Invest this money, methodically, in dividend-paying stocks that appreciate a modest 5% annually, that yield a somewhat m

Here’s how it can look on the ground. After establishing the cash flow part, it really is easy. So easy, in fact, it’s a wonder more of us don’t do exactly what I’m about to lay out.

As the poet Paul Muldoon said in a recent interview attempting to explain why he and a few hundred other members of the Princeton faculty signed an open letter that proposed, among other measures, to investigate and discipline their colleagues for publications they deemed racist, “Some ideas may need to be overstated to be stated at all.” The climate at Princeton is so bad that Muldoon has gone way past the point of omitting to say what he thinks; he feels compelled to use his voice to say what he does not think, and thereby to support a policy he does not in fact support. He wants to say that he deplores racism; he does not want to say that his colleagues must give up their freedom of inquiry in the name of antiracism. Somehow he has to say the latter in order to say the former.

I think most people treat their housing payment as the one thing they’re gonna pay no matter what. If you miss a credit card payment (and I don’t advise it), you might face consequences, but they don’t seem quite as potentially dire as missing your rent or mortgage payment.

It sounds painfully impossible to “only” spend $3,000 versus $4,000 in monthly cash flow, or to “only” spend $4,000 versus $6,000 in monthly cash flow. It sounds tough to have a significant surplus left over at the end of the month. Except, it’s not. Not if you sacrifice a little and compromise a little more.

If you took on the aforementioned rent and car payment mindset for your monthly investing habit, you’d be well on your way to $1 million in 20 years. If you operate from the position of financial strength illustrated here, there’s no reason why you should not have an extra $1,000 a month to invest each month. It’ll be tighter if you “only” make $50,000 a year. If you make more than that, there’s probably no excuse other than overspending for not having an extra grand at the end of the month.

I would go further still and say that the first, popular view does a disservice to minority authors and students in that it tends to create two literary traditions representing competing discourses of value. For example: we read Burns for literary value, but we read Gwendolyn Brooks for inclusivity. A better reason for studying Brooks would be the same as the reason for studying Burns, which, as I said, is the only good reason. Brooks, who studied Burns, might have said the same thing.

So, if you were living paycheck to paycheck, having to count every penny, you’d likely count each dollar until they added up to, first, your rent or mortgage and, second, your car payment. You’d worry about paying everything else last. You might tweak first and second, but I feel safe in thinking there might be general consensus here.

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shuts us down,” says Atlanta restaurant owner Thurnher. “Please, shut me down for six to eight weeks. Let’s get this under control because I can’t take another year of just limping along like this, trying to keep a polite smile on my face while pleading with every third customer to please put on a mask.”

If you take home $4,000 a month and want to attain financial flexibility (or freedom) ASAP, it begins and ends with your expenses. I keep my expenses — fixed and discretionary — below $3,000 (generally around $2,500) most months. If I were earning $4,000 a month, this means I have between $1,000 and $1,500 left over each month. Remember those numbers.

I think that the only good reason to study a work of literature is that literature itself has value. When I teach poems by Robert Burns, I want my students to value these poems. Burns’s experiences may not be particularly relevant to their lives, but his experiences are not the ingredient that makes the poems so good. His experiences find purchase in poetry only if he has sufficient artistry to shape them into verse. I want minority students and other students to have Burns’s art in their lives. If my students must identify with the authors they study, I hope they identify with them as thinkers, writers, artists. I want to say to them: what Burns did with words, you can do with words. I reject the notion that they can only do that, or that they can most constructively do that, if Burns shares an ethnic or racial background with them.

From our privileged positions, many of us don’t think this way very often, if ever. We make money. We pay the rent. We pay for our transportation. We pay other bills. We go out and eat and drink with friends. We buy plants. We take lessons. In some cases, we throw money around. Whatever.

Where I teach, job applications, tenure reviews, and promotion reviews all require that candidates submit a personal statement about “mentoring a diverse student body” and “fostering an inclusive classroom.” What does this requirement say about academic freedom here? When I submit my statement, is the college inviting me to say what I think, or is it telling me what to think?

The trouble is that Nazis are human beings, and they have many benign thoughts along with their antisemitism. So I might avoid repeating some ordinary, unthreatening statement uttered by someone with a Nazi reputation, lest you think that I sound like a Nazi. Soon only actual Nazis and a few weirdos who don’t care what other people think are willing to repeat these unthreatening statements — which now appear rather threatening. In this regime of self-censorship, even arguments defending academic freedom (which is not a traditional Nazi commitment!) or aesthetic judgment (a commitment shared by many people, including a few Nazis) can look like signs of crypto-Nazism. This increases the costs of honest discussion.

My sense is that students and faculty are unsure of the meaning of inclusive teaching. To the extent that we feel any certainty, we do not agree with one another. To take an example from my own field, it seems obvious to many people that the best way to create an inclusive classroom in literary studies would be to choose books for the syllabus so that the identities of the authors correspond to those of the students. That way, students from underrepresented minority communities will see themselves reflected in the readings. The students will feel included, and empowered to succeed, when they read works by writers who look like them.

In some of the oldest and greatest works of art in history, the identities of the artists start to disappear. The traditional stories told about Homer and Sappho are infused with myth. Scholars have established the names of the writers Zhuangzi and Kalidasa — although the names are a little uncertain — but not their precise dates. (Imagine this statement on your CV: “active sometime between the 18th and the 21st centuries.” At that scale, both Burns and Brooks would be your contemporaries.) George Kubler, who specialized in ancient American art and architecture, did not know the names of any of the artists from the Mayan classical period. The identities of the individual artists, he wrote, “emerge indistinctly from their works, and if it were not for their works, we would not apprehend personalities at all.”