights into the Khmer Rouge era and the highland cultures of Cambodia. However, readers should approach Phi Phuon's narrative with caution, as he was a willing participant in the atrocities committed by the Khmer Rouge. Locard's revisionist history of the regime also has its limitations, as he has a compromised relationship with his subject and makes errors in his analysis. Overall, the book offers an interesting perspective on the Khmer Rouge, but readers should be aware of its complexities and limitations. [Extracted from the article]

This article builds upon African American literary theorist Margo Perkins's conception of political autobiography from her award-winning book Autobiography as Activism: Three Black Women of the Sixties , and the work of critical prison studies scholars Angela Y. Davis and Dylan Rodríguez. It reads Susan Burton's 2017 narrative, Becoming Ms. Burton: From Prison to Recovery to Leading the Fight for Incarcerated Women , as reflecting an untheorized subgenre of African American confinement literature: the post-Black Power neo-abolitionist memoir. In the memoir, Burton alludes to slavery and anti-slavery activism to contextualize historically the post-Black Power-era prison-industrial complex and galvanize opposition to it. [ABSTRACT FROM AUTHOR]

"Good Morning, Mr. Mandela: A Memoir" by Zelda La Grange is a well-reviewed biography that tells the story of La Grange's life while serving as the private secretary to Nelson Mandela, the renowned anti-apartheid leader and former president of South Africa. The memoir highlights the author's personal growth and Mandela's ability to inspire and transform those around him. La Grange reflects on her preconceived notions and the racial discrimination ingrained in South African culture, and how her interactions with Mandela challenged and changed her perspective. The book also explores Mandela's international travels and diplomatic initiatives. While the memoir has some shortcomings, it offers valuable insights into Mandela's life and the impact he had on those around him. [Extracted from the article]

German Blood, Slavic Soil: How Nazi Königsberg Became Soviet Kaliningrad by Nicole Eaton is a book that explores the transformation of the German city of Königsberg into Soviet Kaliningrad after World War II. The book examines the history of Königsberg, the rise of the Nazi party, the German occupation of Eastern Europe, and the experiences of the Red Army soldiers during the invasion of Germany. It also focuses on the treatment of the German population by the Soviet authorities, including high mortality rates, disease outbreaks, and food shortages. The book highlights the complexities of guilt and responsibility in the aftermath of violence. [Extracted from the article]

Kristen Radtke's graphic memoir Imagine Wanting Only This (2017) visually chronicles the author's journeys through post-apocalyptic sites including abandoned cities, derelict landscapes, and architectural ruins in order to process the grief over the loss of her uncle and to confront her recurrent thoughts on mortality. Diagnosed with a fatal heart condition that catapults her into reflections on the transience of human existence, Radtke seeks answers by engaging in a series of dark tours to find physical manifestations of her inner turmoil amidst deserted cities and modern ruins. This essay examines how Radtke treads complex subjects of loss, angst, and death through nuanced visual storytelling while associating her vulnerable body with the dilapidated structures she explores. It further investigates how ruins as transitional spaces that simultaneously evoke recollections of a catastrophic past as well as the hope of human endurance offer avenues of self-reflection for the grieving protagonist, aiding her to successfully navigate her grief and overcome her anxieties. [ABSTRACT FROM AUTHOR]

The paper deals with the sudden experience of an unfamiliar feeling due to the blurring of the boundaries between the private and the public space, resulting in what Bhabha calls 'unhomely.' It has been further argued that this sudden emergence of unfamiliar experiences acts as a traumatic event, represented through graphic narration in Malik Sajad's Munnu: A Boy from Kashmir. The sense of 'unhomeliness' caused due to various factors like constant surveillance is responsible for the traumatic feeling in Munnu. The paper also explores the idea of the panopticon, which engenders the blurring of the boundaries between the home and the world. The blurred boundaries make our private space strange and unfamiliar, which is supposed to be an intimate place without any invasion by the external world. Therefore, the present study explores the notion of 'unhomely' and the trauma caused by it, as represented in the graphic narration of the events through dreams and nightmares. [ABSTRACT FROM AUTHOR]

In this interview, Teresa Wong discusses her artistic practice and creative process with particular reference to her graphic narrative Dear Scarlet: The Story of My Postpartum Depression. This interview aims to create a dialogue by exploring the facets of creation and consumption of Dear Scarlet: The Story of My Postpartum Depression. She talks about the process of turning her life experience into a story, her choice of the medium, the art of visual storytelling, visual strategies employed, artistic influences, the magic of combining words and images, the significance of graphic works by women of colour and her ongoing projects among others. The interview is divided into three sections: in the first section, entitled Before the text: Genesis, the author responds to questions related to the author's artistic vision and the creation of Dear Scarlet: The Story of My Postpartum Depression; in the second section entitled The text: form and theme, the author responds to questions pertaining to the formal aspects and themes of the graphic novel and in the concluding section of the interview titled After the text: reception and pedagogy the author responds to inquiries about the social and pedagogical impacts of her work. [ABSTRACT FROM AUTHOR]

A. K. Summers' graphic memoir Pregnant Butch: Nine Long Months Spent in Drag (2014) visually enunciates the author's lived experience as a pregnant butch in a cis-normative culture. In this interview, Summers elaborates on her intention behind creating the memoir as bestowing visibility and intelligibility to the reproductive experiences of the LGBTQ+ community. The conversation also addresses the memoirist's insecurities and fears as a queer parent raising a child in a homophobic cultural setting, also pointing out how being a 'child's mother' accords cultural legitimacy to her non-normative queer family. Identifying comics as a potent medium to represent one's inner realities, Summers emphasises the wider scope of the visual-verbal canvass in representing lived and tabooed experiences unswervingly when compared to mere verbal expressions. Furthermore, the conversation highlights Summers' observations on the homophobic attitudes that mediate medical attitudes towards queer motherhood and the significance of queer autobiographical comics in destigmatizing the often complex and diverse LGBTQ+ experiences. [ABSTRACT FROM AUTHOR]

In this study, the author analyzes the content of two old constitutional reform drafts elaborated in the context of public debates on the topic of elaborating a new Basic Law after the completion of the state unity of the Romanian Kingdom. The first of the drafts was elaborated - as a theoretical work - in 1919 by professor Iuliu Pascu from the University of Cernăuți, and the second, by the politician Constantin Argetoianu. The first draft has remained practically unknown to the constitutional doctrine. The second one was written by its author in the form of a report and presented on 20 December 1922 during the People's Party congress, held in Sibiu between 20-21 December 1922. Subsequently, Constantin Argetoianu published it in a booklet in 1922, practically not included either in the memory of the specialized doctrine. The report presented by Constantin Argetoianu at the congress in Sibiu is, however, included in the memoirs of the venerable politician and can be consulted in his memoir paper published after 1990 in several editions. The two drafts are atypical, in the sense that they were not edited in an ordinary legislative form, but as doctrinal papers, in which the authors presented and supported with arguments their opinions regarding some principles and provisions of constitutional rank, which they considered at that time appropriate legislative solutions for a wide-spread constitutional reform of the Romanian State. [ABSTRACT FROM AUTHOR]

In January 2020, Vanessa Springora published Consent, an unusual memoir that discloses the elaborated version of a personal story. Springora was 14 years old when she met the 50-year-old Gabriel Matzneff, a well-known French writer. Thirty years later, she decided to take back the agency that she claims was taken from her, with the artilleries of literature. While closely following Springora's narrative, the paper focuses on the emergence of a new "memoir genre", which besides presenting a platform for personal redemption, instigated an important shift within the French public opinion regarding the nature of consent, and ignited significant legal reform in this regard. As will be elaborated, Consent and other works in similar spirit appositely demonstrate the power of law to stimulate certain narrative patterns, and the power of stories to influence cultural atmosphere which leads to legal changes. [ABSTRACT FROM AUTHOR]

Contemporary life-writing, especially of an experimental disposition, increasingly demonstrates its wariness of narrative as an organising principle of auto/biography and favours structures that resemble an archive – a repository of autobiographical content, disconnected, fragmentary, and arbitrarily arranged. Over the last two decades, we can observe a rise in the popularity of self-archives adopting alphabetical structures such as the bibliography, the encyclopaedia, the glossary, and the index. Of all the alphabetical arrangements of the archive, the index appears the least likely form to be used in life-writing because of the rigidity of its structure and its aura of formality and academic detachment. However, as this article demonstrates, the index can be successfully used in life-writing as a method of processing and investigating one's past. The article begins with a theoretical discussion of the index – its historical and cultural significance, as well as its politics and poetics. It proceeds to analyse two notable uses of the index for autobiographical purposes: Alejandro Cesarco's long-term artistic project titled Index (2000–2015) and Joan Wickersham's memoir The Suicide Index: Putting My Father's Death in Order (2008), a National Book Award's finalist for non-fiction. The article shows that whereas Cesarco employs the index primarily to catalogue and examine his intellectual and artistic influences, Wickersham uses it as a structural foundation for her personal search to comprehend and mourn the suicide of her father. [ABSTRACT FROM AUTHOR]

The standard image of First World War soldiers is of men in open trenches: waiting to attack or be attacked; walking, sitting, sleeping, dead. Ford's Parade's End includes such scenes. But it is a different kind of image which predominates in his war writings and often produces its most memorable passages: images of houses or house-like shelters. The mind seeks protection in such structures; but they offer little security against the destructiveness outside, against the bombardments, gas, shrapnel, bullets. Ford wrote that the experience of war revealed: 'men's dwellings were thin shells that could be crushed as walnuts are crushed. ... all things that lived and moved and had volition and life might at any moment be resolved into a scarlet viscosity seeping into the earth of torn fields [...]'. This realisation works in two ways. The soldier's sense of vulnerability provokes fantasies of home, solidity, sanctuary, while for the returnee soldier, domestic architecture summons war-visions of its own annihilation: 'it had been revealed to you', adds Ford, 'that beneath Ordered Life itself was stretched, the merest film with, beneath it, the abysses of Chaos'. It is now customary to read war literature through trauma theory. Building on analyses of Ford's use of repression, but drawing instead on object relations theory, I argue that Ford's houses of war are not screen memories but images of the failure of repression to screen off devastating experiences. The abysses of Chaos can be seen through the screen or projected upon it. Attending to Ford's handling of this theme enables a new reading of his war writing and a new case for its coherence. The essay will connect the opening of No More Parades (in a hut, during a bombardment) with the war poem 'The Old Houses of Flanders'; the postwar poem A House; the memoir It Was the Nightingale (quoted above); and the otherwise puzzling, fictionalised memoir No Enemy, structured in terms of 'Four Landscapes' and 'Certain Interiors'. [ABSTRACT FROM AUTHOR]

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The book review discusses Alejandro Herrero-Olaizola's book, "Commodifying Violence in Literature and on Screen: The Colombian Condition," which explores the commodification of violence in Colombian literature and film. The author argues that the portrayal of Colombian violence in cultural products is a practice that exploits the representation of Colombia as a dark and destructive state. The book examines case studies, such as the cultural commodification of Pablo Escobar's story and the portrayal of Ingrid Betancourt's capture and liberation, to illustrate how violence is marketed for global consumption. It also analyzes the role of travel writing and tactile imagery in the reconciliation process. The review acknowledges the book's valuable insights into the cultural processes perpetuating violence in Colombian society, making it useful for researchers in literature, cultural studies, criminology, film, and media studies. [Extracted from the article]

Simone de Beauvoir's influence, particularly through her Second Sex and Memoirs of a Dutiful Daughter, has been personally and intellectually decisive for Annie Ernaux who just like Beauvoir turned from a both dutiful and disturbed girl into a disturbing author as evidenced by her narrative A Girl's Story. This article precisely aims at studying how the 'disturbed' and 'disturbing' paradigms open the way to a reassessment of A Girl's Story in light of Beauvoir's Second Sex and Memoirs of a Dutiful Daughter, and bring so to the fore the organic bond connecting Ernaux to Beauvoir. [ABSTRACT FROM AUTHOR]

"Asylum: A Memoir & Manifesto" by E. Okporo is a powerful memoir that explores the author's experiences as a gay Nigerian refugee seeking asylum in the US. The memoir sheds light on the challenges faced by LGBTQ+ individuals in countries where homosexuality is criminalized and the dangers they encounter even after seeking refuge. It also delves into the difficulties of the asylum process, racial trauma, and the impact of family separation. The book calls for a more humane and sensitive approach to asylum procedures and emphasizes the importance of research and advocacy in supporting refugees. [Extracted from the article]

"Three Worlds: Memoirs of an Arab-Jew" by Avi Shlaim is a hybrid genre book that combines political-social history, family history, and personal memoir. Shlaim, an Arab-Jew, explores the experiences of his family and other Arab-Jews who were uprooted from their homes in the Arab world due to rising violence and anti-Semitism after the establishment of Israel in 1948. He argues that Zionism, while seeking to establish a Jewish majority in Palestine, also displaced long-standing Jewish communities across the Arab world, making them second-class citizens in Israel. The book also delves into the relationship between refugees and the state, particularly in the case of Israel, and raises questions about the blurred line between migrants and refugees. Shlaim's research also uncovers evidence of Israeli-Zionist involvement in bomb attacks on Baghdad's Jewish community, adding a dark twist to the narrative of Israel as a savior of Middle Eastern Jews. Overall, "Three Worlds" provides valuable insights into the history of Arab-Jews and the complexities of displacement and identity politics in the Middle East. [Extracted from the article]

This article focuses on the death of Suphi Kaner by suicide in 1963, an incident that overlaps with the rapid growth of the domestic film industry in Turkey. Kaner's tragic death is discussed in popular literature solely in relation to his alcohol addiction, his possible depression, and his inability to cope with sudden stardom, leaving almost unmentioned the key role of the boycott call of the Producers Association against him. In 1963, the power struggle between the producers and the star actors was very visible. Within the framework of this power struggle, producers made a boycott statement about Kaner, for allegedly interrupting the shooting of a film. I approach the chain of events that concluded with Kaner's suicide as an early example of labour disputes in Turkish cinema. This case demonstrates that the scope of labour disputes in film industries encompasses even star actors who are often considered as a privileged class. I argue that Kaner's suicide could have been avoided by fairer employment conditions, and if the Producers Association had not called for the boycott. To examine the case, I make use of a variety of historical texts including memoirs, auto-biographies, news pieces, interviews, and commentaries. [ABSTRACT FROM AUTHOR]

In this personal memoir of my lifelong collaborator and friend, Herb Gintis, I reflect on his "A Radical Analysis of Welfare Economics and Individual Development." Published in the Quarterly Journal of Economics in 1972, the article advances a novel Marx-inspired interpretation of the societal origins of preferences, one that profoundly influenced the ideas of a group of like-minded young economists at Harvard at the time, economics more broadly, and Herb and my subsequent joint work. JEL Classification: B14, B21, D01 [ABSTRACT FROM AUTHOR]

In 'Skip the Corsets' I ask how female former operatives writing about their work at CIA have responded to the post-9/11 era in both memoirs and fiction. I analyse texts that offer a vision of the post-9/11 world order as one in which the qualities of a good intelligence specialist may include empathy and maternal instinct. As the Agency has come under criticism for torture, illegal extraditions, and drone attacks, I look at how depictions of women intelligence specialists created by women writers have negotiated with that criticism, and also suggested other ways of envisioning the role of American intelligence. [ABSTRACT FROM AUTHOR]

The Soviet Committee for State Security (KGB) suffered a shocking setback when the head of its deep cover (illegal) agent networks in the United States Rudolf Abel, whose real name was William (Willy) Fisher, was arrested in Brooklyn in 1957. After Fisher was swapped for the downed CIA U-2 pilot Francis Gary Powers and an American PhD student Frederic Pryor in 1962, the KGB attempted to turn the setback into a public relations victory by constructing the myth of an ideal Soviet intelligence officer. However, the myth required that Fisher continue his public life under the assumed identity of Rudolf Abel until his death and beyond. Drawing on KGB archival documents, memoirs of former KGB officers, Fisher's published personal letters, and Russian language journalistic accounts, this article chronicles and analyses both the KGB activities to make Fisher into the mythic Abel and the former officer's seemingly hopeless but remarkably persistent struggle to preserve his personal identity and integrity. A struggle that culminated in a little-known spy fiction novella which, using allusions and metaphors, articulated his critique of the KGB. [ABSTRACT FROM AUTHOR]

During the inter-war period, there appeared numerous spy memoirs, offering surprising insights into the recently fought secret war. These had a noticeable impact on the writing of spy stories, which under the influence of new detail and knowledge tended to become more realistic. The following article examines the influence of spy memoirs on spy fiction in the period, revealing that both critics and the reading public were now forced to disentangle fact from fakery and trying to pinpoint where truth bled into fiction. Attention is given to the three 'spy memoirs' of Bernard Newman, Spy (1935), Secret Servant (1935) and German Spy (1936). These unjustly forgotten works of fiction disguised as fact generated some confusion and debate at the time and served to draw attention to issues of authenticity when treating 'writers in intelligence'. [ABSTRACT FROM AUTHOR]

Toni Morrison, a renowned author, has made a significant impact on the literary world with her powerful and insightful prose. She has written numerous novels, children's books, plays, and non-fiction texts that have been translated into fifteen languages. Morrison has received prestigious awards such as the National Book Award, the Pulitzer Prize, and the Nobel Prize for Literature. Despite her acclaim, her works often face censorship and book bans, particularly in schools, due to their exploration of race, racism, and LGBTQ+ characters. Morrison's legacy extends beyond her writing, as she worked as an editor and actively promoted Black writers during her time at Random House. She also collaborated on The Black Book, an influential project that showcased the Black American experience through a collection of historical artifacts. Morrison's writing challenges readers to engage deeply and think critically, and her commitment to celebrating Black culture has left a lasting impact. [Extracted from the article]

The Baltic experience of World War II is underrepresented in European and global collective memory. Therefore, selected memoirs of Estonian and Latvian Waffen-SS Legionnaires, previously not studied in depth, are analyzed. Theories of attribution and nodal points are applied to determine how national narratives are constructed and their relation to collective memory. Overall, the authors produce similar narratives that justify military collaboration with the Nazis as having been in the national interest. This supports the argument that the collective memory of contemporary Estonia and Latvia is based upon a revision of established narratives of World War II and the Holocaust. [ABSTRACT FROM AUTHOR]

This article examines the work of the NDN Collective, Cara Romero, and Mercedes Dorame in Los Angeles, focusing on the concept of caring for landscapes of justice in settler environments. The authors argue that simply mapping the history of a landscape is insufficient, as history is intertwined with power dynamics. The artists' cartographic practices exemplify communities of care and challenge settler space. The article also discusses the dispossession of California Indians and the ongoing violence perpetuated through mapping and property regimes. Romero's large-scale project explores the erasure of Tongva bodies, tribal practices, and landscapes, as well as the impact of mass consumerism. Her billboards disrupt viewers' awareness and challenge settler colonialism by featuring Tongva women in traditional regalia, reclaiming sacred spaces, and critiquing the destruction caused by colonization. Dorame's installation in downtown Los Angeles addresses ancestral loss and the ongoing struggle for Indigenous belonging, inviting viewers to reflect on their place in the landscape. These artworks aim to foster a sense of care and connection to the land while challenging destructive practices. [Extracted from the article]

This introduction presents the frame and contents of this volume devoted to the translation memoir. The translation memoir is formed at the intersection of life writing and translation studies, in which translators interweave reflections on their practice, craft, texts they translate and positionalities they occupy. As such it is a kind of creative-critical research carried out by translators. It offers a unique entry into texts, languages, cultures and the work of translation. The contributions included in the volume explore the way in which the subject position of writing can be displaced and problematised by inserting the translator's voice and subjectivity into a text, as the translator is precisely the player within a textual ecology who is supposed to not occupy a central position, but reside on the margins, invisible or couched in shadows, speaking only through the voice of another. The writings discussed in this volume, and in some cases the writings themselves, are thus a form of translational experimentation insofar as they break some of the rules, or push the limits of translation as precisely that which is not traditionally considered an original, authored writing. As such it is also a location from which to carry out critiques of other dominant paradigms such as national or gender-based oppressions. [ABSTRACT FROM AUTHOR]

In 2016, following the publication of her memoir, In Other Words, Pulitzer Prize author Jhumpa Lahiri announced her intention to abandon English to solely write in Italian. Six years later, having become an acclaimed Italian writer and translator, Lahiri returns to English to consider her role as a 'postmonolingual' subject (Yildiz) in an era still dominated by a paradigmatic monolingualism. Released in 2022, Translating Myself and Others can be considered to all effects Lahiri's translation memoir as it extends to the field of translation, the reflections initiated by In Other Words on the questions of language, identity, and cultural assignation. Through the analysis of both texts, this article discusses how the notion of 'mother tongue' is progressively deconstructed in Lahiri's memoirs and how translation and self-translation become the vehicle through which overcoming what Yasemin Yildiz defines as the 'monolingual paradigm'. [ABSTRACT FROM AUTHOR]

As embodied agents of interlocuters in communicative encounters, professional interpreters use the narrated 'I' to tell the stories of others, while the narrating 'I', that is the interpreter's personal self, is often kept invisible for the sake of performing the professional role. This paper focuses on three contemporary interpreters' memoirs that recount their life and work experiences in different locations and settings. The paper explores how interpreter-memoirists challenge the expectation for interpreter's non-affectivity by exercising their affective labour and adjusting their empathetic positioning in their work as interpreters. With a focus on empathy as affective labour, I investigate how these interpreter-memoirists perform their professional roles by handling emotionally charged scenarios in different ways. I argue that interpreters can function as agents of empathy who are capable of modulating speaker-intended emotions and coping with the impact of empathy as part of their felt and regulated emotions. The fact that the empathy is negotiated and mediated by interpreters challenges normative views on the interpreter's objectivity and neutrality. This study offers new possibilities for reinstating interpreters' agency in handling empathy and acknowledging the positive outcome of interpreters' affective work. [ABSTRACT FROM AUTHOR]

Abstract: The article attempts to reconstruct the biographies of two prominent historical figures of the first decades of the XX century – Counts Alexander and Mstislav Tolstoy, older brothers of the writer A.N. Tolstoy. Having begun their career path in Samara and in the Samara province, where both alternately headed the Samara district nobility, they made excellent careers (one of the brothers met the 1917 revolution as governor of Vilna, and the other as vice-governor of St. Petersburg), many and productive worked for the benefit of their hometown of Samara and the country as a whole, but after the revolution they were forgotten and erased from Russian history, a slow return to which began about three decades ago, but has not yet fully taken place. This article is an attempt at such a personal return, where, on the basis of rare and unique documents from the family collections of the descendants of Count Tolstoy, memoirs, newspaper publications, etc., their biographies are restored, including both official, public, and personal, family moments. The attempted biographical reconstruction is interesting and significant both in historical and local history terms, and in historical and literary terms – as a context for the historical trilogy of the younger brother of the heroes of this article by A.N. Tolstoy – the trilogy «The Road to Calvary».

This paper is a memoir of/for Daryl. A memoir is an historical account or biography written from personal knowledge. It provides my personal account of Daryl, the man, the physical educator, the intellectual, the teacher, and the scholar. In this account I trace Daryl's work from when I first met him in 1981 and the major conceptual ideas that drove his research and scholarship. I discuss his commitment to behaviour analysis, his integrity and his politics. I try to convey the ways in which he thought about research and the world more generally. I also give an insight into Daryl the advisor and, in particular, what he meant for his international PhD students and how, through them, his influence spread across many countries of the world. [ABSTRACT FROM AUTHOR]