The world’s most famous war photojournalist, Robert Capa, swam ashore with American troops as Life magazine’s official photographer of D-Day.
From the midst of the battle itself, Capa took 106 shots of one of the most famous and important days in history. At the earliest opportunity, the four precious rolls of film were whisked back to London and sent to be developed.
To this day nobody knows what those pictures looked like, because a fifteen-year-old lab assistant set a dryer too high and melted the negatives. Only eleven blurred images were saved from the final roll.
There’s a unique flavor of heartbreak that only comes from your work being destroyed for no good reason. Now, I know it doesn’t carry the same historical magnitude, but last night I think I felt at least a hint of what Capa felt when I saved over today’s article.
While I rewrite it, enjoy an ad-hoc time-constrained installment of The Revolver.
One of the more interesting Twitter feeds out there: An Oxford history student is tweeting moment-to-moment updates on the unfolding of World War II, as if it’s happening right now. It’s so compelling because we tend to think of the war with full knowledge of how it turned out, yet the people living it had to watch it unfold day by day with no idea what was happening to the world.
An interview with me at WriterViews.com, a site about writers learning from writers. The interview is about 40 minutes and is mostly geared towards bloggers. During it I drank a beer stein full of coffee, and it shows.
A video of North Korean child guitar virtuosos that I find absolutely terrifying and perverse. Yet I can’t look away.
The great journalist Christopher Hitchens, who died Thursday, giving a powerful and timely lecture on freedom of speech, and the insane laws that threaten it. The second and third parts are easy to find in the sidebar. It’s about 20 minutes all together.
If you want something even easier than reading tweets or watching videos, take a look at my winter photos taken in Winnipeg’s exchange district.
Photo by Robert Capa
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