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Israel

Introducing Faceglat: The 'Kosher' Facebook

Facebook is certainly a lot of fun, but for some Orthodox Jews, it can also be a bit risqué. In an effort to keep social networking both clean and kosher, an enterprising young Israeli has come up with a virtual compromise: Faceglat!

Two separate windows for entering this pious social network
Two separate windows for entering this pious social network
Véronique Falez

TEL AVIV – Faceglat is a new social network that allows its users to chat online, share information and pictures, and add new friends – all the while strickly separating men from women, just like in synagogue. Launched in Israel last month by a young Hasidic geek, this website boasts a social structure designed especially for ultra-Orthodox Jews. The name "Faceglat" comes from the fusion of two words: Facebook, and glatt, meaning highly kosher, according to the Jewish dietary laws of kashrut.

When men go on Faceglat.com, they sign up by clicking on the arrow on the right of the screen. Women click on that on the left. From this moment on their respective paths will never cross. "One day, a couple of friends paid me a visit, and while we were chatting, the young woman said it was a pity that there was no website where she could share pictures with her female friends without other people being able to see them," says the site's creator, Yaakov Swisa. "We started thinking about a religious social network, where there would be no indecent pictures, and which would garantee that men could not see photos posted by women, and vice versa."

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Ideas

García Márquez And Truth: How Journalism Fed The Novelist's Fantasy

In his early journalistic writings, the Colombian novelist Gabriel García Márquez showed he had an eye for factual details, in which he found the absurdity and 'magic' that would in time be the stuff and style of his fiction.

Colombian novelist Gabriel Garcia Marquez reads his book

J. D. Torres Duarte

BOGOTÁ — In short stories written in the 1940s and early 50s and later compiled in Eyes of a Blue Dog, the late Gabriel García Márquez, Colombia's Nobel Prize-winning novelist, shows he is as yet a young writer, with a style and subjects that can be atypical.

Stylistically, García Márquez came into his own in the celebrated One Hundred Years of Solitude. Until then both his style and substance took an erratic course: touching the brevity of film scripts in Nobody Writes to the Colonel, technical experimentation in Leaf Storm, the anecdotal short novel in In Evil Hour or exploring politics in Big Mama's Funeral. Throughout, the skills he displayed were rather of a precocious juggler.

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