a sense of joy and then a panic

• Chantecaille Kalimantan fragrance is inspired by the intoxicating and lush forests of Borneo, available on the market from September 2010. Intense, sexy and exotic, it features the notes of labdanum, incense and patchouli, merged with benzoin, vanilla and cedar, to illustrate the fragrant wild flora of the island of Borneo.


• Patchouly Indonesiano is a deep, dark and exotic fragrance. Its entire composition consists of Indonesian patchouli (in the top notes, the heart and the perfume base).


• Rituel de Java by Cinq Mondes is a Woody Spicy fragrance for men. Rituel de Java was launched in 2008. Top note is eucalyptus; middle notes are cinnamon and woodsy notes; base notes are patchouli and virginia cedar.


• Borneo 1834 by Serge Lutens is a Oriental Woody fragrance for women and men. Borneo 1834 was launched in 2005. The fragrance features patchouli, white flowers, cardamom, galbanum, french labdanum and cacao.


• Colonial Club by Jeanne Arthes is a Woody Floral Musk fragrance for men. Top notes are mint and lemon; middle notes are jasmine and fruity notes; base notes are patchouli, musk and cedar.


• Poivre Colonial is a new fragrance from the Eaux de Toilette collection from Phaedon. The scent has been described as both "prickly and smooth” woody – spicy one. It opens with an explosion of grapefruit, nutmeg and pepper. The heart includes cedar and vetiver, mixed with warm cacao bean. The base is dominated by notes of oak moss and patchouli with blonde woods.


• The Italian brand of I Coloniali presents their collection Seductive Elixir of 8 fragrant waters in 2012. The collection is inspired by distant countries and offers intense, long-lasting fragrances with various fragrant compositions.


• Acqua di Genova, Colonia Classica by Acqua di Genova is a Citrus Aromatic fragrance for women and men. Acqua di Genova, Colonia Classica was launched in 1853. Top notes are bergamot, amalfi lemon, orange, rosemary, neroli and lavender; middle notes are jasmine, rose and orange blossom; base notes are patchouli, sandalwood, amber and musk.


• Agua de Colonia Concentrada Barberia by Alvarez Gomez is a Citrus Aromatic fragrance for women and men. This is a new fragrance. Top notes are lemon, bitter orange, bergamot and ginger; middle notes are rhubarb, labdanum and coriander; base notes are cedar, sandalwood and white musk.


• Colonia del Sacramento fragrance by Fueguia 1833 belongs to the Destinos collection. “A mix of European detachment with River Plate indolence, this blend combines a restless fragrance of bergamot, orange blossom and lemon.”

The flip side of nationalism is always racism, it’s about self-exaltation and the denigration of the other.

I was in the Middle East in the days after 9/11. And we had garnered the empathy of not only most of the world, but the Muslim world who were appalled at what had been done in the name of their religion. And we had major religious figures like Sheikh Tantawy, the head of al-Azhar – who died recently – who after the attacks of 9/11 not only denounced them as a crime against humanity, which they were, but denounced Osama bin Laden as a fraud … someone who had no right to issue fatwas or religious edicts, no religious legitimacy, no religious training. And the tragedy was that if we had the courage to be vulnerable, if we had built on that empathy, we would be far safer and more secure today than we are.

We responded exactly as these terrorist organizations wanted us to respond. They wanted us to speak the language of violence. What were the explosions that hit the World Trade Center, huge explosions and death above a city skyline? It was straight out of Hollywood. When Robert McNamara in 1965 began the massive bombing campaign of North Vietnam, he did it because he said he wanted to “send a message” to the North Vietnamese—a message that left hundreds of thousands of civilians dead.  These groups learned to speak the language we taught them. And our response was to speak in kind. The language of violence, the language of occupation—the occupation of the Middle East, the wars in Iraq and Afghanistan—has been the best recruiting tool al-Qaida has been handed.

• When Mr. Wheeler, now 23, applied as a transfer student in 2007, for example, he sent along fabricated transcripts from Phillips Andover Academy and the Massachusetts Institute of Technology. In fact, he had graduated from a public high school in Delaware and had attended Bowdoin College, in Maine.
• One tipoff could have been that M.I.T. does not give letter grades in the fall semester of freshman year, like the straight A’s that appeared on the grade report that Mr. Wheeler submitted. And the names of the four M.I.T. professors who wrote his glowing recommendations? The letters were fakes. And while the professors were real, each teaches at Bowdoin.
• (As Harvard would later learn, he had been suspended from Bowdoin for “academic dishonesty,” according to the indictment.)
• In September, when Mr. Wheeler began his senior year at Harvard, an English professor read his Rhodes scholarship submission and saw similarities between it and the work of a colleague. When confronted by Harvard faculty members, Mr. Wheeler remarked, “I must have made a mistake, I didn’t really plagiarize it,” according to Mr. Verner.
• Mr. Wheeler left Harvard, rather than face an academic hearing. He then applied as a transfer student yet again, this time to Yale and Brown.
• In February, Mr. Wheeler applied for an internship at McLean Hospital, an affiliate of Harvard Medical School, in which he “provided fraudulent information regarding his credentials and student status at Harvard,” the hospital said in a statement.  In applying to Yale and Brown, though, he not only suggested he was a McLean employee, but also submitted a false letter of recommendation from the McLean official who had refused to hire him.
• Officials at Caesar Rodney High School in Camden, Del., from which Mr. Wheeler graduated in 2005, said they were contacted in April by Yale admissions officials. Yale wanted to confirm that he was the class valedictorian (he was not, though he was in the top 10 percent of the class) and that his SAT scores were perfect (they were several hundred points lower.)
• “It seemed out of character that the young man we knew would would try to pull off this type of hoax,” said Kevin Fitzgerald, the district superintendent, who was principal of Caesar Rodney when Mr. Wheeler attended.

• Mappings, Unmappings, and Remappings (In Progress): Critical work that has attempted to explain the experience of geographical and textual space in modern writing has focused predominantly on the map as an analytical tool of orientation that makes formal writing structures legible. My dissertation, however, articulates a positive and generative potential in the experience of getting lost. Disorientation, then, allows us to come to terms with the difficulty of modernist literature from the ground level—to view these works not as an abstraction seen from the “God’s eye” perspective that is implicit in most maps, nor a teleological outcome of the Enlightenment seen from retrospect. By restoring the experience of disorientation, I argue that getting lost becomes a radical discourse that reflects back to us how we orient ourselves—what we pay attention to as we move through physical space and how we construe meaning as we move through a text from page to page.

• The Mapping of an Ideological Demesne (Under Review at Harvard UP): The massive proliferation, from the fifteenth through the seventeenth century, of technologies for measuring, projecting, and organizing geographical and social space produced in the European cultural imaginary an intense and widespread interest in visualizing this world and alternative worlds. As the new century and the Stuart era developed, poets and dramatists mediated this transformation in the form of spatial tropes and models of the nation. I examine the geographical tropes by which Tudor and Stuart writers created poetic landscapes as a mode of engagement with the structures of power, kingship, property, and the market. Accordingly, each of the texts that I examine betrays an awareness of writing as a spatial activity and space as a scripted category. The critical topographies that these writers created are maps of ideology, figural territories within which social conflict and political antagonism are put into play.