The Reymarc Rabutazo Hazing Case

Reymarc Rabutazo was an 18-year-old boy who allegedly died in a hazing incident which happened in the town of Kalayaan in the province of Laguna. Rabutazo was from barangay Longos in said town. Rabutazo went through initiation rites by the Tau Gamma Phi fraternity.

According to local authorities, they were provided information that a person drowned and died at a river. However, it was later known that he didn't die from drowning. That in fact, he was a victim of hazing. According to those who saw the body, his legs and thighs were filled with bruises. Bruises are among the most common signs of hazing.

The young man was brought to the General Cailles Hospital in Pakil, Laguna but he has already expired upon arrival at the medical facility. 

Here's a definition for hazing [source]:

"Hazing as defined in Garret’s Law (M.C.L. 750.411t), includes the following willful acts, with or without the consent of the individual involved: physical injury; assault or battery; kidnapping or imprisonment; physical activity that knowingly or recklessly subjects a person or persons to an unreasonable risk of physical harm or to severe mental or emotional harm; degradation, humiliation, or compromising of moral or religious values; forced consumption of any substance; placing an individual in physical danger, which includes abandonment; and undue interference with academic endeavors. Acts of hazing only include those acts which are done for the purpose of pledging, being initiated into, affiliating with, participating in, holding office in, or maintaining membership in any organization. Acts of hazing include acts inflicted by an individual onto one or more people."



Hidden Agendas: Theory, Politics and Experience in the Women's Movement by Elizabeth Wilson with Angela Weir

Hidden Agendas: Theory, Politics and Experience in the Women's Movement is a non-fiction book by Elizabeth Wilson (with Angela Weir) which was published by Tavistock Publications in 1986. 

From the back cover: 

Between 1972 and 1982 Elizabeth Wilson wrote a series of articles, many of which have proved highly influential. Most of them originally appeared in feminist magazines and journals and reflect a particular view of the development of feminist and left politics throughout the 1970s. They are collected together in Hidden Agendas accompanied by a new introductory essay which assesses and reflects on the experience presented in the various essays.

On the one hand, in the article 'The British Women's Movement' written jointly with Angela Weir, the authors argue for a development rather than a critique of Marxist theory as a basis for an analysis of women's position in contemporary capitalism; on the other hand, in her introduction, Elizabeth Wilson argues that 'feminism' contains within it at least two rather different and divergent projects.

The essays engage with some of the most influential writings of the past fifteen years of the women's movement - psychoanalysis, Marxism 'Beyond the Fragments'. and thinking of the 'new left'. They also attempt a perspective on the issue of sexuality - arguably one of the core, but also one of the most difficult and contested themes of the contemporary women's movement.

The author: Elizabeth Wilson is Senior Lecturer in the Department of Applied Social Studies at the Polytechnic of North London.

Table of Contents


Acknowledgements

Part I - Introduction
1. Women, heroines, and feminist intellectuals

Part II - Feminist Politics and Socialist Ideas
2. A reply to Selma James (with Angela Weir)
3. Libertarianism: ideas in the void
4. Beyond the ghetto: thoughts on Beyond the Fragments
5. How not to reinvent capitalism: socialist welfare in the eighties
6. The British women's movement (with Angela Weir)

Part III - Women's Experience and Feminist Consciousness
7. Gayness and liberalism
8. Psychoanalysis: psychic law and order?
9. Forbidden love
10. Yesterday's heroines: on rereading Lessing and de Beauvoir
11. The Barnard Sexuality Conference

References
Name index
Subject index


How to Write a Memoir: List of Books About Writing Memoirs

This is a list of books about the art of writing memoirs. If you are an aspiring writer who is dreaming of making it as a memoirist, these are books you should check out. These important books offer everything you need to know about writing a memoir. For sure, you are going to encounter tips and advice that seem to counter each other. That's expected because we are dealing with the ideas of various authors here. The trick is to find the tips that work well for you. It takes time for these helpful tips to present themselves to you but you are going to identify them eventually. 

Why We Write About Ourselves: Twenty Memoirists on Why They Expose Themselves (and Others) in the Name of Literature
Edited by Meredith Maran

This easy-to-read book offers advice from not one but twenty well-known memoirists. The book follows a simple structure. The author is introduced, his/her most important works are listed, he/she then talks about his/her trade, and lastly, he/she leaves behind his/her most important tips for the reader. The memoirists represented in this important book re Ishamel Beah, Kelly Corrigan, Edwidge Danticat, Dani Shapiro, Pearl Cleage, Anne Lamott, Nick Flynn, Ayelet Waldman, Sue Monk Kidd, Meghan Daum, Kate Christensen, Pat Conroy, David Sheff, James McBride, Jesmyn Ward, Darin Strauss, Cheryl Strayed, A.M. Homes, Edmund White, and Sandra Tsing Loh.

Sample tips from the book:

Jesmyn Ward: "You get the most powerful material when you write toward whatever hurts. Don't avoid it. Don't run from it. Don't write toward what's easy. We recognize our humanity in those most difficult moments that people share."

Anne Lamott: "Don't wait for inspiration. Point your finger at your head and march yourself to your desk. It's a great dream to do something that connects us with antiquity and with last week's news. So don't be a big whiny baby. Woman up and write."

Kelly Corrigan: "Write every day. Even if all you do is tweak a few lines, change the fonts, move the margins - anything to put you in the chair, in the headspace, in the zone. There's tremendous value in keeping the story and the themes in your subconscious mind."


The Art of the Memoir by Mary Karr
Fearless Confessions: A Writer's Guide to Memoir by Sue William Silverman
Old Friend From Far Away: The Practice of Writing Memoir by Natalie Goldberg 

Advice and Tips on Writing Humor by James Thurber

I came across a piece by James Thurber titled What's So Funny? in a book called Thurber Country. Published in 1953, the book is a collection of 25 pieces by Thurber. What's So Funny? is the first piece in the anthology. In it, Thurber puts forth his "standing rules for writing humour".

Thurber writes:

"I have established a few standing rules of my own about humor, after receiving dozens of humourous essays and stories from strangers over a period of twenty years.

(1) The reader should be able to find out what the story is about.
(2) Some inkling of the general idea should be apparent in the first five hundred words.
(3) If the writer has decided to change the name of his protagonist from Ketcham to McTavish, Ketcham should not keep bobbing up in the last five pages. A good way to eliminate this confusion is to read the piece over before sending it out, and remove Ketcham completely. He is a nuisance. (4) The word ' I'll' should not be divided so that the 'I' is on one line and ' 'll' on the next. The reader's attention, after the breaking up of ' I'll', can never be successfully recaptured.
(5) It also never recovers from such names as Ann S. Thetic, Maud Lynn, Sally Forth, Bertha Twins, and the like.
(6) Avoid comic stories about plumbers who are mistaken for surgeons, sheriffs who are terrified by gunfire, psychiatrists who are driven crazy by women patients, doctors who faint at the sight of blood, adolescent girls who know more about sex than their fathers do, and midgets who turn out to be parents of a two-hundred-pound wrestler."


Other rules that Thurber discussed in the article:

1. I have a special wariness of people who write opening sentences with nothing in mind, and then try to create a story around them.
2. Nocturnal urges to get out of bed and write something humourous should be strongly resisted. The woman who springs up, lights the light, wakes up her husband, and starts 'writing it out' is not only a nuisance, but is almost certainly labouring under the common illusion of the sleepy that the commonplace is remarkable. These night pieces are usually dashed off in less than twenty minutes, and when written by the female, seem to grow out of the conviction that writing late at night lends a special magic to prose, like writing in a rose arbor or on a houseboat.
3. Since I was twelve, I have had an antipathy to ladies or gentlemen who write comic stories in baby talk, Deep Southern dialect, or other exasperating lingos, or whose characters lisp, or stammer, or talk like Red Skeleton. I am also distinctly cool to writers who try to interest me in tribal dialect, African, Mayan, or American Indian.


The other pieces in the anthology Thurber Country:

1. The Figgerin' of Aunt Wilma
2. The White Rabbit Caper
3. Back Home Again
4. My Own Ten Rules for a Happy Marriage
5. What a Lovely Generalization!
6. The Interview
7. Lady in a Trap
8. File and Forget
9. The Case Book of James Thurber
10. The Case of Dimity Ann
11. Look at That Darling Thing!
12. Do You Want to Make Something Out of It?
13. Take Her Up Tenderly
14. The Girls in the Closet
15. A Final Note on Chanda Bell
16. There's a Time for Flags
17. A Friend of the Earth
18. The American Literary Scene
19. Teacher's Pet
20. Shake Hands with Birdey Doggett
21. What Cocktail Party?
22. Joyeux Noel Mr. Durning
23. See No Weevil
24. The Pleasure Cruise, and How to Survive It

Joseph Pulitzer: Front Page Pioneer by Iris Noble

 Like a fiery comet Joseph Pulitzer rocketed across the American Newspaper world and changed the course of its history. Reporter, editor, publisher, he became the nation's greatest crusader against corruption, fought for and won our freedom of the press.

At seventeen, Joseph Pulitzer, a Hungarian immigrant, arrived in New York without money, without friends and without even a knowledge of English - he had come to join the Union Army to fight slavery. After the war he tried unsuccessfully to get a job in New York and then hitchhiked to St. Louis where he became a mule hostler, stevedore, waiter, messenger boy - anything to support himself while he studied for the law examinations which he passed at twenty-one.

Impressed by the young man's brilliance and determination, Carl Schurz, owner of the St. Louis Westliche Post, hired him as a reporter. Pulitzer's crisp, hard-hitting prose set a new style in news writing, and his insistence on unbiased reporting startled his employer as much as the city itself. As a gag his fellow reporters named him to run as a Republican state candidate in a Democratic district. He won, and what he learned in this battle sustained his headlong, never-satisfied search for the news behind the news.

He bought the run-down Post for its AP franchise, merged it with the Dispatch and created one of the strongest independent papers in the country. Leaving the St. Louis Post-Dispatch in charge of his competent editor, he moved his family to New York where he bought The World. After only two years he surpassed the circulations of the mighty Times, Tribune, Herald, and Sun

Always there was the thrill of exposes, scoops, the flogging passion for truthful, unprejudiced news reporting, a policy of responsibility to the readers. And then at the height of his success, and still a young man, came overwhelming tragedy - he faced total blindness.

This is the dramatic story of an idealistic genius who shaped the pattern of present day journalism and who left a legacy to the journalists of tomorrow in the famous Pulitzer Prize Awards.

Joseph Pulitzer: Front Page Pioneer by Iris Noble