In my three most recent posts, I went over the memoirs and biographies, classics and fiction books that I enjoyed the most in 2022. But in the last of my book-related posts for 2022, I'll be going over my favourite works of non-fiction. Books that just missed the cut here include Adam Hochschild's King Leopold's Ghost (1998) on the role of Leopold II of Belgium in the Congo Free State, Johann Hari's Stolen Focus (2022) (a personal memoir on relating to how technology is increasingly fragmenting our attention), Amia Srinivasan's The Right to Sex (2021) (a misleadingly named set of philosophic essays on feminism), Dana Heller et al.'s The Selling of 9/11: How a National Tragedy Became a Commodity (2005), John Berger's mindbending Ways of Seeing (1972) and Louise Richardson's What Terrorists Want (2006).

The Great War and Modern Memory (1975)
Wartime: Understanding and Behavior in the Second World War (1989) Paul Fussell Rather than describe the battles, weapons, geopolitics or big personalities of the two World Wars, Paul Fussell's The Great War and Modern Memory & Wartime are focused instead on how the two wars have been remembered by their everyday participants. Drawing on the memoirs and memories of soldiers and civilians along with a brief comparison with the actual events that shaped them, Fussell's two books are a compassionate, insightful and moving piece of analysis. Fussell primarily sets himself against the admixture of nostalgia and trauma that obscures the origins and unimaginable experience of participating in these wars; two wars that were, in his view, a "perceptual and rhetorical scandal from which total recovery is unlikely." He takes particular aim at the dishonesty of hindsight:

For the past fifty years, the Allied war has been sanitised and romanticised almost beyond recognition by the sentimental, the loony patriotic, the ignorant and the bloodthirsty. I have tried to balance the scales. [And] in unbombed America especially, the meaning of the war [seems] inaccessible.

The author does not engage in any of the customary rose-tinted view of war, yet he remains understanding and compassionate towards those who try to locate a reason within what was quite often senseless barbarism. If anything, his despondency and pessimism about the Second World War (the war that Fussell himself fought in) shines through quite acutely, and this is especially the case in what he chooses to quote from others:

"It was common [ ] throughout the [Okinawa] campaign for replacements to get hit before we even knew their names. They came up confused, frightened, and hopeful, got wounded or killed, and went right back to the rear on the route by which they had come, shocked, bleeding, or stiff. They were forlorn figures coming up to the meat grinder and going right back out of it like homeless waifs, unknown and faceless to us, like unread books on a shelf."

It would take a rather heartless reader to fail to be sobered by this final simile, and an even colder one to view Fussell's citation of such an emotive anecdote to be manipulative. Still, stories and cruel ironies like this one infuse this often-angry book, but it is not without astute and shrewd analysis as well, especially on the many qualitative differences between the two conflicts that simply cannot be captured by facts and figures alone. For example:

A measure of the psychological distance of the Second [World] War from the First is the rarity, in 1914 1918, of drinking and drunkenness poems.

Indeed so. In fact, what makes Fussell's project so compelling and perhaps even unique is that he uses these non-quantitive measures to try and take stock of what happened. After all, this was a war conducted by humans, not the abstract school of statistics. And what is the value of a list of armaments destroyed by such-and-such a regiment when compared with truly consequential insights into both how the war affected, say, the psychology of postwar literature ("Prolonged trench warfare, whether enacted or remembered, fosters paranoid melodrama, which I take to be a primary mode in modern writing."), the specific words adopted by combatants ("It is a truism of military propaganda that monosyllabic enemies are easier to despise than others") as well as the very grammar of interaction:

The Field Service Post Card [in WW1] has the honour of being the first widespread exemplary of that kind of document which uniquely characterises the modern world: the "Form". [And] as the first widely known example of dehumanised, automated communication, the post card popularised a mode of rhetoric indispensable to the conduct of later wars fought by great faceless conscripted armies.

And this wouldn't be a book review without argument-ending observations that:

Indicative of the German wartime conception [of victory] would be Hitler and Speer's elaborate plans for the ultimate reconstruction of Berlin, which made no provision for a library.

Our myths about the two world wars possess an undisputed power, in part because they contain an essential truth the atrocities committed by Germany and its allies were not merely extreme or revolting, but their full dimensions (embodied in the Holocaust and the Holodomor) remain essentially inaccessible within our current ideological framework. Yet the two wars are better understood as an abyss in which we were all dragged into the depths of moral depravity, rather than a battle pitched by the forces of light against the forces of darkness. Fussell is one of the few observers that can truly accept and understand this truth and is still able to speak to us cogently on the topic from the vantage point of experience. The Second World War which looms so large in our contemporary understanding of the modern world (see below) may have been necessary and unavoidable, but Fussell convinces his reader that it was morally complicated "beyond the power of any literary or philosophic analysis to suggest," and that the only way to maintain a na ve belief in the myth that these wars were a Manichaean fight between good and evil is to overlook reality. There are many texts on the two World Wars that can either stir the intellect or move the emotions, but Fussell's two books do both. A uniquely perceptive and intelligent commentary; outstanding.

Longitude (1995) Dava Sobel Since Man first decided to sail the oceans, knowing one's location has always been critical. Yet doing so reliably used to be a serious problem if you didn't know where you were, you are far more likely to die and/or lose your valuable cargo. But whilst finding one's latitude (ie. your north south position) had effectively been solved by the beginning of the 17th century, finding one's (east west) longitude was far from trustworthy in comparison. This book first published in 1995 is therefore something of an anachronism. As in, we readily use the GPS facilities of our phones today without hesitation, so we find it difficult to imagine a reality in which knowing something fundamental like your own location is essentially unthinkable. It became clear in the 18th century, though, that in order to accurately determine one's longitude, what you actually needed was an accurate clock. In Longitude, therefore, we read of the remarkable story of John Harrison and his quest to create a timepiece that would not only keep time during a long sea voyage but would survive the rough ocean conditions as well. Self-educated and a carpenter by trade, Harrison made a number of important breakthroughs in keeping accurate time at sea, and Longitude describes his novel breakthroughs in a way that is both engaging and without talking down to the reader. Still, this book covers much more than that, including the development of accurate longitude going hand-in-hand with advancements in cartography as well as in scientific experiments to determine the speed of light: experiments that led to the formulation of quantum mechanics. It also outlines the work being done by Harrison's competitors. 'Competitors' is indeed the correct word here, as Parliament offered a huge prize to whoever could create such a device, and the ramifications of this tremendous financial incentive are an essential part of this story. For the most part, though, Longitude sticks to the story of Harrison and his evolving obsession with his creating the perfect timepiece. Indeed, one reason that Longitude is so resonant with readers is that many of the tropes of the archetypical 'English inventor' are embedded within Harrison himself. That is to say, here is a self-made man pushing against the establishment of the time, with his groundbreaking ideas being underappreciated in his life, or dishonestly purloined by his intellectual inferiors. At the level of allegory, then, I am minded to interpret this portrait of Harrison as a symbolic distillation of postwar Britain a nation acutely embarrassed by the loss of the Empire that is now repositioning itself as a resourceful but plucky underdog; a country that, with a combination of the brains of boffins and a healthy dose of charisma and PR, can still keep up with the big boys. (It is this same search for postimperial meaning I find in the fiction of John le Carr , and, far more famously, in the James Bond franchise.) All of this is left to the reader, of course, as what makes Longitute singularly compelling is its gentle manner and tone. Indeed, at times it was as if the doyenne of sci-fi Ursula K. LeGuin had a sideline in popular non-fiction. I realise it's a mark of critical distinction to downgrade the importance of popular science in favour of erudite academic texts, but Latitude is ample evidence that so-called 'pop' science need not be patronising or reductive at all.

Closed Chambers: The Rise, Fall, and Future of the Modern Supreme Court (1998) Edward Lazarus After the landmark decision by the U.S. Supreme Court in *Dobbs v. Jackson Women's Health Organization that ended the Constitutional right to abortion conferred by Roe v Wade, I prioritised a few books in the queue about the judicial branch of the United States. One of these books was Closed Chambers, which attempts to assay, according to its subtitle, "The Rise, Fall and Future of the Modern Supreme Court". This book is not merely simply a learned guide to the history and functioning of the Court (although it is completely creditable in this respect); it's actually an 'insider' view of the workings of the institution as Lazurus was a clerk for Justice Harry Blackmun during the October term of 1988. Lazarus has therefore combined his experience as a clerk and his personal reflections (along with a substantial body of subsequent research) in order to communicate the collapse in comity between the Justices. Part of this book is therefore a pure history of the Court, detailing its important nineteenth-century judgements (such as Dred Scott which ruled that the Constitution did not consider Blacks to be citizens; and Plessy v. Ferguson which failed to find protection in the Constitution against racial segregation laws), as well as many twentieth-century cases that touch on the rather technical principle of substantive due process. Other layers of Lazurus' book are explicitly opinionated, however, and they capture the author's assessment of the Court's actions in the past and present [1998] day. Given the role in which he served at the Court, particular attention is given by Lazarus to the function of its clerks. These are revealed as being far more than the mere amanuenses they were hitherto believed to be. Indeed, the book is potentially unique in its the claim that the clerks have played a pivotal role in the deliberations, machinations and eventual rulings of the Court. By implication, then, the clerks have plaedy a crucial role in the internal controversies that surround many of the high-profile Supreme Court decisions decisions that, to the outsider at least, are presented as disinterested interpretations of Constitution of the United States. This is of especial importance given that, to Lazarus, "for all the attention we now pay to it, the Court remains shrouded in confusion and misunderstanding." Throughout his book, Lazarus complicates the commonplace view that the Court is divided into two simple right vs. left political factions, and instead documents an ever-evolving series of loosely held but strongly felt series of cabals, quid pro quo exchanges, outright equivocation and pure personal prejudices. (The age and concomitant illnesses of the Justices also appears to have a not insignificant effect on the Court's rulings as well.) In other words, Closed Chambers is not a book that will be read in a typical civics class in America, and the only time the book resorts to the customary breathless rhetoric about the US federal government is in its opening chapter:

The Court itself, a Greek-style temple commanding the crest of Capitol Hill, loomed above them in the dim light of the storm. Set atop a broad marble plaza and thirty-six steps, the Court stands in splendid isolation appropriate to its place at the pinnacle of the national judiciary, one of the three independent and "coequal" branches of American government. Once dubbed the Ivory Tower by architecture critics, the Court has a Corinthian colonnade and massive twenty-foot-high bronze doors that guard the single most powerful judicial institution in the Western world. Lights still shone in several offices to the right of the Court's entrance, and [ ]

Et cetera, et cetera. But, of course, this encomium to the inherent 'nobility' of the Supreme Court is quickly revealed to be a narrative foil, as Lazarus soon razes this dangerously na ve conception to the ground:

[The] institution is [now] broken into unyielding factions that have largely given up on a meaningful exchange of their respective views or, for that matter, a meaningful explication or defense of their own views. It is of Justices who in many important cases resort to transparently deceitful and hypocritical arguments and factual distortions as they discard judicial philosophy and consistent interpretation in favor of bottom-line results. This is a Court so badly splintered, yet so intent on lawmaking, that shifting 5-4 majorities, or even mere pluralities, rewrite whole swaths of constitutional law on the authority of a single, often idiosyncratic vote. It is also a Court where Justices yield great and excessive power to immature, ideologically driven clerks, who in turn use that power to manipulate their bosses and the institution they ostensibly serve.

Lazurus does not put forward a single, overarching thesis, but in the final chapters, he does suggest a potential future for the Court:

In the short run, the cure for what ails the Court lies solely with the Justices. It is their duty, under the shield of life tenure, to recognize the pathologies affecting their work and to restore the vitality of American constitutionalism. Ultimately, though, the long-term health of the Court depends on our own resolve on whom [we] select to join that institution.

Back in 1998, Lazurus might have had room for this qualified optimism. But from the vantage point of 2022, it appears that the "resolve" of the United States citizenry was not muscular enough to meet his challenge. After all, Lazurus was writing before Bush v. Gore in 2000, which arrogated to the judicial branch the ability to decide a presidential election; the disillusionment of Barack Obama's failure to nominate a replacement for Scalia; and many other missteps in the Court as well. All of which have now been compounded by the Trump administration's appointment of three Republican-friendly justices to the Court, including hypocritically appointing Justice Barrett a mere 38 days before the 2020 election. And, of course, the leaking and ruling in Dobbs v. Jackson, the true extent of which has not been yet. Not of a bit of this is Lazarus' fault, of course, but the Court's recent decisions (as well as the liberal hagiographies of 'RBG') most perforce affect one's reading of the concluding chapters. The other slight defect of Closed Chambers is that, whilst it often implies the importance of the federal and state courts within the judiciary, it only briefly positions the Supreme Court's decisions in relation to what was happening in the House, Senate and White House at the time. This seems to be increasingly relevant as time goes on: after all, it seems fairly clear even to this Brit that relying on an activist Supreme Court to enact progressive laws must be interpreted as a failure of the legislative branch to overcome the perennial problems of the filibuster, culture wars and partisan bickering. Nevertheless, Lazarus' book is in equal parts ambitious, opinionated, scholarly and dare I admit it? wonderfully gossipy. By juxtaposing history, memoir, and analysis, Closed Chambers combines an exacting evaluation of the Court's decisions with a lively portrait of the intellectual and emotional intensity that has grown within the Supreme Court's pseudo-monastic environment all while it struggles with the most impactful legal issues of the day. This book is an excellent and well-written achievement that will likely never be repeated, and a must-read for anyone interested in this ever-increasingly important branch of the US government.

Crashed: How a Decade of Financial Crises Changed the World (2018)
Shutdown: How Covid Shook the World's Economy (2021) Adam Tooze The economic historian Adam Tooze has often been labelled as an unlikely celebrity, but in the fourteen years since the global financial crisis of 2008, a growing audience has been looking for answers about the various failures of the modern economy. Tooze, a professor of history at New York's Columbia University, has written much that is penetrative and thought-provoking on this topic, and as a result, he has generated something of a cult following amongst economists, historians and the online left. I actually read two Tooze books this year. The first, Crashed (2018), catalogues the scale of government intervention required to prop up global finance after the 2008 financial crisis, and it characterises the different ways that countries around the world failed to live up to the situation, such as doing far too little, or taking action far too late. The connections between the high-risk subprime loans, credit default swaps and the resulting liquidity crisis in the US in late 2008 is fairly well known today in part thanks to films such as Adam McKay's 2015 The Big Short and much improved economic literacy in media reportage. But Crashed makes the implicit claim that, whilst the specific and structural origins of the 2008 crisis are worth scrutinising in exacting detail, it is the reaction of states in the months and years after the crash that has been overlooked as a result. After all, this is a reaction that has not only shaped a new economic order, it has created one that does not fit any conventional idea about the way the world 'ought' to be run. Tooze connects the original American banking crisis to the (multiple) European debt crises with a larger crisis of liberalism. Indeed, Tooze somehow manages to cover all these topics and more, weaving in Trump, Brexit and Russia's 2014 annexation of Crimea, as well as the evolving role of China in the post-2008 economic order. Where Crashed focused on the constellation of consequences that followed the events of 2008, Shutdown is a clear and comprehensive account of the way the world responded to the economic impact of Covid-19. The figures are often jaw-dropping: soon after the disease spread around the world, 95% of the world's economies contracted simultaneously, and at one point, the global economy shrunk by approximately 20%. Tooze's keen and sobering analysis of what happened is made all the more remarkable by the fact that it came out whilst the pandemic was still unfolding. In fact, this leads quickly to one of the book's few flaws: by being published so quickly, Shutdown prematurely over-praises China's 'zero Covid' policy, and these remarks will make a reader today squirm in their chair. Still, despite the regularity of these references (after all, mentioning China is very useful when one is directly comparing economic figures in early 2021, for examples), these are actually minor blemishes on the book's overall thesis. That is to say, Crashed is not merely a retelling of what happened in such-and-such a country during the pandemic; it offers in effect a prediction about what might be coming next. Whilst the economic responses to Covid averted what could easily have been another Great Depression (and thus showed it had learned some lessons from 2008), it had only done so by truly discarding the economic rule book. The by-product of inverting this set of written and unwritten conventions that have governed the world for the past 50 years, this 'Washington consensus' if you well, has yet to be fully felt. Of course, there are many parallels between these two books by Tooze. Both the liquidity crisis outlined in Crashed and the economic response to Covid in Shutdown exposed the fact that one of the central tenets of the modern economy ie. that financial markets can be trusted to regulate themselves was entirely untrue, and likely was false from the very beginning. And whilst Adam Tooze does not offer a singular piercing insight (conveying a sense of rigorous mastery instead), he may as well be asking whether we're simply going to lurch along from one crisis to the next, relying on the technocrats in power to fix problems when everything blows up again. The answer may very well be yes.

Looking for the Good War: American Amnesia and the Violent Pursuit of Happiness (2021) Elizabeth D. Samet Elizabeth D. Samet's Looking for the Good War answers the following question what would be the result if you asked a professor of English to disentangle the complex mythology we have about WW2 in the context of the recent US exit of Afghanistan? Samet's book acts as a twenty-first-century update of a kind to Paul Fussell's two books (reviewed above), as well as a deeper meditation on the idea that each new war is seen through the lens of the previous one. Indeed, like The Great War and Modern Memory (1975) and Wartime (1989), Samet's book is a perceptive work of demystification, but whilst Fussell seems to have been inspired by his own traumatic war experience, Samet is not only informed by her teaching West Point military cadets but by the physical and ontological wars that have occurred during her own life as well. A more scholarly and dispassionate text is the result of Samet's relative distance from armed combat, but it doesn't mean Looking for the Good War lacks energy or inspiration. Samet shares John Adams' belief that no political project can entirely shed the innate corruptions of power and ambition and so it is crucial to analyse and re-analyse the role of WW2 in contemporary American life. She is surely correct that the Second World War has been universally elevated as a special, 'good' war. Even those with exceptionally giddy minds seem to treat WW2 as hallowed:

It is nevertheless telling that one of the few occasions to which Trump responded with any kind of restraint while he was in office was the 75th anniversary of D-Day in 2019.

What is the source of this restraint, and what has nurtured its growth in the eight decades since WW2 began? Samet posits several reasons for this, including the fact that almost all of the media about the Second World War is not only suffused with symbolism and nostalgia but, less obviously, it has been made by people who have no experience of the events that they depict. Take Stephen Ambrose, author of Steven Spielberg's Band of Brothers miniseries: "I was 10 years old when the war ended," Samet quotes of Ambrose. "I thought the returning veterans were giants who had saved the world from barbarism. I still think so. I remain a hero worshiper." If Looking for the Good War has a primary thesis, then, it is that childhood hero worship is no basis for a system of government, let alone a crusading foreign policy. There is a straight line (to quote this book's subtitle) from the "American Amnesia" that obscures the reality of war to the "Violent Pursuit of Happiness." Samet's book doesn't merely just provide a modern appendix to Fussell's two works, however, as it adds further layers and dimensions he overlooked. For example, Samet provides some excellent insight on the role of Western, gangster and superhero movies, and she is especially good when looking at noir films as a kind of kaleidoscopic response to the Second World War:

Noir is a world ruled by bad decisions but also by bad timing. Chance, which plays such a pivotal role in war, bleeds into this world, too.

Samet rightfully weaves the role of women into the narrative as well. Women in film noir are often celebrated as 'independent' and sassy, correctly reflecting their newly-found independence gained during WW2. But these 'liberated' roles are not exactly a ringing endorsement of this independence: the 'femme fatale' and the 'tart', etc., reflect a kind of conditional freedom permitted to women by a post-War culture which is still wedded to an outmoded honour culture. In effect, far from being novel and subversive, these roles for women actually underwrote the ambient cultural disapproval of women's presence in the workforce. Samet later connects this highly-conditional independence with the liberation of Afghan women, which:

is inarguably one of the more palatable outcomes of our invasion, and the protection of women's rights has been invoked on the right and the left as an argument for staying the course in Afghanistan. How easily consequence is becoming justification. How flattering it will be one day to reimagine it as original objective.

Samet has ensured her book has a predominantly US angle as well, for she ends her book with a chapter on the pseudohistorical Lost Cause of the Civil War. The legacy of the Civil War is still visible in the physical phenomena of Confederate statues, but it also exists in deep-rooted racial injustice that has been shrouded in euphemism and other psychological devices for over 150 years. Samet believes that a key part of what drives the American mythology about the Second World War is the way in which it subconsciously cleanses the horrors of brother-on-brother murder that were seen in the Civil War. This is a book that is not only of interest to historians of the Second World War; it is a work for anyone who wishes to understand almost any American historical event, social issue, politician or movie that has appeared since the end of WW2. That is for better or worse everyone on earth.

I m migrating some self-hosted virtual machines to Trisquel, and noticed that Trisquel does not offer cloud-images similar to the Debian Cloud and Ubuntu Cloud images. Thus my earlier approach based on virt-install --cloud-init and cloud-localds does not work with Trisquel. While I hope that Trisquel will eventually publish cloud-compatible images, I wanted to document an alternative approach for Trisquel based on preseeding. This is how I used to install Debian and Ubuntu in the old days, and the automated preseed method is best documented in the Debian installation manual. I was hoping to forget about the preseed format, but maybe it will become one of those legacy technologies that never really disappears? Like FAT16 and 8-bit microcontrollers. Below I assume you have a virtual machine host server up that runs libvirt and has virt-install and similar tools; install them with the following command. I run a pre-release version of Trisquel 11 aramo on my VM-host, but I believe any recent dpkg-based distribution like Trisquel 9/10, PureOS 10, Debian 11 or Ubuntu 20.04/22.04 would work.

apt-get install libvirt-daemon-system virtinst genisoimage cloud-image-utils osinfo-db-tools

The approach can install Trisquel 9 (etiona), Trisquel 10 (nabia) and the pre-release of Trisquel 11. First download and verify the integrity of the netinst images that we will need. Unfortunately the Trisquel 11 netinst beta image does not have any checksum or signature available.

mkdir -p /root/iso
cd /root/iso
wget -q https://mirror.fsf.org/trisquel-images/trisquel-netinst_9.0.2_amd64.iso
wget -q https://mirror.fsf.org/trisquel-images/trisquel-netinst_9.0.2_amd64.iso.asc
wget -q https://mirror.fsf.org/trisquel-images/trisquel-netinst_9.0.2_amd64.iso.sha256
wget -q https://mirror.fsf.org/trisquel-images/trisquel-netinst_10.0.1_amd64.iso
wget -q https://mirror.fsf.org/trisquel-images/trisquel-netinst_10.0.1_amd64.iso.asc
wget -q https://mirror.fsf.org/trisquel-images/trisquel-netinst_10.0.1_amd64.iso.sha256
wget -q -O- https://archive.trisquel.info/trisquel/trisquel-archive-signkey.gpg   gpg --import
sha256sum -c trisquel-netinst_9.0.2_amd64.iso.sha256
gpg --verify trisquel-netinst_9.0.2_amd64.iso.asc
sha256sum -c trisquel-netinst_10.0.1_amd64.iso.sha256
gpg --verify trisquel-netinst_10.0.1_amd64.iso.asc
wget -q https://cdbuilds.trisquel.org/aramo/trisquel-netinst_11.0-20221225_amd64.iso
echo '179566639ca8f14f0c3d5658209c59a0916d9e3bf9c026660cc07b28f2311631  trisquel-netinst_11.0-20221225_amd64.iso'   sha256sum -c

I have developed the following fairly minimal preseed file that works with all three Trisquel releases. Compare it against the official Trisquel 11 preseed skeleton and the Debian 11 example preseed file. You should modify obvious things like SSH key, host/IP settings, partition layout and decide for yourself how to deal with passwords. While Ubuntu/Trisquel usually wants to setup a user account, I prefer to login as root hence setting passwd/root-login to true and passwd/make-user to false.

root@trana:~# cat>trisquel.preseed 
d-i debian-installer/locale select en_US
d-i keyboard-configuration/xkb-keymap select us
d-i netcfg/choose_interface select auto
d-i netcfg/disable_autoconfig boolean true
d-i netcfg/get_ipaddress string 192.168.10.201
d-i netcfg/get_netmask string 255.255.255.0
d-i netcfg/get_gateway string 192.168.10.46
d-i netcfg/get_nameservers string 192.168.10.46
d-i netcfg/get_hostname string trisquel
d-i netcfg/get_domain string sjd.se
d-i clock-setup/utc boolean true
d-i time/zone string UTC
d-i mirror/country string manual
d-i mirror/http/hostname string ftp.acc.umu.se
d-i mirror/http/directory string /mirror/trisquel/packages
d-i mirror/http/proxy string
d-i partman-auto/method string regular
d-i partman-partitioning/confirm_write_new_label boolean true
d-i partman/choose_partition select finish
d-i partman/confirm boolean true
d-i partman/confirm_nooverwrite boolean true
d-i partman-basicfilesystems/no_swap boolean false
d-i partman-auto/expert_recipe string myroot :: 1000 50 -1 ext4 \
     $primary    $bootable    method  format   \
     format    use_filesystem    filesystem  ext4   \
     mountpoint  /   \
    .
d-i partman-auto/choose_recipe select myroot
d-i passwd/root-login boolean true
d-i user-setup/allow-password-weak boolean true
d-i passwd/root-password password r00tme
d-i passwd/root-password-again password r00tme
d-i passwd/make-user boolean false
tasksel tasksel/first multiselect
d-i pkgsel/include string openssh-server
popularity-contest popularity-contest/participate boolean false
d-i grub-installer/only_debian boolean true
d-i grub-installer/with_other_os boolean true
d-i grub-installer/bootdev string default
d-i finish-install/reboot_in_progress note
d-i preseed/late_command string mkdir /target/root/.ssh ; echo ssh-ed25519 AAAAC3NzaC1lZDI1NTE5AAAAILzCFcHHrKzVSPDDarZPYqn89H5TPaxwcORgRg+4DagE cardno:FFFE67252015 > /target/root/.ssh/authorized_keys
^D
root@trana:~# 

Use the file above as a skeleton for preparing a VM-specific preseed file as follows. The environment variables HOST and IPS will be used later on too.

root@trana:~# HOST=foo
root@trana:~# IP=192.168.10.197
root@trana:~# sed -e "s,get_ipaddress string.*,get_ipaddress string $IP," -e "s,get_hostname string.*,get_hostname string $HOST," < trisquel.preseed > vm-$HOST.preseed
root@trana:~# 

The following script is used to prepare the ISO images with the preseed file that we will need. This script is inspired by the Debian Wiki Preseed EditIso page and the Trisquel ISO customization wiki page. There are a couple of variations based on earlier works. Paths are updated to match the Trisquel netinst ISO layout, which differ slightly from Debian. We modify isolinux.cfg to boot the auto label without a timeout. On Trisquel 11 the auto boot label exists, but on Trisquel 9 and Trisquel 10 it does not exist so we add it in order to be able to start the automated preseed installation.

root@trana:~# cat gen-preseed-iso 
#!/bin/sh
# Copyright (C) 2018-2022 Simon Josefsson -- GPLv3+
# https://wiki.debian.org/DebianInstaller/Preseed/EditIso
# https://trisquel.info/en/wiki/customizing-trisquel-iso
set -e
set -x
ISO="$1"
PRESEED="$2"
OUTISO="$3"
LASTPWD="$PWD"
test -f "$ISO"
test -f "$PRESEED"
test ! -f "$OUTISO"
TMPDIR=$(mktemp -d)
mkdir "$TMPDIR/mnt"
mkdir "$TMPDIR/tmp"
cp "$PRESEED" "$TMPDIR"/preseed.cfg
cd "$TMPDIR"
mount "$ISO" mnt/
cp -rT mnt/ tmp/
umount mnt/
chmod +w -R tmp/
gunzip tmp/initrd.gz
echo preseed.cfg   cpio -H newc -o -A -F tmp/initrd
gzip tmp/initrd
chmod -w -R tmp/
sed -i "s/timeout 0/timeout 1/" tmp/isolinux.cfg
sed -i "s/default vesamenu.c32/default auto/" tmp/isolinux.cfg
if ! grep -q auto tmp/adtxt.cfg; then
    cat<<EOF >> tmp/adtxt.cfg
label auto
	menu label ^Automated install
	kernel linux
	append auto=true priority=critical vga=788 initrd=initrd.gz --- quiet
EOF
fi
cd tmp/
find -follow -type f   xargs md5sum  > md5sum.txt
cd ..
cd "$LASTPWD"
genisoimage -r -J -b isolinux.bin -c boot.cat \
            -no-emul-boot -boot-load-size 4 -boot-info-table \
            -o "$OUTISO" "$TMPDIR/tmp/"
rm -rf "$TMPDIR"
exit 0
^D
root@trana:~# chmod +x gen-preseed-iso 
root@trana:~# 

Next run the command on one of the downloaded ISO image and the generated preseed file.

root@trana:~# ./gen-preseed-iso /root/iso/trisquel-netinst_10.0.1_amd64.iso vm-$HOST.preseed vm-$HOST.iso
+ ISO=/root/iso/trisquel-netinst_10.0.1_amd64.iso
+ PRESEED=vm-foo.preseed
+ OUTISO=vm-foo.iso
+ LASTPWD=/root
+ test -f /root/iso/trisquel-netinst_10.0.1_amd64.iso
+ test -f vm-foo.preseed
+ test ! -f vm-foo.iso
+ mktemp -d
+ TMPDIR=/tmp/tmp.mNEprT4Tx9
+ mkdir /tmp/tmp.mNEprT4Tx9/mnt
+ mkdir /tmp/tmp.mNEprT4Tx9/tmp
+ cp vm-foo.preseed /tmp/tmp.mNEprT4Tx9/preseed.cfg
+ cd /tmp/tmp.mNEprT4Tx9
+ mount /root/iso/trisquel-netinst_10.0.1_amd64.iso mnt/
mount: /tmp/tmp.mNEprT4Tx9/mnt: WARNING: source write-protected, mounted read-only.
+ cp -rT mnt/ tmp/
+ umount mnt/
+ chmod +w -R tmp/
+ gunzip tmp/initrd.gz
+ echo preseed.cfg
+ cpio -H newc -o -A -F tmp/initrd
5 blocks
+ gzip tmp/initrd
+ chmod -w -R tmp/
+ sed -i s/timeout 0/timeout 1/ tmp/isolinux.cfg
+ sed -i s/default vesamenu.c32/default auto/ tmp/isolinux.cfg
+ grep -q auto tmp/adtxt.cfg
+ cat
+ cd tmp/
+ find -follow -type f
+ xargs md5sum
+ cd ..
+ cd /root
+ genisoimage -r -J -b isolinux.bin -c boot.cat -no-emul-boot -boot-load-size 4 -boot-info-table -o vm-foo.iso /tmp/tmp.mNEprT4Tx9/tmp/
I: -input-charset not specified, using utf-8 (detected in locale settings)
Using GCRY_000.MOD;1 for  /tmp/tmp.mNEprT4Tx9/tmp/boot/grub/x86_64-efi/gcry_sha512.mod (gcry_sha256.mod)
Using XNU_U000.MOD;1 for  /tmp/tmp.mNEprT4Tx9/tmp/boot/grub/x86_64-efi/xnu_uuid.mod (xnu_uuid_test.mod)
Using PASSW000.MOD;1 for  /tmp/tmp.mNEprT4Tx9/tmp/boot/grub/x86_64-efi/password_pbkdf2.mod (password.mod)
Using PART_000.MOD;1 for  /tmp/tmp.mNEprT4Tx9/tmp/boot/grub/x86_64-efi/part_sunpc.mod (part_sun.mod)
Using USBSE000.MOD;1 for  /tmp/tmp.mNEprT4Tx9/tmp/boot/grub/x86_64-efi/usbserial_pl2303.mod (usbserial_ftdi.mod)
Using USBSE001.MOD;1 for  /tmp/tmp.mNEprT4Tx9/tmp/boot/grub/x86_64-efi/usbserial_ftdi.mod (usbserial_usbdebug.mod)
Using VIDEO000.MOD;1 for  /tmp/tmp.mNEprT4Tx9/tmp/boot/grub/x86_64-efi/videotest.mod (videotest_checksum.mod)
Using GFXTE000.MOD;1 for  /tmp/tmp.mNEprT4Tx9/tmp/boot/grub/x86_64-efi/gfxterm_background.mod (gfxterm_menu.mod)
Using GCRY_001.MOD;1 for  /tmp/tmp.mNEprT4Tx9/tmp/boot/grub/x86_64-efi/gcry_sha256.mod (gcry_sha1.mod)
Using MULTI000.MOD;1 for  /tmp/tmp.mNEprT4Tx9/tmp/boot/grub/x86_64-efi/multiboot2.mod (multiboot.mod)
Using USBSE002.MOD;1 for  /tmp/tmp.mNEprT4Tx9/tmp/boot/grub/x86_64-efi/usbserial_usbdebug.mod (usbserial_common.mod)
Using MDRAI000.MOD;1 for  /tmp/tmp.mNEprT4Tx9/tmp/boot/grub/x86_64-efi/mdraid09.mod (mdraid09_be.mod)
Size of boot image is 4 sectors -> No emulation
 22.89% done, estimate finish Thu Dec 29 23:36:18 2022
 45.70% done, estimate finish Thu Dec 29 23:36:18 2022
 68.56% done, estimate finish Thu Dec 29 23:36:18 2022
 91.45% done, estimate finish Thu Dec 29 23:36:18 2022
Total translation table size: 2048
Total rockridge attributes bytes: 24816
Total directory bytes: 40960
Path table size(bytes): 64
Max brk space used 46000
21885 extents written (42 MB)
+ rm -rf /tmp/tmp.mNEprT4Tx9
+ exit 0
root@trana:~#

Now the image is ready for installation, so invoke virt-install as follows. The machine will start directly, launching the preseed automatic installation. At this point, I usually click on the virtual machine in virt-manager to follow screen output until the installation has finished. If everything works OK the machines comes up and I can ssh into it.

root@trana:~# virt-install --name $HOST --disk vm-$HOST.img,size=5 --cdrom vm-$HOST.iso --osinfo linux2020 --autostart --noautoconsole --wait
Using linux2020 default --memory 4096
Starting install...
Allocating 'vm-foo.img'                                                                                                                                     0 B  00:00:00 ... 
Creating domain...                                                                                                                                          0 B  00:00:00     
Domain is still running. Installation may be in progress.
Waiting for the installation to complete.
Domain has shutdown. Continuing.
Domain creation completed.
Restarting guest.
root@trana:~# 

There are some problems that I have noticed that would be nice to fix, but are easy to work around. The first is that at the end of the installation of Trisquel 9 and Trisquel 10, the VM hangs after displaying Sent SIGKILL to all processes followed by Requesting system reboot. I kill the VM manually using virsh destroy foo and start it up again using virsh start foo. For production use I expect to be running Trisquel 11, where the problem doesn t happen, so this does not bother me enough to debug further. The remaining issue that once booted, a Trisquel 11 VM has lost its DNS nameserver configuration, presumably due to poor integration with systemd-resolved. Both Trisquel 9 and Trisquel 10 uses systemd-resolved where DNS works after first boot, so this appears to be a Trisquel 11 bug. You can work around it with rm -f /etc/resolv.conf && echo 'nameserver A.B.C.D' > /etc/resolv.conf or drink the systemd Kool-Aid. If you want to clean up and re-start the process, here is how you wipe out what you did. After this, you may run the sed, ./gen-preseed-iso and virt-install commands again. Remember, use virsh shutdown foo to gracefully shutdown a VM.

root@trana:~# virsh destroy foo
Domain 'foo' destroyed
root@trana:~# virsh undefine foo --remove-all-storage
Domain 'foo' has been undefined
Volume 'vda'(/root/vm-foo.img) removed.
root@trana:~# rm vm-foo.*
root@trana:~# 

Happy hacking on your virtal machines!

In my two most recent posts, I listed the fiction and classic fiction I enjoyed the most in 2022. I'll leave my roundup of general non-fiction until tomorrow, but today I'll be going over my favourite memoirs and biographies, in no particular order. Books that just missed the cut here include Roisin Kiberd's The Disconnect: A Personal Journey Through the Internet (2019), Steve Richards' The Prime Ministers (2019) which reflects on UK leadership from Harold Wilson to Boris Johnson, Robert Graves Great War memoir Goodbye to All That (1929) and David Mikics's portrait of Stanley Kubrick called American Filmmaker.

Afropean: Notes from Black Europe (2019) Johny Pitts Johny Pitts is a photographer and writer who lives in the north of England who set out to explore "black Europe from the street up" those districts within European cities that, although they were once 'white spaces' in the past, they are now occupied by Black people. Unhappy with the framing of the Black experience back home in post-industrial Sheffield, Pitts decided to become a nomad and goes abroad to seek out the sense of belonging he cannot find in post-Brexit Britain, and Afropean details his journey through Paris, Brussels, Lisbon, Berlin, Stockholm and Moscow. However, Pitts isn't just avoiding the polarisation and structural racism embedded in contemporary British life. Rather, he is seeking a kind of super-national community that transcends the reductive and limiting nationalisms of all European countries, most of which have based their national story on a self-serving mix of nostalgia and postcolonial fairy tales. Indeed, the term 'Afropean' is the key to understanding the goal of this captivating memoir. Pitts writes at the beginning of this book that the word wasn't driven only as a response to the crude nativisms of Nigel Farage and Marine Le Pen, but that it:

encouraged me to think of myself as whole and unhyphenated. [ ] Here was a space where blackness was taking part in shaping European identity at large. It suggested the possibility of living in and with more than one idea: Africa and Europe, or, by extension, the Global South and the West, without being mixed-this, half-that or black-other. That being black in Europe didn t necessarily mean being an immigrant.

In search of this whole new theory of home, Pitts travels to the infamous banlieue of Clichy-sous-Bois just to the East of Paris, thence to Matong in Brussels, as well as a quick and abortive trip into Moscow and other parallel communities throughout the continent. In these disparate environs, Pitts strikes up countless conversations with regular folk in order to hear their quotidian stories of living, and ultimately to move away from the idea that Black history is defined exclusively by slavery. Indeed, to Pitts, the idea of race is one that ultimately restricts one's humanity; the concept "is often forced to embody and speak for certain ideas, despite the fact it can't ever hold in both hands the full spectrum of a human life and the cultural nuances it creates." It's difficult to do justice to the effectiveness of the conversations Pitts has throughout his travels, but his shrewd attention to demeanour, language, raiment and expression vividly brings alive the people he talks to. Of related interest to fellow Brits as well are the many astute observations and comparisons with Black and working-class British life. The tone shifts quite often throughout this book. There might be an amusing aside one minute, such as the portrait of an African American tourist in Paris to whom "the whole city was a film set, with even its homeless people appearing to him as something oddly picturesque." But the register abruptly changes when he visits Clichy-sous-Bois on an anniversary of important to the area, and an element of genuine danger is introduced when Johny briefly visits Moscow and barely gets out alive. What's especially remarkable about this book is there is a freshness to Pitt s treatment of many well-worn subjects. This can be seen in his account of Belgium under the reign of Leopold II, the history of Portuguese colonialism (actually mostly unknown to me), as well in the way Pitts' own attitude to contemporary anti-fascist movements changes throughout an Antifa march. This chapter was an especial delight, and not only because it underlined just how much of Johny's trip was an inner journey of an author willing have his mind changed. Although Johny travels alone throughout his journey, in the second half of the book, Pitts becomes increasingly accompanied by a number of Black intellectuals by the selective citing of Frantz Fanon and James Baldwin and Caryl Phillips. (Nevertheless, Jonny has also brought his camera for the journey as well, adding a personal touch to this already highly-intimate book.) I suspect that his increasing exercise of Black intellectual writing in the latter half of the book may be because Pitts' hopes about 'Afropean' existence ever becoming a reality are continually dashed and undercut. The unity among potential Afropeans appears more-and-more unrealisable as the narrative unfolds, the various reasons of which Johny explores both prosaically and poetically. Indeed, by the end of the book, it's unclear whether Johny has managed to find what he left the shores of England to find. But his mix of history, sociology and observation of other cultures right on my doorstep was something of a revelation to me.

Orwell's Roses (2021) Rebecca Solnit Orwell s Roses is an alternative journey through the life and afterlife of George Orwell, reimaging his life primarily through the lens of his attentiveness to nature. Yet this framing of the book as an 'alternative' history is only revisionist if we compare it to the usual view of Orwell as a bastion of 'free speech' and English 'common sense' the roses of the title of this book were very much planted by Orwell in his Hertfordshire garden in 1936, and his yearning of nature one was one of the many constants throughout his life. Indeed, Orwell wrote about wildlife and outdoor life whenever he could get away with it, taking pleasure in a blackbird's song and waxing nostalgically about the English countryside in his 1939 novel Coming Up for Air (reviewed yesterday).

By sheer chance, I actually visited this exact garden immediately to the publication of this book

Solnit has a particular ability to evince unexpected connections between Orwell and the things he was writing about: Joseph Stalin's obsession with forcing lemons to grow in ludicrously cold climates; Orwell s slave-owning ancestors in Jamaica; Jamaica Kincaid's critique of colonialism in the flower garden; and the exploitative rose industry in Colombia that supplies the American market. Solnit introduces all of these new correspondences in a voice that feels like a breath of fresh air after decades of stodgy Orwellania, and without lapsing into a kind of verbal soft-focus. Indeed, the book displays a marked indifference towards the usual (male-centric) Orwell fandom. Her book draws to a close with a rereading of the 'dystopian' Nineteen Eighty-Four that completes her touching portrait of a more optimistic and hopeful Orwell, as well as a reflection on beauty and a manifesto for experiencing joy as an act of resistance.

The Disaster Artist (2013) Greg Sestero & Tom Bissell For those not already in the know, The Room was a 2003 film by director-producer-writer-actor Tommy Wiseau, an inscrutable Polish immigr with an impenetrable background, an idiosyncratic choice of wardrobe and a mysterious large source of income. The film, which centres on a melodramatic love triangle, has since been described by several commentators and publications as one of the worst films ever made. Tommy's production completely bombed at the so-called 'box office' (the release was actually funded entirely by Wiseau personally), but the film slowly became a favourite at cult cinema screenings. Given Tommy's prominent and central role in the film, there was always an inherent cruelty involved in indulging in the spectacle of The Room the audience was laughing because the film was astonishingly bad, of course, but Wiseau infused his film with sincere earnestness that in a heartless twist of irony may be precisely why it is so terrible to begin with. Indeed, it should be stressed that The Room is not simply a 'bad' film, and therefore not worth paying any attention to: it is uncannily bad in a way that makes it eerily compelling to watch. It unintentionally subverts all the rules of filmmaking in a way that captivates the attention. Take this representative example:

This thirty-six-second scene showcases almost every problem in The Room: the acting, the lighting, the sound design, the pacing, the dialogue and that this unnecessary scene (which does not advance the plot) even exists in the first place. One problem that the above clip doesn't capture, however, is Tommy's vulnerable ego. (He would later make the potentially conflicting claims that The Room was both an ironic cult success and that he is okay with people interpreting it sincerely). Indeed, the filmmaker's central role as Johnny (along with his Willy-Wonka meets Dracula persona) doesn't strike viewers as yet another vanity project, it actually asks more questions than it answers. Why did Tommy even make this film? What is driving him psychologically? And why and how? is he so spellbinding? On the surface, then, 2013's The Disaster Artist is a book about the making of one the strangest films ever made, written by The Room's co-star Greg Sestero and journalist Tom Bissell. Naturally, you learn some jaw-dropping facts about the production and inspiration of the film, the seed of which was planted when Greg and Tommy went to see an early screening of The Talented Mr Ripley (1999). It turns out that Greg's character in The Room is based on Tommy's idiosyncratic misinterpretation of its plot, extending even to the character's name Mark who, in textbook Tommy style, was taken directly (or at least Tommy believed) from one of Ripley's movie stars: "Mark Damon" [sic]. Almost as absorbing as The Room itself, The Disaster Artist is partly a memoir about Thomas P. Wiseau and his cinematic masterpiece. But it could also be described as a biography about a dysfunctional male relationship and, almost certainly entirely unconsciously, a text about the limitations of hetronormativity. It is this latter element that struck me the most whilst reading this book: if you take a step back for a moment, there is something uniquely sad about Tommy's inability to connect with others, and then, when Wiseau poured his soul into his film people just laughed. Despite the stories about his atrocious behaviour both on and off the film set, there's something deeply tragic about the whole affair. Jean-Luc Godard, who passed away earlier this year, once observed that every fictional film is a documentary of its actors. The Disaster Artist shows that this well-worn aphorism doesn't begin to cover it.

Review: Sweep of the Heart, by Ilona Andrews

Series:	Innkeeper Chronicles #6
Publisher:	NYLA Publishing
Copyright:	2022
ISBN:	1-64197-239-4
Format:	Kindle
Pages:	440

Sweep of the Heart is the sixth book of the sci-fi urban fantasy, kitchen-sink-worldbuilding Innkeeper series by husband and wife writing pair Ilona Andrews, assuming one counts the novella Sweep with Me as a full entry (which I do). It's a direct sequel to One Fell Sweep, but also references the events of Sweep of the Blade and Sweep with Me enough to spoil them. Needless to say, don't start here. As always with this series, the book was originally published as a serial on Ilona Andrews's blog. I prefer to read my novels as novels, so I wait until the entries are collected and published, but you can read it on-line for free if you want. Sean and Dina's old friend Wilmos has been kidnapped by an enemy who looks familiar from One Fell Sweep. To get him back, they need to get to a world that is notoriously inaccessible. One player in galactic politics may be able to offer a portal, but it will come as a price. That price? Host a reality TV show. Specifically, a sci-fi version of The Bachelor, with aliens. And the bachelor is the ruler of a galactic empire, whose personal safety is now Dina's responsibility. There is a hand-waving explanation for why the Seven Star Dominion does spouse selection for their rulers this way, but let's be honest: it's a fairly transparent excuse to write a season of The Bachelor with strange aliens, political intrigue, inn-generated special effects and wallpaper-worthy backdrops, ulterior motives, and attempted murder. Oh, and competence porn, as Dina once again demonstrates just how good she's become at being an innkeeper. I'm not much of a reality TV fan, have never watched The Bachelor, and still thoroughly enjoyed this. It helps that the story is more about political intrigue than it is about superficial attraction or personal infighting, and the emperor at the center of the drama is calm, thoughtful, and juggling a large number of tricky problems (which Dina, somewhat improbably, becomes privy to). The contestants range from careful diplomats with hidden political goals to eye candy with the subtlety of a two by four, the latter sponsored by sentient murderous trees, so there's a delightful variety of tone and a ton of narrative momentum. A few of the twists and turns were obvious, but some of the cliches are less cliched than they initially look. This series always leans towards "play with every toy in the toy box at once!" rather than subtle and realistic. This entry is no exception, but the mish-mash of science fiction tropes with nigh-unlimited fantasy power is, as usual, done with so much verve and sheer creative joy that I can't help but love it. We do finally learn Caldenia's past, and... I kind of wish we hadn't? Or at least that her past had been a bit more complicated. I will avoid spoiling it by saying too much, but I thought it was an oddly flat and overdone trope that made Caldenia substantially less interesting than she was before this revelation. That was one mild disappointment. The other is that the opening of Sweep of the Heart teases some development of the overall series plot, but that remains mostly a tease. Wilmos's kidnapping and any relevance to deeper innkeeper problems is, at least in this entry, merely a framing story for the reality TV show that constitutes the bulk of the novel. There are a few small revelations in the conclusion, but only the type that raise more questions. Hopefully we'll get more series plot development in the next book, but even if we don't, I'm happily along for the ride. If you like this series, this is more of the thing you already like. If you haven't read it yet, I highly recommend it (start with Clean Sweep). It's not great literature, and most of the trappings will be familiar from a dozen other novels and TV shows, but it's unabashed fun with loads of competence porn and a wild internal logic that grows on you over time. Also, it has one of the most emotionally satisfying sentient buildings in SF. There will, presumably, be more entries in the series, but they have not yet been announced. Rating: 8 out of 10

As a follow-up to yesterday's post detailing my favourite works of fiction from 2022, today I'll be listing my favourite fictional works that are typically filed under classics. Books that just missed the cut here include: E. M. Forster's A Room with a View (1908) and his later A Passage to India (1913), both gently nudged out by Forster's superb Howard's End (see below). Giuseppe Tomasi di Lampedusa's The Leopard (1958) also just missed out on a write-up here, but I can definitely recommend it to anyone interested in reading a modern Italian classic.

War and Peace (1867) Leo Tolstoy It's strange to think that there is almost no point in reviewing this novel: who hasn't heard of War and Peace? What more could possibly be said about it now? Still, when I was growing up, War and Peace was always the stereotypical example of the 'impossible book', and even start it was, at best, a pointless task, and an act of hubris at worst. And so there surely exists a parallel universe in which I never have and will never will read the book... Nevertheless, let us try to set the scene. Book nine of the novel opens as follows:

On the twelfth of June, 1812, the forces of Western Europe crossed the Russian frontier and war began; that is, an event took place opposed to human reason and to human nature. Millions of men perpetrated against one another such innumerable crimes, frauds, treacheries, thefts, forgeries, issues of false money, burglaries, incendiarisms and murders as in whole centuries are not recorded in the annals of all the law courts of the world, but which those who committed them did not at the time regard as being crimes. What produced this extraordinary occurrence? What were its causes? [ ] The more we try to explain such events in history reasonably, the more unreasonable and incomprehensible they become to us.

Set against the backdrop of the Napoleonic Wars and Napoleon's invasion of Russia, War and Peace follows the lives and fates of three aristocratic families: The Rostovs, The Bolkonskys and the Bezukhov's. These characters find themselves situated athwart (or against) history, and all this time, Napoleon is marching ever closer to Moscow. Still, Napoleon himself is essentially just a kind of wallpaper for a diverse set of personal stories touching on love, jealousy, hatred, retribution, naivety, nationalism, stupidity and much much more. As Elif Batuman wrote earlier this year, "the whole premise of the book was that you couldn t explain war without recourse to domesticity and interpersonal relations." The result is that Tolstoy has woven an incredibly intricate web that connects the war, noble families and the everyday Russian people to a degree that is surprising for a book started in 1865. Tolstoy's characters are probably timeless (especially the picaresque adventures and constantly changing thoughts Pierre Bezukhov), and the reader who has any social experience will immediately recognise characters' thoughts and actions. Some of this is at a 'micro' interpersonal level: for instance, take this example from the elegant party that opens the novel:

Each visitor performed the ceremony of greeting this old aunt whom not one of them knew, not one of them wanted to know, and not one of them cared about. The aunt spoke to each of them in the same words, about their health and her own and the health of Her Majesty, who, thank God, was better today. And each visitor, though politeness prevented his showing impatience, left the old woman with a sense of relief at having performed a vexatious duty and did not return to her the whole evening.

But then, some of the focus of the observations are at the 'macro' level of the entire continent. This section about cities that feel themselves in danger might suffice as an example:

At the approach of danger, there are always two voices that speak with equal power in the human soul: one very reasonably tells a man to consider the nature of the danger and the means of escaping it; the other, still more reasonably, says that it is too depressing and painful to think of the danger, since it is not in man s power to foresee everything and avert the general course of events, and it is therefore better to disregard what is painful till it comes and to think about what is pleasant. In solitude, a man generally listens to the first voice, but in society to the second.

And finally, in his lengthy epilogues, Tolstoy offers us a dissertation on the behaviour of large organisations, much of it through engagingly witty analogies. These epilogues actually turn out to be an oblique and sarcastic commentary on the idiocy of governments and the madness of war in general. Indeed, the thorough dismantling of the 'great man' theory of history is a common theme throughout the book:

During the whole of that period [of 1812], Napoleon, who seems to us to have been the leader of all these movements as the figurehead of a ship may seem to a savage to guide the vessel acted like a child who, holding a couple of strings inside a carriage, thinks he is driving it. [ ] Why do [we] all speak of a military genius ? Is a man a genius who can order bread to be brought up at the right time and say who is to go to the right and who to the left? It is only because military men are invested with pomp and power and crowds of sychophants flatter power, attributing to it qualities of genius it does not possess.

Unlike some other readers, I especially enjoyed these diversions into the accounting and workings of history, as well as our narrow-minded way of trying to 'explain' things in a singular way:

When an apple has ripened and falls, why does it fall? Because of its attraction to the earth, because its stalk withers, because it is dried by the sun, because it grows heavier, because the wind shakes it, or because the boy standing below wants to eat it? Nothing is the cause. All this is only the coincidence of conditions in which all vital organic and elemental events occur. And the botanist who finds that the apple falls because the cellular tissue decays and so forth is equally right with the child who stands under the tree and says the apple fell because he wanted to eat it and prayed for it.

Given all of these serious asides, I was also not expecting this book to be quite so funny. At the risk of boring the reader with citations, take this sarcastic remark about the ineptness of medicine men:

After his liberation, [Pierre] fell ill and was laid up for three months. He had what the doctors termed 'bilious fever.' But despite the fact that the doctors treated him, bled him and gave him medicines to drink he recovered.

There is actually a multitude of remarks that are not entirely complimentary towards Russian medical practice, but they are usually deployed with an eye to the human element involved rather than simply to the detriment of a doctor's reputation "How would the count have borne his dearly loved daughter s illness had he not known that it was costing him a thousand rubles?" Other elements of note include some stunning set literary pieces, such as when Prince Andrei encounters a gnarly oak tree under two different circumstances in his life, and when Nat sha's 'Russian' soul is awakened by the strains of a folk song on the balalaika. Still, despite all of these micro- and macro-level happenings, for a long time I felt that something else was going on in War and Peace. It was difficult to put into words precisely what it was until I came across this passage by E. M. Forster:

After one has read War and Peace for a bit, great chords begin to sound, and we cannot say exactly what struck them. They do not arise from the story [and] they do not come from the episodes nor yet from the characters. They come from the immense area of Russia, over which episodes and characters have been scattered, from the sum-total of bridges and frozen rivers, forests, roads, gardens and fields, which accumulate grandeur and sonority after we have passed them. Many novelists have the feeling for place, [but] very few have the sense of space, and the possession of it ranks high in Tolstoy s divine equipment. Space is the lord of War and Peace, not time.

'Space' indeed. Yes, potential readers should note the novel's great length, but the 365 chapters are actually remarkably short, so the sensation of reading it is not in the least overwhelming. And more importantly, once you become familiar with its large cast of characters, it is really not a difficult book to follow, especially when compared to the other Russian classics. My only regret is that it has taken me so long to read this magnificent novel and that I might find it hard to find time to re-read it within the next few years.

Coming Up for Air (1939) George Orwell It wouldn't be a roundup of mine without at least one entry from George Orwell, and, this year, that place is occupied by a book I hadn't haven't read in almost two decades Still, the George Bowling of Coming Up for Air is a middle-aged insurance salesman who lives in a distinctly average English suburban row house with his nuclear family. One day, after winning some money on a bet, he goes back to the village where he grew up in order to fish in a pool he remembers from thirty years before. Less important than the plot, however, is both the well-observed remarks and scathing criticisms that Bowling has of the town he has returned to, combined with an ominous sense of foreboding before the Second World War breaks out. At several times throughout the book, George's placid thoughts about his beloved carp pool are replaced by racing, anxious thoughts that overwhelm his inner peace:

War is coming. In 1941, they say. And there'll be plenty of broken crockery, and little houses ripped open like packing-cases, and the guts of the chartered accountant's clerk plastered over the piano that he's buying on the never-never. But what does that kind of thing matter, anyway? I'll tell you what my stay in Lower Binfield had taught me, and it was this. IT'S ALL GOING TO HAPPEN. All the things you've got at the back of your mind, the things you're terrified of, the things that you tell yourself are just a nightmare or only happen in foreign countries. The bombs, the food-queues, the rubber truncheons, the barbed wire, the coloured shirts, the slogans, the enormous faces, the machine-guns squirting out of bedroom windows. It's all going to happen. I know it - at any rate, I knew it then. There's no escape. Fight against it if you like, or look the other way and pretend not to notice, or grab your spanner and rush out to do a bit of face-smashing along with the others. But there's no way out. It's just something that's got to happen.

Already we can hear psychological madness that underpinned the Second World War. Indeed, there is no great story in Coming Up For Air, no wonderfully empathetic characters and no revelations or catharsis, so it is impressive that I was held by the descriptions, observations and nostalgic remembrances about life in modern Lower Binfield, its residents, and how it has changed over the years. It turns out, of course, that George's beloved pool has been filled in with rubbish, and the village has been perverted by modernity beyond recognition. And to cap it off, the principal event of George's holiday in Lower Binfield is an accidental bombing by the British Royal Air Force. Orwell is always good at descriptions of awful food, and this book is no exception:

The frankfurter had a rubber skin, of course, and my temporary teeth weren't much of a fit. I had to do a kind of sawing movement before I could get my teeth through the skin. And then suddenly pop! The thing burst in my mouth like a rotten pear. A sort of horrible soft stuff was oozing all over my tongue. But the taste! For a moment I just couldn't believe it. Then I rolled my tongue around it again and had another try. It was fish! A sausage, a thing calling itself a frankfurter, filled with fish! I got up and walked straight out without touching my coffee. God knows what that might have tasted of.

Many other tell-tale elements of Orwell's fictional writing are in attendance in this book as well, albeit worked out somewhat less successfully than elsewhere in his oeuvre. For example, the idea of a physical ailment also serving as a metaphor is present in George's false teeth, embodying his constant preoccupation with his ageing. (Readers may recall Winston Smith's varicose ulcer representing his repressed humanity in Nineteen Eighty-Four). And, of course, we have a prematurely middle-aged protagonist who almost but not quite resembles Orwell himself. Given this and a few other niggles (such as almost all the women being of the typical Orwell 'nagging wife' type), it is not exactly Orwell's magnum opus. But it remains a fascinating historical snapshot of the feeling felt by a vast number of people just prior to the Second World War breaking out, as well as a captivating insight into how the process of nostalgia functions and operates.

Howards End (1910) E. M. Forster Howards End begins with the following sentence:

One may as well begin with Helen s letters to her sister.

In fact, "one may as well begin with" my own assumptions about this book instead. I was actually primed to consider Howards End a much more 'Victorian' book: I had just finished Virginia Woolf's Mrs Dalloway and had found her 1925 book at once rather 'modern' but also very much constrained by its time. I must have then unconsciously surmised that a book written 15 years before would be even more inscrutable, and, with its Victorian social mores added on as well, Howards End would probably not undress itself so readily in front of the reader. No doubt there were also the usual expectations about 'the classics' as well. So imagine my surprise when I realised just how inordinately affable and witty Howards End turned out to be. It doesn't have that Wildean shine of humour, of course, but it's a couple of fields over in the English countryside, perhaps abutting the more mordant social satires of the earlier George Orwell novels (see Coming Up for Air above). But now let us return to the story itself. Howards End explores class warfare, conflict and the English character through a tale of three quite different families at the beginning of the twentieth century: the rich Wilcoxes; the gentle & idealistic Schlegels; and the lower-middle class Basts. As the Bloomsbury Group Schlegel sisters desperately try to help the Basts and educate the rich but close-minded Wilcoxes, the three families are drawn ever closer and closer together. Although the whole story does, I suppose, revolve around the house in the title (which is based on the Forster's own childhood home), Howards End is perhaps best described as a comedy of manners or a novel that shows up the hypocrisy of people and society. In fact, it is surprising how little of the story actually takes place in the eponymous house, with the overwhelming majority of the first half of the book taking place in London. But it is perhaps more illuminating to remark that the Howards End of the book is a house that the Wilcoxes who own it at the start of the novel do not really need or want. What I particularly liked about Howards End is how the main character's ideals alter as they age, and subsequently how they find their lives changing in different ways. Some of them find themselves better off at the end, others worse. And whilst it is also surprisingly funny, it still manages to trade in heavier social topics as well. This is apparent in the fact that, although the characters themselves are primarily in charge of their own destinies, their choices are still constrained by the changing world and shifting sense of morality around them. This shouldn't be too surprising: after all, Forster's novel was published just four years before the Great War, a distinctly uncertain time. Not for nothing did Virginia Woolf herself later observe that "on or about December 1910, human character changed" and that "all human relations have shifted: those between masters and servants, husbands and wives, parents and children." This process can undoubtedly be seen rehearsed throughout Forster's Howards End, and it's a credit to the author to be able to capture it so early on, if not even before it was widespread throughout Western Europe. I was also particularly taken by Forster's fertile use of simile. An extremely apposite example can be found in the description Tibby Schlegel gives of his fellow Cambridge undergraduates. Here, Timmy doesn't want to besmirch his lofty idealisation of them with any banal specificities, and wishes that the idea of them remain as ideal Platonic forms instead. Or, as Forster puts it, to Timmy it is if they are "pictures that must not walk out of their frames." Wilde, at his most weakest, is 'just' style, but Forster often deploys his flair for a deeper effect. Indeed, when you get to the end of this section mentioning picture frames, you realise Forster has actually just smuggled into the story a failed attempt on Tibby's part to engineer an anonymous homosexual encounter with another undergraduate. It is a credit to Forster's sleight-of-hand that you don't quite notice what has just happened underneath you and that the books' reticence to honestly describe what has happened is thus structually analogus Tibby's reluctance to admit his desires to himself. Another layer to the character of Tibby (and the novel as a whole) is thereby introduced without the imposition of clumsy literary scaffolding. In a similar vein, I felt very clever noticing the arch reference to Debussy's Pr lude l'apr s-midi d'un faune until I realised I just fell into the trap Forster set for the reader in that I had become even more like Tibby in his pseudo-scholarly views on classical music. Finally, I enjoyed that each chapter commences with an ironic and self-conscious bon mot about society which is only slightly overblown for effect. Particularly amusing are the ironic asides on "women" that run through the book, ventriloquising the narrow-minded views of people like the Wilcoxes. The omniscient and amiable narrator of the book also recalls those ironically distant voiceovers from various French New Wave films at times, yet Forster's narrator seems to have bigger concerns in his mordant asides: Forster seems to encourage some sympathy for all of the characters even the more contemptible ones at their worst moments. Highly recommended, as are Forster's A Room with a View (1908) and his slightly later A Passage to India (1913).

The Good Soldier (1915) Ford Madox Ford The Good Soldier starts off fairly simply as the narrator's account of his and his wife's relationship with some old friends, including the eponymous 'Good Soldier' of the book's title. It's an experience to read the beginning of this novel, as, like any account of endless praise of someone you've never met or care about, the pages of approving remarks about them appear to be intended to wash over you. Yet as the chapters of The Good Soldier go by, the account of the other characters in the book gets darker and darker. Although the author himself is uncritical of others' actions, your own critical faculties are slowgrly brought into play, and you gradully begin to question the narrator's retelling of events. Our narrator is an unreliable narrator in the strict sense of the term, but with the caveat that he is at least is telling us everything we need to know to come to our own conclusions. As the book unfolds further, the narrator's compromised credibility seems to infuse every element of the novel even the 'Good' of the book's title starts to seem like a minor dishonesty, perhaps serving as the inspiration for the irony embedded in the title of The 'Great' Gatsby. Much more effectively, however, the narrator's fixations, distractions and manner of speaking feel very much part of his dissimulation. It sometimes feels like he is unconsciously skirting over the crucial elements in his tale, exactly like one does in real life when recounting a story containing incriminating ingredients. Indeed, just how much the narrator is conscious of his own concealment is just one part of what makes this such an interesting book: Ford Madox Ford has gifted us with enough ambiguity that it is also possible that even the narrator cannot find it within himself to understand the events of the story he is narrating. It was initially hard to believe that such a carefully crafted analysis of a small group of characters could have been written so long ago, and despite being fairly easy to read, The Good Soldier is an almost infinitely subtle book even the jokes are of the subtle kind and will likely get a re-read within the next few years.

Anna Karenina (1878) Leo Tolstoy There are many similar themes running through War and Peace (reviewed above) and Anna Karenina. Unrequited love; a young man struggling to find a purpose in life; a loving family; an overwhelming love of nature and countless fascinating observations about the minuti of Russian society. Indeed, rather than primarily being about the eponymous Anna, Anna Karenina provides a vast panorama of contemporary life in Russia and of humanity in general. Nevertheless, our Anna is a sophisticated woman who abandons her empty existence as the wife of government official Alexei Karenin, a colourless man who has little personality of his own, and she turns to a certain Count Vronsky in order to fulfil her passionate nature. Needless to say, this results in tragic consequences as their (admittedly somewhat qualified) desire to live together crashes against the rocks of reality and Russian society. Parallel to Anna's narrative, though, Konstantin Levin serves as the novel's alter-protagonist. In contrast to Anna, Levin is a socially awkward individual who straddles many schools of thought within Russia at the time: he is neither a free-thinker (nor heavy-drinker) like his brother Nikolai, and neither is he a bookish intellectual like his half-brother Serge. In short, Levin is his own man, and it is generally agreed by commentators that he is Tolstoy's surrogate within the novel. Levin tends to come to his own version of an idea, and he would rather find his own way than adopt any prefabricated view, even if confusion and muddle is the eventual result. In a roughly isomorphic fashion then, he resembles Anna in this particular sense, whose story is a counterpart to Levin's in their respective searches for happiness and self-actualisation. Whilst many of the passionate and exciting passages are told on Anna's side of the story (I'm thinking horse race in particular, as thrilling as anything in cinema ), many of the broader political thoughts about the nature of the working classes are expressed on Levin's side instead. These are stirring and engaging in their own way, though, such as when he joins his peasants to mow the field and seems to enter the nineteenth-century version of 'flow':

The longer Levin mowed, the more often he felt those moments of oblivion during which it was no longer his arms that swung the scythe, but the scythe itself that lent motion to his whole body, full of life and conscious of itself, and, as if by magic, without a thought of it, the work got rightly and neatly done on its own. These were the most blissful moments.

Overall, Tolstoy poses no didactic moral message towards any of the characters in Anna Karenina, and merely invites us to watch rather than judge. (Still, there is a hilarious section that is scathing of contemporary classical music, presaging many of the ideas found in Tolstoy's 1897 What is Art?). In addition, just like the earlier War and Peace, the novel is run through with a number of uncannily accurate observations about daily life:

Anna smiled, as one smiles at the weaknesses of people one loves, and, putting her arm under his, accompanied him to the door of the study.

... as well as the usual sprinkling of Tolstoy's sardonic humour ("No one is pleased with his fortune, but everyone is pleased with his wit."). Fyodor Dostoyevsky, the other titan of Russian literature, once described Anna Karenina as a "flawless work of art," and if you re only going to read one Tolstoy novel in your life, it should probably be this one.

This post marks the beginning my yearly roundups of the favourite books and movies that I read and watched in 2022 that I plan to publish over the next few days. Just as I did for 2020 and 2021, I won't reveal precisely how many books I read in the last year. I didn't get through as many books as I did in 2021, though, but that's partly due to reading a significant number of long nineteenth-century novels in particular, a fair number of those books that American writer Henry James once referred to as "large, loose, baggy monsters." However, in today's post I'll be looking at my favourite books that are typically filed under fiction, with 'classic' fiction following tomorrow. Works that just missed the cut here include John O'Brien's Leaving Las Vegas, Colson Whitehead's Sag Harbor and possibly The Name of the Rose by Umberto Eco, or Elif Batuman's The Idiot. I also feel obliged to mention (or is that show off?) that I also read the 1,079-page Infinite Jest by David Foster Wallace, but I can't say it was a favourite, let alone recommend others unless they are in the market for a good-quality under-monitor stand.

Mona (2021) Pola Oloixarac Mona is the story of a young woman who has just been nominated for the 'most important literary award in Europe'. Mona sees the nomination as a chance to escape her substance abuse on a Californian campus and so speedily decamps to the small village in the depths of Sweden where the nominees must convene for a week before the overall winner is announced. Mona didn't disappear merely to avoid pharmacological misadventures, though, but also to avoid the growing realisation that she is being treated as something of an anthropological curiosity at her university: a female writer of colour treasured for her flourish of exotic diversity that reflects well upon her department. But Mona is now stuck in the company of her literary competitors who all have now gathered from around the world in order to do what writers do: harbour private resentments, exchange empty flattery, embody the selfsame racialised stereotypes that Mona left the United States to avoid, stab rivals in the back, drink too much, and, of course, go to bed together. But as I read Mona, I slowly started to realise that something else is going on. Why does Mona keep finding traces of violence on her body, the origins of which she cannot or refuses to remember? There is something eerily defensive about her behaviour and sardonic demeanour in general as well. A genre-bending and mind-expanding novel unfolded itself, and, without getting into spoiler territory, Mona concludes with such a surprising ending that, according to Adam Thirlwell:

Perhaps we need to rethink what is meant by a gimmick. If a gimmick is anything that we want to reject as extra or excessive or ill-fitting, then it may be important to ask what inhibitions or arbitrary conventions have made it seem like excess, and to revel in the exorbitant fictional constructions it produces. [...]

Mona is a savage satire of the literary world, but it's also a very disturbing exploration of trauma and violence. The success of the book comes in equal measure from the author's commitment to both ideas, but also from the way the psychological damage component creeps up on you. And, as implied above, the last ten pages are quite literally out of this world.

My Brilliant Friend (2011)
The Story of a New Name (2012)
Those Who Leave and Those Who Stay (2013)
The Story of the Lost Child (2014) Elena Ferrante Elena Ferrante's Neopolitan Quartet follows two girls, both brilliant in their own way. Our protagonist-narrator is Elena, a studious girl from the lower rungs of the middle class of Naples who is inspired to be more by her childhood friend, Lila. Lila is, in turn, far more restricted by her poverty and class, but can transcend it at times through her fiery nature, which also brands her as somewhat unique within their inward-looking community. The four books follow the two girls from the perspective of Elena as they grow up together in post-war Italy, where they drift in-and-out of each other's lives due to the vicissitudes of change and the consequences of choice. All the time this is unfolding, however, the narrative is very always slightly charged by the background knowledge revealed on the very first page that Lila will, many years later, disappear from Elena's life. Whilst the quartet has the formal properties of a bildungsroman, its subject and conception are almost entirely different. In particular, the books are driven far more by character and incident than spectacular adventures in picturesque Italy. In fact, quite the opposite takes place: these are four books where ordinary-seeming occurrences take on an unexpected radiance against a background of poverty, ignorance, violence and other threats, often bringing to mind the films of the Italian neorealism movement. Brilliantly rendered from beginning to end, Ferrante has a seemingly studious eye for interpreting interactions and the psychology of adolescence and friendship. Some utterances indeed, perhaps even some glances are dissected at length over multiple pages, something that Vittorio De Sica's classic Bicycle Thieves (1948) could never do. Potential readers should not take any notice of the saccharine cover illustrations on most editions of the books. The quartet could even win an award for the most misleading artwork, potentially rivalling even Vladimir Nabokov's Lolita. I wouldn't be at all surprised if it is revealed that the drippy illustrations and syrupy blurbs ("a rich, intense and generous-hearted story ") turn out to be part of a larger metatextual game that Ferrante is playing with her readers. This idiosyncratic view of mine is partially supported by the fact that each of the four books has been given a misleading title, the true ambiguity of which often only becomes clear as each of the four books comes into sharper focus. Readers of the quartet often fall into debating which is the best of the four. I've heard from more than one reader that one has 'too much Italian politics' and another doesn't have enough 'classic' Lina moments. The first book then possesses the twin advantages of both establishing the environs and finishing with a breathtaking ending that is both satisfying and a cliffhanger as well but does this make it 'the best'? I prefer to liken the quartet more like the different seasons of The Wire (2002-2008) where, personal favourites and preferences aside, although each season is undoubtedly unique, it would take a certain kind of narrow-minded view of art to make the claim that, say, series one of The Wire is 'the best' or that the season that focuses on the Baltimore docks 'is boring'. Not to sound like a neo-Wagnerian, but each of them adds to final result in its own. That is to say, both The Wire and the Neopolitan Quartet achieve the rare feat of making the magisterial simultaneously intimate.

Out There: Stories (2022) Kate Folk Out There is a riveting collection of disturbing short stories by first-time author Kate Fork. The title story first appeared in the New Yorker in early 2020 imagines a near-future setting where a group of uncannily handsome artificial men called 'blots' have arrived on the San Francisco dating scene with the secret mission of sleeping with women, before stealing their personal data from their laptops and phones and then (quite literally) evaporating into thin air. Folk's satirical style is not at all didactic, so it rarely feels like she is making her points in a pedantic manner. But it's clear that the narrator of Out There is recounting her frustration with online dating. in a way that will resonate with anyone who s spent time with dating apps or indeed the contemporary hyper-centralised platform-based internet in general. Part social satire, part ghost story and part comic tales, the blurring of the lines between these factors is only one of the things that makes these stories so compelling. But whilst Folk constructs crazy scenarios and intentionally strange worlds, she also manages to also populate them with characters that feel real and genuinely sympathetic. Indeed, I challenge you not to feel some empathy for the 'blot' in the companion story Big Sur which concludes the collection, and it complicates any primary-coloured view of the dating world of consisting entirely of predatory men. And all of this is leavened with a few stories that are just plain surreal. I don't know what the deal is with Dating a Somnambulist (available online on Hobart Pulp), but I know that I like it.

Solaris (1961) Stanislaw Lem When Kelvin arrives at the planet Solaris to study the strange ocean that covers its surface, instead of finding an entirely physical scientific phenomenon, he soon discovers a previously unconscious memory embodied in the physical manifestation of a long-dead lover. The other scientists on the space station slowly reveal that they are also plagued with their own repressed corporeal memories. Many theories are put forward as to why all this is occuring, including the idea that Solaris is a massive brain that creates these incarnate memories. Yet if that is the case, the planet's purpose in doing so is entirely unknown, forcing the scientists to shift focus and wonder whether they can truly understand the universe without first understanding what lies within their own minds and in their desires. This would be an interesting outline for any good science fiction book, but one of the great strengths of Solaris is not only that it withholds from the reader why the planet is doing anything it does, but the book is so forcefully didactic in its dislike of the hubris, destructiveness and colonial thinking that can accompany scientific exploration. In one of its most vitriolic passages, Lem's own anger might be reaching out to the reader:

We are humanitarian and chivalrous; we don t want to enslave other races, we simply want to bequeath them our values and take over their heritage in exchange. We think of ourselves as the Knights of the Holy Contact. This is another lie. We are only seeking Man. We have no need of other worlds. We need mirrors. We don t know what to do with other worlds. A single world, our own, suffices us; but we can t accept it for what it is. We are searching for an ideal image of our own world: we go in quest of a planet, of a civilisation superior to our own, but developed on the basis of a prototype of our primaeval past. At the same time, there is something inside us that we don t like to face up to, from which we try to protect ourselves, but which nevertheless remains since we don t leave Earth in a state of primal innocence. We arrive here as we are in reality, and when the page is turned, and that reality is revealed to us that part of our reality that we would prefer to pass over in silence then we don t like it anymore.

An overwhelming preoccupation with this idea infuses Solaris, and it turns out to be a common theme in a lot of Lem's work of this period, such as in his 1959 'anti-police procedural' The Investigation. Perhaps it not a dislike of exploration in general or the modern scientific method in particular, but rather a savage critique of the arrogance and self-assuredness that accompanies most forms of scientific positivism, or at least pursuits that cloak themselves under the guise of being a laudatory 'scientific' pursuit:

Man has gone out to explore other worlds and other civilizations without having explored his own labyrinth of dark passages and secret chambers and without finding what lies behind doorways that he himself has sealed.

I doubt I need to cite specific instances of contemporary scientific pursuits that might meet Lem's punishing eye today, and the fact that his critique works both in 2022 and 1961 perhaps tells us more about the human condition than we'd care to know. Another striking thing about Solaris isn't just the specific Star Trek and Stargate SG-1 episodes that I retrospectively realised were purloined from the book, but that almost the entire register of Star Trek: The Next Generation in particular seems to be rehearsed here. That is to say, TNG presents itself as hard and fact-based 'sci-fi' on the surface, but, at its core, there are often human, existential and sometimes quite enormously emotionally devastating human themes being discussed such as memory, loss and grief. To take one example from many, the painful memories that the planet Solaris physically materialises in effect asks us to seriously consider what it actually is taking place when we 'love' another person: is it merely another 'mirror' of ourselves? (And, if that is the case, is that... bad?) It would be ahistorical to claim that all popular science fiction today can be found rehearsed in Solaris, but perhaps it isn't too much of a stretch:

[Solaris] renders unnecessary any more alien stories. Nothing further can be said on this topic ...] Possibly, it can be said that when one feels the urge for such a thing, one should simply reread Solaris and learn its lessons again. Kim Stanley Robinson [...]

I could go on praising this book for quite some time; perhaps by discussing the extreme framing devices used within the book at one point, the book diverges into a lengthy bibliography of fictional books-within-the-book, each encapsulating a different theory about what the mechanics and/or function of Solaris is, thereby demonstrating that 'Solaris studies' as it is called within the world of the book has been going on for years with no tangible results, which actually leads to extreme embarrassment and then a deliberate and willful blindness to the 'Solaris problem' on the part of the book's scientific community. But I'll leave it all here before this review gets too long... Highly recommended, and a likely reread in 2023.

Brokeback Mountain (1997) Annie Proulx Brokeback Mountain began as a short story by American author Annie Proulx which appeared in the New Yorker in 1997, although it is now more famous for the 2005 film adaptation directed by Taiwanese filmmaker Ang Lee. Both versions follow two young men who are hired for the summer to look after sheep at a range under the 'Brokeback' mountain in Wyoming. Unexpectedly, however, they form an intense emotional and sexual attachment, yet life intervenes and demands they part ways at the end of the summer. Over the next twenty years, though, as their individual lives play out with marriages, children and jobs, they continue reuniting for brief albeit secret liaisons on camping trips in remote settings. There's no feigned shyness or self-importance in Brokeback Mountain, just a close, compassionate and brutally honest observation of a doomed relationship and a bone-deep feeling for the hardscrabble life in the post-War West. To my mind, very few books have captured so acutely the desolation of a frustrated and repressed passion, as well as the particular flavour of undirected anger that can accompany this kind of yearning. That the original novella does all this in such a beautiful way (and without the crutch of the Wyoming landscape to look at ) is a tribute to Proulx's skills as a writer. Indeed, even without the devasting emotional undertones, Proulx's descriptions of the mountains and scree of the West is likely worth the read alone.

Luster (2020) Raven Leilani Edie is a young Black woman living in New York whose life seems to be spiralling out of control. She isn't good at making friends, her career is going nowhere, and she has no close family to speak of as well. She is, thus, your typical NYC millennial today, albeit seen through a lens of Blackness that complicates any reductive view of her privilege or minority status. A representative paragraph might communicate the simmering tone:

Before I start work, I browse through some photos of friends who are doing better than me, then an article on a black teenager who was killed on 115th for holding a weapon later identified as a showerhead, then an article on a black woman who was killed on the Grand Concourse for holding a weapon later identified as a cell phone, then I drown myself in the comments section and do some online shopping, by which I mean I put four dresses in my cart as a strictly theoretical exercise and then let the page expire.

She starts a sort-of affair with an older white man who has an affluent lifestyle in nearby New Jersey. Eric or so he claims has agreed upon an 'open relationship' with his wife, but Edie is far too inappropriate and disinhibited to respect any boundaries that Eric sets for her, and so Edie soon becomes deeply entangled in Eric's family life. It soon turns out that Eric and his wife have a twelve-year-old adopted daughter, Akila, who is also wait for it Black. Akila has been with Eric's family for two years now and they aren t exactly coping well together. They don t even know how to help her to manage her own hair, let alone deal with structural racism. Yet despite how dark the book's general demeanour is, there are faint glimmers of redemption here and there. Realistic almost to the end, Edie might finally realise what s important in her life, but it would be a stretch to say that she achieves them by the final page. Although the book is full of acerbic remarks on almost any topic (Dogs: "We made them needy and physically unfit. They used to be wolves, now they are pugs with asthma."), it is the comments on contemporary race relations that are most critically insightful. Indeed, unsentimental, incisive and funny, Luster had much of what I like in Colson Whitehead's books at times, but I can't remember a book so frantically fast-paced as this since the Booker-prize winning The Sellout by Paul Beatty or Sam Tallent's Running the Light.

If you have a personal domain, it is nice if you can redirect webfinger requests so you can be easily found via your email. This is hardly a new idea, but the growth of Mastodon recently has made this more prominent. I wanted to redirect webfinger endpoints to a Mastondon host I am using, but only my email and only standard Apache rewrites. Below, replace xxx@yyy\.com with your email and zzz.social with the account to be redirected to. There are a couple of tricks in being able to inspect the query-string and quoting, but the end result that works for me is c.f. https://blog.bofh.it/debian/id_464

A few years ago, I downsized my personal infrastructure. Until 2018, there were a dozen containers running on a single Hetzner server.¹ I migrated my emails to Fastmail and my DNS zones to Gandi. It left me with only my blog to self-host. As of today, my low-scale infrastructure is composed of 4 virtual machines running NixOS on Hetzner Cloud and Vultr, a handful of DNS zones on Gandi and Route 53, and a couple of Cloudfront distributions. It is managed by CDK for Terraform (CDKTF), while NixOS deployments are handled by NixOps. In this article, I provide a brief introduction to Terraform, CDKTF, and the Nix ecosystem. I also explain how to use Nix to access these tools within your shell, so you can quickly start using them.

CDKTF: infrastructure as code Terraform is an infrastructure-as-code tool. You can define your infrastructure by declaring resources with the HCL language. This language has some additional features like loops to declare several resources from a list, built-in functions you can call in expressions, and string templates. Terraform relies on a large set of providers to manage resources.

Managing servers Here is a short example using the Hetzner Cloud provider to spawn a virtual machine:

variable "hcloud_token"  
  sensitive = true
 
provider "hcloud"  
  token = var.hcloud_token
 
resource "hcloud_server" "web03"  
  name = "web03"
  server_type = "cpx11"
  image = "debian-11"
  datacenter = "nbg1-dc3"
 
resource "hcloud_rdns" "rdns4-web03"  
  server_id = hcloud_server.web03.id
  ip_address = hcloud_server.web03.ipv4_address
  dns_ptr = "web03.luffy.cx"
 
resource "hcloud_rdns" "rdns6-web03"  
  server_id = hcloud_server.web03.id
  ip_address = hcloud_server.web03.ipv6_address
  dns_ptr = "web03.luffy.cx"
 

HCL expressiveness is quite limited and I find a general-purpose language more convenient to describe all the resources. This is where CDK for Terraform comes in: you can manage your infrastructure using your preferred programming language, including TypeScript, Go, and Python. Here is the previous example using CDKTF and TypeScript:

import   App, TerraformStack, Fn   from "cdktf";
import   HcloudProvider   from "./.gen/providers/hcloud/provider";
import * as hcloud from "./.gen/providers/hcloud";
class MyStack extends TerraformStack  
  constructor(scope: Construct, name: string)  
    super(scope, name);
    const hcloudToken = new TerraformVariable(this, "hcloudToken",  
      type: "string",
      sensitive: true,
     );
    const hcloudProvider = new HcloudProvider(this, "hcloud",  
      token: hcloudToken.value,
     );
    const web03 = new hcloud.server.Server(this, "web03",  
      name: "web03",
      serverType: "cpx11",
      image: "debian-11",
      datacenter: "nbg1-dc3",
      provider: hcloudProvider,
     );
    new hcloud.rdns.Rdns(this, "rdns4-web03",  
      serverId: Fn.tonumber(web03.id),
      ipAddress: web03.ipv4Address,
      dnsPtr: "web03.luffy.cx",
      provider: hcloudProvider,
     );
    new hcloud.rdns.Rdns(this, "rdns6-web03",  
      serverId: Fn.tonumber(web03.id),
      ipAddress: web03.ipv6Address,
      dnsPtr: "web03.luffy.cx",
      provider: hcloudProvider,
     );
   
 
const app = new App();
new MyStack(app, "cdktf-take1");
app.synth();

Running cdktf synth generates a configuration file for Terraform, terraform plan previews the changes, and terraform apply applies them. Now that you have a general-purpose language, you can use functions.

Managing DNS records While using CDKTF for 4 web servers may seem a tad overkill, this is quite different when it comes to managing a few DNS zones. With DNSControl, which is using JavaScript as a domain-specific language, I was able to define the bernat.ch zone with this snippet of code:

D("bernat.ch", REG_NONE, DnsProvider(DNS_BIND, 0), DnsProvider(DNS_GANDI),
  DefaultTTL('2h'),
  FastMailMX('bernat.ch',  subdomains: ['vincent'] ),
  WebServers('@'),
  WebServers('vincent');

This generated 38 records. With CDKTF, I use:

new Route53Zone(this, "bernat.ch", providers.aws)
  .sign(dnsCMK)
  .registrar(providers.gandiVB)
  .www("@", servers)
  .www("vincent", servers)
  .www("media", servers)
  .fastmailMX(["vincent"]);

All the magic is in the code that I did not show you. You can check the dns.ts file in the cdktf-take1 repository to see how it works. Here is a quick explanation:

• Route53Zone() creates a new zone hosted by Route 53,
• sign() signs the zone with the provided master key,
• registrar() registers the zone to the registrar of the domain and sets up DNSSEC,
• www() creates A and AAAA records for the provided name pointing to the web servers,
• fastmailMX() creates the MX records and other support records to direct emails to Fastmail.

Here is the content of the fastmailMX() function. It generates a few records and returns the current zone for chaining:

fastmailMX(subdomains?: string[])  
  (subdomains ?? [])
    .concat(["@", "*"])
    .forEach((subdomain) =>
      this.MX(subdomain, [
        "10 in1-smtp.messagingengine.com.",
        "20 in2-smtp.messagingengine.com.",
      ])
    );
  this.TXT("@", "v=spf1 include:spf.messagingengine.com ~all");
  ["mesmtp", "fm1", "fm2", "fm3"].forEach((dk) =>
    this.CNAME( $ dk ._domainkey ,  $ dk .$ this.name .dkim.fmhosted.com. )
  );
  this.TXT("_dmarc", "v=DMARC1; p=none; sp=none");
  return this;
 

I encourage you to browse the repository if you need more information.

About Pulumi My first tentative around Terraform was to use Pulumi. You can find this attempt on GitHub. This is quite similar to what I currently do with CDKTF. The main difference is that I am using Python instead of TypeScript because I was not familiar with TypeScript at the time.² Pulumi predates CDKTF and it uses a slightly different approach. CDKTF generates a Terraform configuration (in JSON format instead of HCL), delegating planning, state management, and deployment to Terraform. It is therefore bound to the limitations of what can be expressed by Terraform, notably when you need to transform data obtained from one resource to another.³ Pulumi needs specific providers for each resource. Many Pulumi providers are thin wrappers encapsulating Terraform providers. While Pulumi provides a good user experience, I switched to CDKTF because writing providers for Pulumi is a chore. CDKTF does not require such a step. Outside the big players (AWS, Azure and Google Cloud), the existence, quality, and freshness of the Pulumi providers are inconsistent. Most providers rely on a Terraform provider and they may lag a few versions behind, miss a few resources, or have a few bugs of their own. When a provider does not exist, you can write one with the help of the pulumi-terraform-bridge library. The Pulumi project provides a boilerplate for this purpose. I had a bad experience with it when writing providers for Gandi and Vultr: the Makefile automatically installs Pulumi using a curl sh pattern and does not work with /bin/sh. There is a lack of interest for community-based contributions⁴ or even for providers for smaller players.

NixOS & NixOps Nix is a functional, purely-functional programming language. Nix is also the name of the package manager that is built on top of the Nix language. It allows users to declaratively install packages. nixpkgs is a repository of packages. You can install Nix on top of a regular Linux distribution. If you want more details, a good resource is the official website, and notably the learn section. There is a steep learning curve, but the reward is tremendous.

NixOS: declarative Linux distribution NixOS is a Linux distribution built on top of the Nix package manager. Here is a configuration snippet to add some packages:

environment.systemPackages = with pkgs;
  [
    bat
    htop
    liboping
    mg
    mtr
    ncdu
    tmux
  ];

It is possible to alter an existing derivation⁵ to use a different version, enable a specific feature, or apply a patch. Here is how I enable and configure Nginx to disable the stream module, add the Brotli compression module, and add the IP address anonymizer module. Moreover, instead of using OpenSSL 3, I keep using OpenSSL 1.1.⁶

services.nginx =  
  enable = true;
  package = (pkgs.nginxStable.override  
    withStream = false;
    modules = with pkgs.nginxModules; [
      brotli
      ipscrub
    ];
    openssl = pkgs.openssl_1_1;
   );

If you need to add some patches, it is also possible. Here are the patches I added in 2019 to circumvent the DoS vulnerabilities in Nginx until they were fixed in NixOS:⁷

services.nginx.package = pkgs.nginxStable.overrideAttrs (old:  
  patches = oldAttrs.patches ++ [
    # HTTP/2: reject zero length headers with PROTOCOL_ERROR.
    (pkgs.fetchpatch  
      url = https://github.com/nginx/nginx/commit/dbdd[ ].patch;
      sha256 = "a48190[ ]";
     )
    # HTTP/2: limited number of DATA frames.
    (pkgs.fetchpatch  
      url = https://github.com/nginx/nginx/commit/94c5[ ].patch;
      sha256 = "af591a[ ]";
     )
    #  HTTP/2: limited number of PRIORITY frames.
    (pkgs.fetchpatch  
      url = https://github.com/nginx/nginx/commit/39bb[ ].patch;
      sha256 = "1ad8fe[ ]";
     )
  ];
 );

If you are interested, have a look at my relatively small configuration: common.nix contains the configuration to be applied to any host (SSH, users, common software packages), web.nix contains the configuration for the web servers, isso.nix runs Isso into a systemd container.

NixOps: NixOS deployment tool On a single node, NixOS configuration is in the /etc/nixos/configuration.nix file. After modifying it, you have to run nixos-rebuild switch. Nix fetches all possible dependencies from the binary cache and builds the remaining packages. It creates a new entry in the boot loader menu and activates the new configuration. To manage several nodes, there exists several options, including NixOps, deploy-rs, Colmena, and morph. I do not know all of them, but from my point of view, the differences are not that important. It is also possible to build such a tool yourself as Nix provides the most important building blocks: nix build and nix copy. NixOps is one of the first tools available but I encourage you to explore the alternatives. NixOps configuration is written in Nix. Here is a simplified configuration to deploy znc01.luffy.cx, web01.luffy.cx, and web02.luffy.cx, with the help of the server and web functions:

let
  server = hardware: name: imports:  
    deployment.targetHost = "$ name .luffy.cx";
    networking.hostName = name;
    networking.domain = "luffy.cx";
    imports = [ (./hardware/. + "/$ hardware .nix") ] ++ imports;
   ;
  web = hardware: idx: imports:
    server hardware "web$ lib.fixedWidthNumber 2 idx " ([ ./web.nix ] ++ imports);
in  
  network.description = "Luffy infrastructure";
  network.enableRollback = true;
  defaults = import ./common.nix;
  znc01 = server "exoscale" [ ./znc.nix ];
  web01 = web "hetzner" 1 [ ./isso.nix ];
  web02 = web "hetzner" 2 [];
 

Tying everything together with Nix The Nix ecosystem is a unified solution to the various problems around software and configuration management. A very interesting feature is the declarative and reproducible developer environments. This is similar to Python virtual environments, except it is not language-specific.

Brief introduction to Nix flakes I am using flakes, a new Nix feature improving reproducibility by pinning all dependencies and making the build hermetic. While the feature is marked as experimental,⁸ it is widely used and you may see flake.nix and flake.lock at the root of some repositories. As a short example, here is the flake.nix content shipped with Snimpy, an interactive SNMP tool for Python relying on libsmi, a C library:

 
  inputs =  
    nixpkgs.url = "nixpkgs";
    flake-utils.url = "github:numtide/flake-utils";
   ;
  outputs =   self, ...  @inputs:
    inputs.flake-utils.lib.eachDefaultSystem (system:
      let
        pkgs = inputs.nixpkgs.legacyPackages."$ system ";
      in
       
        # nix build
        packages.default = pkgs.python3Packages.buildPythonPackage  
          name = "snimpy";
          src = self;
          preConfigure = ''echo "1.0.0-0-000000000000" > version.txt'';
          checkPhase = "pytest";
          checkInputs = with pkgs.python3Packages; [ pytest mock coverage ];
          propagatedBuildInputs = with pkgs.python3Packages; [ cffi pysnmp ipython ];
          buildInputs = [ pkgs.libsmi ];
         ;
        # nix run + nix shell
        apps.default =   
          type = "app";
          program = "$ self.packages."$ system ".default /bin/snimpy";
         ;
        # nix develop
        devShells.default = pkgs.mkShell  
          name = "snimpy-dev";
          buildInputs = [
            self.packages."$ system ".default.inputDerivation
            pkgs.python3Packages.ipython
          ];
         ;
       );
 

If you have Nix installed on your system:

• nix run github:vincentbernat/snimpy runs Snimpy,
• nix shell github:vincentbernat/snimpy provides a shell with Snimpy ready-to-use,
• nix build github:vincentbernat/snimpy builds the Python package, tests included, and
• nix develop . provides a shell to hack around Snimpy when run from a fresh checkout.⁹

For more information about Nix flakes, have a look at the tutorial from Tweag.

Nix and CDKTF At the root of the repository I use for CDKTF, there is a flake.nix file to set up a shell with Terraform and CDKTF installed and with the appropriate environment variables to automate my infrastructure. Terraform is already packaged in nixpkgs. However, I need to apply a patch on top of the Gandi provider. Not a problem with Nix!

terraform = pkgs.terraform.withPlugins (p: [
  p.aws
  p.hcloud
  p.vultr
  (p.gandi.overrideAttrs
    (old:  
      src = pkgs.fetchFromGitHub  
        owner = "vincentbernat";
        repo = "terraform-provider-gandi";
        rev = "feature/livedns-key";
        hash = "sha256-V16BIjo5/rloQ1xTQrdd0snoq1OPuDh3fQNW7kiv/kQ=";
       ;
     ))
]);

CDKTF is written in TypeScript. I have a package.json file with all the dependencies needed, including the ones to use TypeScript as the language to define infrastructure:

 
  "name": "cdktf-take1",
  "version": "1.0.0",
  "main": "main.js",
  "types": "main.ts",
  "private": true,
  "dependencies":  
    "@types/node": "^14.18.30",
    "cdktf": "^0.13.3",
    "cdktf-cli": "^0.13.3",
    "constructs": "^10.1.151",
    "eslint": "^8.27.0",
    "prettier": "^2.7.1",
    "ts-node": "^10.9.1",
    "typescript": "^3.9.10",
    "typescript-language-server": "^2.1.0"
   
 

I use Yarn to get a yarn.lock file that can be used directly to declare a derivation containing all the dependencies:

nodeEnv = pkgs.mkYarnModules  
  pname = "cdktf-take1-js-modules";
  version = "1.0.0";
  packageJSON = ./package.json;
  yarnLock = ./yarn.lock;
 ;

The next step is to generate the CDKTF providers from the Terraform providers and turn them into a derivation:

cdktfProviders = pkgs.stdenvNoCC.mkDerivation  
  name = "cdktf-providers";
  nativeBuildInputs = [
    pkgs.nodejs
    terraform
  ];
  src = nix-filter  
    root = ./.;
    include = [ ./cdktf.json ./tsconfig.json ];
   ;
  buildPhase = ''
    export HOME=$(mktemp -d)
    export CHECKPOINT_DISABLE=1
    export DISABLE_VERSION_CHECK=1
    export PATH=$ nodeEnv /node_modules/.bin:$PATH
    ln -nsf $ nodeEnv /node_modules node_modules
    # Build all providers we have in terraform
    for provider in $(cd $ terraform /libexec/terraform-providers; echo */*/*/*); do
      version=''$ provider##*/ 
      provider=''$ provider%/* 
      echo "Build $provider@$version"
      cdktf provider add --force-local $provider@$version   cat
    done
    echo "Compile TS   JS"
    tsc
  '';
  installPhase = ''
    mv .gen $out
    ln -nsf $ nodeEnv /node_modules $out/node_modules
  '';
 ;

Finally, we can define the development environment:

devShells.default = pkgs.mkShell  
  name = "cdktf-take1";
  buildInputs = [
    pkgs.nodejs
    pkgs.yarn
    terraform
  ];
  shellHook = ''
    # No telemetry
    export CHECKPOINT_DISABLE=1
    # No autoinstall of plugins
    export CDKTF_DISABLE_PLUGIN_CACHE_ENV=1
    # Do not check version
    export DISABLE_VERSION_CHECK=1
    # Access to node modules
    export PATH=$PWD/node_modules/.bin:$PATH
    ln -nsf $ nodeEnv /node_modules node_modules
    ln -nsf $ cdktfProviders  .gen
    # Credentials
    for p in \
      njf.nznmba.pbz/Nqzvavfgengbe \
      urgmare.pbz/ivaprag@oreang.pu \
      ihyge.pbz/ihyge@ivaprag.oreang.pu; do
        eval $(pass show $(echo $p   tr 'A-Za-z' 'N-ZA-Mn-za-m')   grep '^export')
    done
    eval $(pass show personal/cdktf/secrets   grep '^export')
    export TF_VAR_hcloudToken="$HCLOUD_TOKEN"
    export TF_VAR_vultrApiKey="$VULTR_API_KEY"
    unset VULTR_API_KEY HCLOUD_TOKEN
  '';
 ;

The derivations listed in buildInputs are available in the provided shell. The content of shellHook is sourced when starting the shell. It sets up some symbolic links to make the JavaScript environment built at an earlier step available, as well as the generated CDKTF providers. It also exports all the credentials.¹⁰ I am also using direnv with an .envrc to automatically load the development environment. This also enables the environment to be available from inside Emacs, notably when using lsp-mode to get TypeScript completions. Without direnv, nix develop . can activate the environment. I use the following commands to deploy the infrastructure:¹¹

$ cdktf synth
$ cd cdktf.out/stacks/cdktf-take1
$ terraform plan --out plan
$ terraform apply plan
$ terraform output -json > ~-automation/nixops-take1/cdktf.json

The last command generates a JSON file containing various data to complete the deployment with NixOps.

NixOps The JSON file exported by Terraform contains the list of servers with various attributes:

 
  "hardware": "hetzner",
  "ipv4Address": "5.161.44.145",
  "ipv6Address": "2a01:4ff:f0:b91::1",
  "name": "web05.luffy.cx",
  "tags": [
    "web",
    "continent:NA",
    "continent:SA"
  ]
 

In network.nix, this list is imported and transformed into an attribute set describing the servers. A simplified version looks like this:

let
  lib = inputs.nixpkgs.lib;
  shortName = name: builtins.elemAt (lib.splitString "." name) 0;
  domainName = name: lib.concatStringsSep "." (builtins.tail (lib.splitString "." name));
  server = hardware: name: imports:  
    networking =  
      hostName = shortName name;
      domain = domainName name;
     ;
    deployment.targetHost = name;
    imports = [ (./hardware/. + "/$ hardware .nix") ] ++ imports;
   ;
  cdktf-servers-json = (lib.importJSON ./cdktf.json).servers.value;
  cdktf-servers = map
    (s:
      let
        tags-maybe-import = map (t: ./. + "/$ t .nix") s.tags;
        tags-import = builtins.filter (t: builtins.pathExists t) tags-maybe-import;
      in
       
        name = shortName s.name;
        value = server s.hardware s.name tags-import;
       )
    cdktf-servers-json;
in
 
  // [ ]
  // builtins.listToAttrs cdktf-servers

For web05, this expands to:

web05 =  
  networking =  
    hostName = "web05";
    domainName = "luffy.cx";
   ;
  deployment.targetHost = "web05.luffy.cx";
  imports = [ ./hardware/hetzner.nix ./web.nix ];
 ;

As for CDKTF, at the root of the repository I use for NixOps, there is a flake.nix file to set up a shell with NixOps configured. Because NixOps do not support rollouts, I usually use the following commands to deploy on a single server:¹²

$ nix flake update
$ nixops deploy --include=web04
$ ./tests web04.luffy.cx

If the tests are OK, I deploy the remaining nodes gradually with the following command:

$ (set -e; for h in web 03..06 ; do nixops deploy --include=$h; done)

nixops deploy rolls out all servers in parallel and therefore could cause a short outage where all Nginx are down at the same time.

---

This post has been a work-in-progress for the past three years, with the content being updated and refined as I experimented with different solutions. There is still much to explore¹³ but I feel there is enough content to publish now.

---

1. It was an AMD Athlon 64 X2 5600+ with 2 GB of RAM and 2 400 GB disks with software RAID. I was paying something around 59 per month for it. While it was a good deal in 2008, by 2018 it was no longer cost-effective. It was running on Debian Wheezy with Linux-VServer for isolation, both of which were outdated in 2018.
2. I also did not use Python because Poetry support in Nix was a bit broken around the time I started hacking around CDKTF.
3. Pulumi can apply arbitrary functions with the apply() method on an output. It makes it easy to transform data that are not known during the planning stage. Terraform has functions to serve a similar purpose, but they are more limited.
4. The two mentioned pull requests are not merged yet. The second one is superseded by PR #61, submitted two months later, which enforces the use of /bin/bash. I also submitted PR #56, which was merged 4 months later and quickly reverted without an explanation.
5. You may consider packages and derivations to be synonyms in the Nix ecosystem.
6. OpenSSL 3 has outstanding performance regressions.
7. NixOS can be a bit slow to integrate patches since they need to rebuild parts of the binary cache before releasing the fixes. In this specific case, they were fast: the vulnerability and patches were released on August 13^th 2019 and available in NixOS on August 15th. As a comparison, Debian only released the fixed version on August 22^nd, which is unusually late.
8. Because flakes are experimental, many documentations do not use them and it is an additional aspect to learn.
9. It is possible to replace . with github:vincentbernat/snimpy, like in the other commands, but having Snimpy dependencies without Snimpy source code is less interesting.
10. I am using pass as a password manager. The password names are only obfuscated to avoid spam.
11. The cdktf command can wrap the terraform commands, but I prefer to use them directly as they are more flexible.
12. If the change is risky, I disable the server with CDKTF. This removes it from the web service DNS records.
13. I would like to replace NixOps with an alternative handling progressive rollouts and checks. I am also considering switching to Nomad or Kubernetes to deploy workloads.

Spiffy new terminal emulators seem to come with their own terminfo definitions. Venerable hosts that I ssh into tend not to know about those. kitty comes with a thing to transfer that definition, but it breaks if the remote host is running tcsh (don't ask). Similary the one liner for alacritty on the arch wiki seems to assume the remote shell is bash. Forthwith, a dumb shell script that works to send the terminfo of the current terminal emulator to the remote host. EDIT: Jakub Wilk worked out this can be replaced with the oneliner

Spiffy new terminal emulators seem to come with their own terminfo definitions. Venerable hosts that I ssh into tend not to know about those. kitty comes with a thing to transfer that definition, but it breaks if the remote host is running tcsh (don't ask). Similary the one liner for alacritty on the arch wiki seems to assume the remote shell is bash. Forthwith, a dumb shell script that works to send the terminfo of the current terminal emulator to the remote host. EDIT: Jakub Wilk worked out this can be replaced with the oneliner

I use GnuPG to compute cryptographic signatures for my emails, git commits/tags, and software release artifacts (tarballs). Part of GnuPG is gpg-agent which talks to OpenSSH, which I login to remote servers and to clone git repositories. I dislike storing cryptographic keys on general-purpose machines, and have used hardware-backed OpenPGP keys since around 2006 when I got a FSFE Fellowship Card. GnuPG via gpg-agent handles this well, and the private key never leaves the hardware. The ZeitControl cards were (to my knowledge) proprietary hardware running some non-free operating system and OpenPGP implementation. By late 2012 the YubiKey NEO supported OpenPGP, and while the hardware and operating system on it was not free, at least it ran a free software OpenPGP implementation and eventually I setup my primary RSA key on it. This worked well for a couple of years, and when I in 2019 wished to migrate to a new key, the FST-01G device with open hardware running free software that supported Ed25519 had become available. I created a key and have been using the FST-01G on my main laptop since then. This little device has been working, the signature counter on it is around 14501 which means around 10 signatures/day since then! Currently I am in the process of migrating towards a new laptop, and moving the FST-01G device between them is cumbersome, especially if I want to use both laptops in parallel. That s why I need to setup a new hardware device to hold my OpenPGP key, which can go with my new laptop. This is a good time to re-visit alternatives. I quickly decided that I did not want to create a new key, only to import my current one to keep everything working. My requirements on the device to chose hasn t changed since 2019, see my summary at the end of the earlier blog post. Unfortunately the FST-01G is out of stock and the newer FST-01SZ has also out of stock. While Tillitis looks promising (and I have one to play with), it does not support OpenPGP (yet). What to do? Fortunately, I found some FST-01SZ device in my drawer, and decided to use it pending a more satisfactory answer. Hopefully once I get around to generate a new OpenPGP key in a year or so, I will do a better survey of options that are available on the market then. What are your (freedom-respecting) OpenPGP hardware recommendations?

FST-01SZ circuit board

Similar to setting up the FST-01G, the FST-01SZ needs to be setup before use. I m doing the following from Trisquel 11 but any GNU/Linux system would work. When the device is inserted at first time, some kernel messages are shown (see /var/log/syslog or use the dmesg command):

usb 3-3: new full-speed USB device number 39 using xhci_hcd
usb 3-3: New USB device found, idVendor=234b, idProduct=0004, bcdDevice= 2.00
usb 3-3: New USB device strings: Mfr=1, Product=2, SerialNumber=3
usb 3-3: Product: Fraucheky
usb 3-3: Manufacturer: Free Software Initiative of Japan
usb 3-3: SerialNumber: FSIJ-0.0
usb-storage 3-3:1.0: USB Mass Storage device detected
scsi host1: usb-storage 3-3:1.0
scsi 1:0:0:0: Direct-Access     FSIJ     Fraucheky        1.0  PQ: 0 ANSI: 0
sd 1:0:0:0: Attached scsi generic sg2 type 0
sd 1:0:0:0: [sdc] 128 512-byte logical blocks: (65.5 kB/64.0 KiB)
sd 1:0:0:0: [sdc] Write Protect is off
sd 1:0:0:0: [sdc] Mode Sense: 03 00 00 00
sd 1:0:0:0: [sdc] No Caching mode page found
sd 1:0:0:0: [sdc] Assuming drive cache: write through
 sdc:
sd 1:0:0:0: [sdc] Attached SCSI removable disk

Interestingly, the NeuG software installed on the device I got appears to be version 1.0.9:

jas@kaka:~$ head /media/jas/Fraucheky/README
NeuG - a true random number generator implementation
						  Version 1.0.9
						     2018-11-20
					           Niibe Yutaka
			      Free Software Initiative of Japan
What's NeuG?
============
jas@kaka:~$ 

I could not find version 1.0.9 published anywhere, but the device came with a SD-card that contain a copy of the source, so I uploaded it until a more canonical place is located. Putting the device in the serial mode can be done using a sudo eject /dev/sdc command which results in the following syslog output.

usb 3-3: reset full-speed USB device number 39 using xhci_hcd
usb 3-3: device firmware changed
usb 3-3: USB disconnect, device number 39
sdc: detected capacity change from 128 to 0
usb 3-3: new full-speed USB device number 40 using xhci_hcd
usb 3-3: New USB device found, idVendor=234b, idProduct=0001, bcdDevice= 2.00
usb 3-3: New USB device strings: Mfr=1, Product=2, SerialNumber=3
usb 3-3: Product: NeuG True RNG
usb 3-3: Manufacturer: Free Software Initiative of Japan
usb 3-3: SerialNumber: FSIJ-1.0.9-42315277
cdc_acm 3-3:1.0: ttyACM0: USB ACM device

Now download Gnuk, verify its integrity and build it. You may need some additional packages installed, try apt-get install gcc-arm-none-eabi openocd python3-usb. As you can see, I m using the stable 1.2 branch of Gnuk, currently on version 1.2.20. The ./configure parameters deserve some explanation. The kdf_do=required sets up the device to require KDF usage. The --enable-factory-reset allows me to use the command factory-reset (with admin PIN) inside gpg --card-edit to completely wipe the card. Some may consider that too dangerous, but my view is that if someone has your admin PIN it is game over anyway. The --vidpid=234b:0000 is specifies the USB VID/PID to use, and --target=FST_01SZ is critical to set the platform (you ll may brick the device if you pick the wrong --target setting).

jas@kaka:~/src$ rm -rf gnuk neug
jas@kaka:~/src$ git clone https://gitlab.com/jas/neug.git
Cloning into 'neug'...
remote: Enumerating objects: 2034, done.
remote: Counting objects: 100% (2034/2034), done.
remote: Compressing objects: 100% (603/603), done.
remote: Total 2034 (delta 1405), reused 2013 (delta 1405), pack-reused 0
Receiving objects: 100% (2034/2034), 910.34 KiB   3.50 MiB/s, done.
Resolving deltas: 100% (1405/1405), done.
jas@kaka:~/src$ git clone https://salsa.debian.org/gnuk-team/gnuk/gnuk.git
Cloning into 'gnuk'...
remote: Enumerating objects: 13765, done.
remote: Counting objects: 100% (959/959), done.
remote: Compressing objects: 100% (337/337), done.
remote: Total 13765 (delta 629), reused 907 (delta 599), pack-reused 12806
Receiving objects: 100% (13765/13765), 12.59 MiB   3.05 MiB/s, done.
Resolving deltas: 100% (10077/10077), done.
jas@kaka:~/src$ cd neug
jas@kaka:~/src/neug$ git describe 
release/1.0.9
jas@kaka:~/src/neug$ git tag -v  git describe 
object 5d51022a97a5b7358d0ea62bbbc00628c6cec06a
type commit
tag release/1.0.9
tagger NIIBE Yutaka <gniibe@fsij.org> 1542701768 +0900
Version 1.0.9.
gpg: Signature made Tue Nov 20 09:16:08 2018 CET
gpg:                using EDDSA key 249CB3771750745D5CDD323CE267B052364F028D
gpg:                issuer "gniibe@fsij.org"
gpg: Good signature from "NIIBE Yutaka <gniibe@fsij.org>" [unknown]
gpg:                 aka "NIIBE Yutaka <gniibe@debian.org>" [unknown]
gpg: WARNING: This key is not certified with a trusted signature!
gpg:          There is no indication that the signature belongs to the owner.
Primary key fingerprint: 249C B377 1750 745D 5CDD  323C E267 B052 364F 028D
jas@kaka:~/src/neug$ cd ../gnuk/
jas@kaka:~/src/gnuk$ git checkout STABLE-BRANCH-1-2 
Branch 'STABLE-BRANCH-1-2' set up to track remote branch 'STABLE-BRANCH-1-2' from 'origin'.
Switched to a new branch 'STABLE-BRANCH-1-2'
jas@kaka:~/src/gnuk$ git describe
release/1.2.20
jas@kaka:~/src/gnuk$ git tag -v  git describe 
object 9d3c08bd2beb73ce942b016d4328f0a596096c02
type commit
tag release/1.2.20
tagger NIIBE Yutaka <gniibe@fsij.org> 1650594032 +0900
Gnuk: Version 1.2.20
gpg: Signature made Fri Apr 22 04:20:32 2022 CEST
gpg:                using EDDSA key 249CB3771750745D5CDD323CE267B052364F028D
gpg: Good signature from "NIIBE Yutaka <gniibe@fsij.org>" [unknown]
gpg:                 aka "NIIBE Yutaka <gniibe@debian.org>" [unknown]
gpg: WARNING: This key is not certified with a trusted signature!
gpg:          There is no indication that the signature belongs to the owner.
Primary key fingerprint: 249C B377 1750 745D 5CDD  323C E267 B052 364F 028D
jas@kaka:~/src/gnuk/src$ git submodule update --init
Submodule 'chopstx' (https://salsa.debian.org/gnuk-team/chopstx/chopstx.git) registered for path '../chopstx'
Cloning into '/home/jas/src/gnuk/chopstx'...
Submodule path '../chopstx': checked out 'e12a7e0bb3f004c7bca41cfdb24c8b66daf3db89'
jas@kaka:~/src/gnuk$ cd chopstx
jas@kaka:~/src/gnuk/chopstx$ git describe
release/1.21
jas@kaka:~/src/gnuk/chopstx$ git tag -v  git describe 
object e12a7e0bb3f004c7bca41cfdb24c8b66daf3db89
type commit
tag release/1.21
tagger NIIBE Yutaka <gniibe@fsij.org> 1650593697 +0900
Chopstx: Version 1.21
gpg: Signature made Fri Apr 22 04:14:57 2022 CEST
gpg:                using EDDSA key 249CB3771750745D5CDD323CE267B052364F028D
gpg: Good signature from "NIIBE Yutaka <gniibe@fsij.org>" [unknown]
gpg:                 aka "NIIBE Yutaka <gniibe@debian.org>" [unknown]
gpg: WARNING: This key is not certified with a trusted signature!
gpg:          There is no indication that the signature belongs to the owner.
Primary key fingerprint: 249C B377 1750 745D 5CDD  323C E267 B052 364F 028D
jas@kaka:~/src/gnuk/chopstx$ cd ../src
jas@kaka:~/src/gnuk/src$ kdf_do=required ./configure --enable-factory-reset --vidpid=234b:0000 --target=FST_01SZ
Header file is: board-fst-01sz.h
Debug option disabled
Configured for bare system (no-DFU)
PIN pad option disabled
CERT.3 Data Object is NOT supported
Card insert/removal by HID device is NOT supported
Life cycle management is supported
Acknowledge button is supported
KDF DO is required before key import/generation
jas@kaka:~/src/gnuk/src$ make   less
jas@kaka:~/src/gnuk/src$ cd ../regnual/
jas@kaka:~/src/gnuk/regnual$ make   less
jas@kaka:~/src/gnuk/regnual$ cd ../../
jas@kaka:~/src$ sudo python3 neug/tool/neug_upgrade.py -f gnuk/regnual/regnual.bin gnuk/src/build/gnuk.bin
gnuk/regnual/regnual.bin: 4608
gnuk/src/build/gnuk.bin: 109568
CRC32: b93ca829
Device: 
Configuration: 1
Interface: 1
20000e00:20005000
Downloading flash upgrade program...
start 20000e00
end   20002000
# 20002000: 32 : 4
Run flash upgrade program...
Wait 1 second...
Wait 1 second...
Device: 
08001000:08020000
Downloading the program
start 08001000
end   0801ac00
jas@kaka:~/src$ 

The kernel log will contain the following, and the card is ready to use as an OpenPGP card. You may unplug it and re-insert it as you wish.

usb 3-3: reset full-speed USB device number 41 using xhci_hcd
usb 3-3: device firmware changed
usb 3-3: USB disconnect, device number 41
usb 3-3: new full-speed USB device number 42 using xhci_hcd
usb 3-3: New USB device found, idVendor=234b, idProduct=0000, bcdDevice= 2.00
usb 3-3: New USB device strings: Mfr=1, Product=2, SerialNumber=3
usb 3-3: Product: Gnuk Token
usb 3-3: Manufacturer: Free Software Initiative of Japan
usb 3-3: SerialNumber: FSIJ-1.2.20-42315277

Setting up the card is the next step, and there are many tutorials around for this, eventually I settled with the following sequence. Let s start with setting the admin PIN. First make sure that pcscd nor scdaemon is running, which is good hygien since those processes cache some information and with a stale connection this easily leads to confusion. Cache invalidation sigh.

jas@kaka:~$ gpg-connect-agent "SCD KILLSCD" "SCD BYE" /bye
jas@kaka:~$ ps auxww grep -e pcsc -e scd
jas        30221  0.0  0.0   3468  1692 pts/3    R+   11:49   0:00 grep --color=auto -e pcsc -e scd
jas@kaka:~$ gpg --card-edit
Reader ...........: 234B:0000:FSIJ-1.2.20-42315277:0
Application ID ...: D276000124010200FFFE423152770000
Application type .: OpenPGP
Version ..........: 2.0
Manufacturer .....: unmanaged S/N range
Serial number ....: 42315277
Name of cardholder: [not set]
Language prefs ...: [not set]
Salutation .......: 
URL of public key : [not set]
Login data .......: [not set]
Signature PIN ....: forced
Key attributes ...: rsa2048 rsa2048 rsa2048
Max. PIN lengths .: 127 127 127
PIN retry counter : 3 3 3
Signature counter : 0
KDF setting ......: off
Signature key ....: [none]
Encryption key....: [none]
Authentication key: [none]
General key info..: [none]
gpg/card> admin
Admin commands are allowed
gpg/card> kdf-setup
gpg/card> passwd
gpg: OpenPGP card no. D276000124010200FFFE423152770000 detected
1 - change PIN
2 - unblock PIN
3 - change Admin PIN
4 - set the Reset Code
Q - quit
Your selection? 3
PIN changed.
1 - change PIN
2 - unblock PIN
3 - change Admin PIN
4 - set the Reset Code
Q - quit
Your selection? 

Now it would be natural to setup the PIN and reset code. However the Gnuk software is configured to not allow this until the keys are imported. You would get the following somewhat cryptical error messages if you try. This took me a while to understand, since this is device-specific, and some other OpenPGP implementations allows you to configure a PIN and reset code before key import.

Your selection? 4
Error setting the Reset Code: Card error
1 - change PIN
2 - unblock PIN
3 - change Admin PIN
4 - set the Reset Code
Q - quit
Your selection? 1
Error changing the PIN: Conditions of use not satisfied
1 - change PIN
2 - unblock PIN
3 - change Admin PIN
4 - set the Reset Code
Q - quit
Your selection? q

Continue to configure the card and make it ready for key import. Some settings deserve comments. The lang field may be used to setup the language, but I have rarely seen it use, and I set it to sv (Swedish) mostly to be able to experiment if any software adhears to it. The URL is important to point to somewhere where your public key is stored, the fetch command of gpg --card-edit downloads it and sets up GnuPG with it when you are on a clean new laptop. The forcesig command changes the default so that a PIN code is not required for every digital signature operation, remember that I averaged 10 signatures per day for the past 2-3 years? Think of the wasted energy typing those PIN codes every time! Changing the cryptographic key type is required when I import 25519-based keys.

gpg/card> name
Cardholder's surname: Josefsson
Cardholder's given name: Simon
gpg/card> lang
Language preferences: sv
gpg/card> sex
Salutation (M = Mr., F = Ms., or space): m
gpg/card> login
Login data (account name): jas
gpg/card> url
URL to retrieve public key: https://josefsson.org/key-20190320.txt
gpg/card> forcesig
gpg/card> key-attr
Changing card key attribute for: Signature key
Please select what kind of key you want:
   (1) RSA
   (2) ECC
Your selection? 2
Please select which elliptic curve you want:
   (1) Curve 25519
   (4) NIST P-384
Your selection? 1
The card will now be re-configured to generate a key of type: ed25519
Note: There is no guarantee that the card supports the requested size.
      If the key generation does not succeed, please check the
      documentation of your card to see what sizes are allowed.
Changing card key attribute for: Encryption key
Please select what kind of key you want:
   (1) RSA
   (2) ECC
Your selection? 2
Please select which elliptic curve you want:
   (1) Curve 25519
   (4) NIST P-384
Your selection? 1
The card will now be re-configured to generate a key of type: cv25519
Changing card key attribute for: Authentication key
Please select what kind of key you want:
   (1) RSA
   (2) ECC
Your selection? 2
Please select which elliptic curve you want:
   (1) Curve 25519
   (4) NIST P-384
Your selection? 1
The card will now be re-configured to generate a key of type: ed25519
gpg/card> 
Reader ...........: 234B:0000:FSIJ-1.2.20-42315277:0
Application ID ...: D276000124010200FFFE423152770000
Application type .: OpenPGP
Version ..........: 2.0
Manufacturer .....: unmanaged S/N range
Serial number ....: 42315277
Name of cardholder: Simon Josefsson
Language prefs ...: sv
Salutation .......: Mr.
URL of public key : https://josefsson.org/key-20190320.txt
Login data .......: jas
Signature PIN ....: not forced
Key attributes ...: ed25519 cv25519 ed25519
Max. PIN lengths .: 127 127 127
PIN retry counter : 3 3 3
Signature counter : 0
KDF setting ......: on
Signature key ....: [none]
Encryption key....: [none]
Authentication key: [none]
General key info..: [none]
gpg/card> 

The device is now ready for key import! Bring out your offline laptop and boot it and use the keytocard command on the subkeys to import them. This assumes you saved a copy of the GnuPG home directory after generating the master and subkeys before, which I did in my own previous tutorial when I generated the keys. This may be a bit unusual, and there are simpler ways to do this (e.g., import a copy of the secret keys into a fresh GnuPG home directory).

$ cp -a gnupghome-backup-mastersubkeys gnupghome-import-fst01sz-42315277-2022-12-24
$ ps auxww grep -e pcsc -e scd
$ gpg --homedir $PWD/gnupghome-import-fst01sz-42315277-2022-12-24 --edit-key B1D2BD1375BECB784CF4F8C4D73CF638C53C06BE
...
Secret key is available.
gpg: checking the trustdb
gpg: marginals needed: 3  completes needed: 1  trust model: pgp
gpg: depth: 0  valid:   1  signed:   0  trust: 0-, 0q, 0n, 0m, 0f, 1u
sec  ed25519/D73CF638C53C06BE
     created: 2019-03-20  expired: 2019-10-22  usage: SC  
     trust: ultimate      validity: expired
ssb  cv25519/02923D7EE76EBD60
     created: 2019-03-20  expired: 2019-10-22  usage: E   
ssb  ed25519/80260EE8A9B92B2B
     created: 2019-03-20  expired: 2019-10-22  usage: A   
ssb  ed25519/51722B08FE4745A2
     created: 2019-03-20  expired: 2019-10-22  usage: S   
[ expired] (1). Simon Josefsson <simon@josefsson.org>
gpg> key 1
sec  ed25519/D73CF638C53C06BE
     created: 2019-03-20  expired: 2019-10-22  usage: SC  
     trust: ultimate      validity: expired
ssb* cv25519/02923D7EE76EBD60
     created: 2019-03-20  expired: 2019-10-22  usage: E   
ssb  ed25519/80260EE8A9B92B2B
     created: 2019-03-20  expired: 2019-10-22  usage: A   
ssb  ed25519/51722B08FE4745A2
     created: 2019-03-20  expired: 2019-10-22  usage: S   
[ expired] (1). Simon Josefsson <simon@josefsson.org>
gpg> keytocard
Please select where to store the key:
   (2) Encryption key
Your selection? 2
sec  ed25519/D73CF638C53C06BE
     created: 2019-03-20  expired: 2019-10-22  usage: SC  
     trust: ultimate      validity: expired
ssb* cv25519/02923D7EE76EBD60
     created: 2019-03-20  expired: 2019-10-22  usage: E   
ssb  ed25519/80260EE8A9B92B2B
     created: 2019-03-20  expired: 2019-10-22  usage: A   
ssb  ed25519/51722B08FE4745A2
     created: 2019-03-20  expired: 2019-10-22  usage: S   
[ expired] (1). Simon Josefsson <simon@josefsson.org>
gpg> key 1
sec  ed25519/D73CF638C53C06BE
     created: 2019-03-20  expired: 2019-10-22  usage: SC  
     trust: ultimate      validity: expired
ssb  cv25519/02923D7EE76EBD60
     created: 2019-03-20  expired: 2019-10-22  usage: E   
ssb  ed25519/80260EE8A9B92B2B
     created: 2019-03-20  expired: 2019-10-22  usage: A   
ssb  ed25519/51722B08FE4745A2
     created: 2019-03-20  expired: 2019-10-22  usage: S   
[ expired] (1). Simon Josefsson <simon@josefsson.org>
gpg> key 2

sec  ed25519/D73CF638C53C06BE
     created: 2019-03-20  expired: 2019-10-22  usage: SC  
     trust: ultimate      validity: expired
ssb  cv25519/02923D7EE76EBD60
     created: 2019-03-20  expired: 2019-10-22  usage: E   
ssb* ed25519/80260EE8A9B92B2B
     created: 2019-03-20  expired: 2019-10-22  usage: A   
ssb  ed25519/51722B08FE4745A2
     created: 2019-03-20  expired: 2019-10-22  usage: S   
[ expired] (1). Simon Josefsson <simon@josefsson.org>
gpg> keytocard
Please select where to store the key:
   (3) Authentication key
Your selection? 3
sec  ed25519/D73CF638C53C06BE
     created: 2019-03-20  expired: 2019-10-22  usage: SC  
     trust: ultimate      validity: expired
ssb  cv25519/02923D7EE76EBD60
     created: 2019-03-20  expired: 2019-10-22  usage: E   
ssb* ed25519/80260EE8A9B92B2B
     created: 2019-03-20  expired: 2019-10-22  usage: A   
ssb  ed25519/51722B08FE4745A2
     created: 2019-03-20  expired: 2019-10-22  usage: S   
[ expired] (1). Simon Josefsson <simon@josefsson.org>
gpg> key 2
sec  ed25519/D73CF638C53C06BE
     created: 2019-03-20  expired: 2019-10-22  usage: SC  
     trust: ultimate      validity: expired
ssb  cv25519/02923D7EE76EBD60
     created: 2019-03-20  expired: 2019-10-22  usage: E   
ssb  ed25519/80260EE8A9B92B2B
     created: 2019-03-20  expired: 2019-10-22  usage: A   
ssb  ed25519/51722B08FE4745A2
     created: 2019-03-20  expired: 2019-10-22  usage: S   
[ expired] (1). Simon Josefsson <simon@josefsson.org>
gpg> key 3
sec  ed25519/D73CF638C53C06BE
     created: 2019-03-20  expired: 2019-10-22  usage: SC  
     trust: ultimate      validity: expired
ssb  cv25519/02923D7EE76EBD60
     created: 2019-03-20  expired: 2019-10-22  usage: E   
ssb  ed25519/80260EE8A9B92B2B
     created: 2019-03-20  expired: 2019-10-22  usage: A   
ssb* ed25519/51722B08FE4745A2
     created: 2019-03-20  expired: 2019-10-22  usage: S   
[ expired] (1). Simon Josefsson <simon@josefsson.org>
gpg> keytocard
Please select where to store the key:
   (1) Signature key
   (3) Authentication key
Your selection? 1
sec  ed25519/D73CF638C53C06BE
     created: 2019-03-20  expired: 2019-10-22  usage: SC  
     trust: ultimate      validity: expired
ssb  cv25519/02923D7EE76EBD60
     created: 2019-03-20  expired: 2019-10-22  usage: E   
ssb  ed25519/80260EE8A9B92B2B
     created: 2019-03-20  expired: 2019-10-22  usage: A   
ssb* ed25519/51722B08FE4745A2
     created: 2019-03-20  expired: 2019-10-22  usage: S   
[ expired] (1). Simon Josefsson <simon@josefsson.org>
gpg> quit
Save changes? (y/N) y
$ 

Now insert it into your daily laptop and have GnuPG and learn about the new private keys and forget about any earlier locally available card bindings this usually manifests itself by GnuPG asking you to insert a OpenPGP card with another serial number. Earlier I did rm -rf ~/.gnupg/private-keys-v1.d/ but the scd serialno followed by learn --force is nicer. I also sets up trust setting for my own key.

jas@kaka:~$ gpg-connect-agent "scd serialno" "learn --force" /bye
...
jas@kaka:~$ echo "B1D2BD1375BECB784CF4F8C4D73CF638C53C06BE:6:"   gpg --import-ownertrust
jas@kaka:~$ gpg --card-status
Reader ...........: 234B:0000:FSIJ-1.2.20-42315277:0
Application ID ...: D276000124010200FFFE423152770000
Application type .: OpenPGP
Version ..........: 2.0
Manufacturer .....: unmanaged S/N range
Serial number ....: 42315277
Name of cardholder: Simon Josefsson
Language prefs ...: sv
Salutation .......: Mr.
URL of public key : https://josefsson.org/key-20190320.txt
Login data .......: jas
Signature PIN ....: not forced
Key attributes ...: ed25519 cv25519 ed25519
Max. PIN lengths .: 127 127 127
PIN retry counter : 5 5 5
Signature counter : 3
KDF setting ......: on
Signature key ....: A3CC 9C87 0B9D 310A BAD4  CF2F 5172 2B08 FE47 45A2
      created ....: 2019-03-20 23:40:49
Encryption key....: A9EC 8F4D 7F1E 50ED 3DEF  49A9 0292 3D7E E76E BD60
      created ....: 2019-03-20 23:40:26
Authentication key: CA7E 3716 4342 DF31 33DF  3497 8026 0EE8 A9B9 2B2B
      created ....: 2019-03-20 23:40:37
General key info..: sub  ed25519/51722B08FE4745A2 2019-03-20 Simon Josefsson <simon@josefsson.org>
sec#  ed25519/D73CF638C53C06BE  created: 2019-03-20  expires: 2023-09-19
ssb>  ed25519/80260EE8A9B92B2B  created: 2019-03-20  expires: 2023-09-19
                                card-no: FFFE 42315277
ssb>  ed25519/51722B08FE4745A2  created: 2019-03-20  expires: 2023-09-19
                                card-no: FFFE 42315277
ssb>  cv25519/02923D7EE76EBD60  created: 2019-03-20  expires: 2023-09-19
                                card-no: FFFE 42315277
jas@kaka:~$ 

Verify that you can digitally sign and authenticate using the key and you are done!

jas@kaka:~$ echo foo gpg -a --sign gpg --verify
gpg: Signature made Sat Dec 24 13:49:59 2022 CET
gpg:                using EDDSA key A3CC9C870B9D310ABAD4CF2F51722B08FE4745A2
gpg: Good signature from "Simon Josefsson <simon@josefsson.org>" [ultimate]
jas@kaka:~$ ssh-add -L
ssh-ed25519 AAAAC3NzaC1lZDI1NTE5AAAAILzCFcHHrKzVSPDDarZPYqn89H5TPaxwcORgRg+4DagE cardno:FFFE42315277
jas@kaka:~$ 

So time to relax and celebrate christmas? Hold on not so fast! Astute readers will have noticed that the output said PIN retry counter: 5 5 5 . That s not the default PIN retry counter for Gnuk! How did that happen? Indeed, good catch and great question, my dear reader. I wanted to include how you can modify the Gnuk source code, re-build it and re-flash the Gnuk as well. This method is different than flashing Gnuk onto a device that is running NeuG so the commands I used to flash the firmware in the start of this blog post no longer works in a device running Gnuk. Fortunately modern Gnuk supports updating firmware by specifying the Admin PIN code only, and provides a simple script to achieve this as well. The PIN retry counter setting is hard coded in the openpgp-do.c file, and we run a a perl command to modify the file, rebuild Gnuk and upgrade the FST-01SZ. This of course wipes all your settings, so you will have the opportunity to practice all the commands earlier in this post once again!

jas@kaka:~/src/gnuk/src$ perl -pi -e 's/PASSWORD_ERRORS_MAX 3/PASSWORD_ERRORS_MAX 5/' openpgp-do.c
jas@kaka:~/src/gnuk/src$ make   less
jas@kaka:~/src/gnuk/src$ cd ../tool/
jas@kaka:~/src/gnuk/tool$ ./upgrade_by_passwd.py 
Admin password: 
Device: 
Configuration: 1
Interface: 0
../regnual/regnual.bin: 4608
../src/build/gnuk.bin: 110592
CRC32: b93ca829
Device: 
Configuration: 1
Interface: 0
20002a00:20005000
Downloading flash upgrade program...
start 20002a00
end   20003c00
Run flash upgrade program...
Waiting for device to appear:
  Wait 1 second...
  Wait 1 second...
Device: 
08001000:08020000
Downloading the program
start 08001000
end   0801b000
Protecting device
Finish flashing
Resetting device
Update procedure finished
jas@kaka:~/src/gnuk/tool$

Now finally, I wish you all a Merry Christmas and Happy Hacking!

I have been quite busy! I have been working on several projects so my cover image is a lovely sunset where I live. Debian: I have updated and uploaded several packages and working on more.

• Umbrello
• Squashfuse with the help of Scott Moser ( Thanks! )
• libappimage
• plasma-bigscreen WIP

KDE Snaps: I have reworked the CI to now do Core22 snaps! They will publish to the beta channel until we get them tested. First snap completed is the ever important KDE Frameworks / QT content snap + SDK! Applications will start after I tackle the kde-neon extention in snapcraft. GUI-Testing: I have begun learning/writing some GUI tests using python and https://invent.kde.org/sdk/selenium-webdriver-at-spi/, inspired by one of my favorite people, Harald. See https://apachelog.wordpress.com/2022/12/14/selenium-at-spi-gui-testing/ for more info and I hope to get these in repos near you soon! In closing, I am still seeking employment/sponsor amidst this terrible layoff season. If anyone knows of anyone with my diverse skill set please let me know. In the meantime if you can spare anything to keep the lights on I would be ever so grateful. Patreon: https://www.patreon.com/sgmoore Cash App: $ScarlettMoore0903 Stripe: https://buy.stripe.com/28o16y3PHcISfaE8ww Thank you, I want to wish everyone a very merry < insert your holiday here > !!!

One of my main musical 'discoveries' in 2022 was British electronic band Underworld. I m super late to the party. Underworld s commercial high point was the mid nineties. And I was certainly aware of them then: the use of Born Slippy .NUXX in 1996 s Trainspotting soundtrack was ubiquitous, but it didn t grab me. In more recent years my colleague and friend Andrew Dinn (with whom I enjoyed many pre-pandemic conversations about music) enthusiastically advocated for Underworld (and furnished me with some rarities). This started to get them under my skin. It took a bit longer for me to truly get them, though, and the final straw was revisiting their BBC 6 Music Festival performance from 2016 (with Rez and it's companion piece "Cowgirl" standing out) So where to start? There s something compelling about their whole catalogue. This is a group with which you can go deep, if you wish. The only album which hasn t grabbed me is 100 days off and it s probably only a matter of time before it does (Andrew advocates the Extended Ansum Edition bootleg here). Here are four career-spanning personal highlights:

• Spikee
  
• King of snake
  
• Nylon strung
  
• Seven music drone
  

A very reasonable entry point to their latest sprawling effort, DRIFT, is ricksdubbedoutdrift experience (live in Amsterdam), only 3 on Bandcamp.

With the end of the year approaching fast, I thought putting my year in retrospective via music would be a fun thing to do. Albums In 2022, I added 51 new albums to my collection nearly one a week! I listed them below in the order in which I acquired them. I purchased most of these albums when I could and borrowed the rest at libraries. If you want to browse though, I added links to the album covers pointing either to websites where you can buy them or to Discogs when digital copies weren't available¹. Browsing through the albums, I can see my tastes really shifted a lot in the last few years. I used to listen to a lot of Hip-Hop, but the recent trends in this genre² really turn me off. In fact, it seems I didn't add a single Hip-Hop album to my collection this year... Metal also continues to dominate the list. Many thanks to Angry Metal Guy for being the best metal reviewing website out there. Concerts 2022 was also a big change for me, as I started going to much more concerts than I previously did. metalfinder has been working great and I'm really happy with it. Here are the concerts I went to in 2022:

• April 26th: Arch Enemy, Unto Others, Behemoth, Napalm Death
• September 16th: NOFX
• November 4th: Aeternam
• November 7th: Jordi Savall & Hesp rion XXI
• November 13th: VOLA
• November 19th: Vulgaires Machins, Anti-Flag
• November 26th: Soen
• December 12h: Oddisee
• December 16th: Jail, B ton Arm , Reckless Upstarts, Union Thugs, La Gachette

I'm looking forward continuing to go to a lot of concerts in 2023!

Review: Artifact Space, by Miles Cameron

Series:	Arcana Imperii #1
Publisher:	Gollancz
Copyright:	June 2021
ISBN:	1-4732-3262-7
Format:	Kindle
Pages:	483

Artifact Space is a military (mostly) science fiction novel, the first of an expected trilogy. Christian Cameron is a prolific author of historical fiction under that name, thrillers under the name Gordon Kent, and historical fantasy under the name Miles Cameron. This is his first science fiction novel. Marca Nbaro is descended from one of the great spacefaring mercantile families, but it's not doing her much good. She is a ward of the Orphanage, the boarding school for orphaned children of the DHC, generous in theory and a hellhole in practice. Her dream to serve on one of the Greatships, the enormous interstellar vessels that form the backbone of the human trading network, has been blocked by the school authorities, a consequence of the low-grade war she's been fighting with them throughout her teenage years. But Marca is not a person to take no for an answer. Pawning her family crest gets her just enough money to hire a hacker to doctor her school records, adding the graduation she was denied and getting her aboard the Greatship Athens as a new Midshipper. I don't read a lot of military science fiction, but there is one type of story that I love that military SF is uniquely well-suited to tell. It's not the combat or the tactics or the often-trite politics. It's the experience of the military as a system, a collective human endeavor. One ideal of the military is that people come to it from all sorts of backgrounds, races, and social classes, and the military incorporates them all into a system built for a purpose. It doesn't matter who you are or what you did before: if you follow the rules, do your job, and become part of a collaboration larger than yourself, you have a place and people to watch your back whether or not they know you or like you. Obviously, like any ideal, many militaries don't live up to this, and there are many stories about those failures. But the story of that ideal, told well, is a genre I like a great deal and is hard to find elsewhere. This sort of military story shares some features with found family, and it's not a coincidence that I also like found family stories. But found family still assumes that these people love you, or at least like you. For some protagonists, that's a tricky barrier both to cross and to believe one has crossed. The (admittedly idealized) military doesn't assume anyone likes you. It doesn't expect that you or anyone around you have the right feelings. It just expects you to do your job and work with other people who are doing their job. The requirements are more concrete, and thus in a way easier to believe in. Artifact Space is one of those military science fiction stories. I was entirely unsurprised to see that the author is a former US Navy career officer. The Greatships here are, technically, more of a merchant marine than a full-blown military. (The author noted in an interview that he based them on the merchant ships of Venice.) The weapons are used primarily for defense; the purpose of the Greatships is trade, and every crew member has a storage allotment in the immense cargo area that they're encouraged to use. The setting is in the far future, after a partial collapse and reconstruction of human society, in which humans have spread through interstellar space, settled habitable planets, and built immense orbital cities. The Athens is trading between multiple human settlements, but its true destination is far into the deep black: Tradepoint, where it can trade with the mysterious alien Starfish for xenoglas, a material that humans have tried and failed to reproduce and on which much of human construction now depends. This is, to warn, one of those stories where the scrappy underdog of noble birth makes friends with everyone and is far more competent than anyone expects. The story shape is not going to surprise you, and you have to have considerable tolerance for it to enjoy this book. Marca is ridiculously, absurdly central to the plot for a new Middie. Sometimes this makes sense given her history; other times, she is in the middle of improbable accidents that felt forced by the author. Cameron doesn't entirely break normal career progression, but Marca is very special in a way that you only get to be as the protagonist of a novel. That said, Cameron does some things with that story shape that I liked. Marca's hard-won survival skills are not weirdly well-suited for her new life aboard ship. To the contrary, she has to unlearn a lot of bad habits and let go of a lot of anxiety. I particularly liked her relationship with her more-privileged cabin mate, which at first seemed to only be a contrast between Thea's privilege and Marca's background, but turned into both of them learning from each other. There's a great mix of supporting characters, with a wide variety of interactions with Marca and a solid sense that all of the characters have their own lives and their own concerns that don't revolve around her. There is, of course, a plot to go with this. I haven't talked about it much because I think the summaries of this book are a bit of a spoiler, but there are several layers of political intrigue, threats to the ship, an interesting AI, and a good hook in the alien xenoglas trade. Cameron does a deft job balancing the plot with Marca's training and her slow-developing sense of place in the ship (and fear about discovery of her background and hacking). The pacing is excellent, showing all the skill I'd expect from someone with a thriller background and over forty prior novels under his belt. Cameron portrays the tedious work of learning a role on a ship without boring the reader, which is a tricky balancing act. I also like the setting: a richly multicultural future that felt like it included people from all of Earth, not just the white western parts. That includes a normalized androgyne third gender, which is the sort of thing you rarely see in military SF. Faster-than-light travel involves typical physics hand-waving, but the shape of the hand-waving is one I've not seen before and is a great excuse for copying the well-known property of oceangoing navies that longer ships can go faster. (One tech grumble, though: while Cameron does eventually say that this is a known tactic and Marca didn't come up with anything novel, deploying spread sensors for greater resolution is sufficiently obvious it should be standard procedure, and shouldn't have warranted the character reactions it got.) I thoroughly enjoyed this. Artifact Space is the best military SF that I've read in quite a while, at least back to John G. Hemry's JAG in space novels and probably better than those. It's going to strike some readers, with justification, as cliched, but the cliches are handled so well that I had only minor grumbling at a few absurd coincidences. Marca is a great character who is easy to care about. The plot was tense and satisfying, and the feeling of military structure, tradition, jargon, and ship pride was handled well. I had a very hard time putting this down and was sad when it ended. If you're in the mood for that class of "learning how to be part of a collaborative structure" style of military SF, recommended. Artifact Space reaches a somewhat satisfying conclusion, but leaves major plot elements unresolved. Followed by Deep Black, which doesn't have a release date at the time of this writing. Rating: 9 out of 10

tl;dr: Ok-wrapping as needed in today s Rust is a significant distraction, because there are multiple ways to do it. They are all slightly awkward in different ways, so are least-bad in different situations. You must choose a way for every fallible function, and sometimes change a function from one pattern to another. Rust really needs #[throws] as a first-class language feature. Code using #[throws] is simpler and clearer. Please try out withoutboats s fehler. I think you will like it. Contents

• A recent personal experience in coding style
• What is Ok wrapping? Intro to Rust error handling
• A minor inconvenience, or a significant distraction?
  • Idioms for Ok-wrapping - a bestiary
• What is to be done, then?
  • Limitations of fehler
  • Please can we have #[throws] in the Rust language
  • Explicitness
• Appendix - examples showning code with Ok wrapping is worse than code using #[throws]

A recent personal experience in coding style Ever since I read withoutboats s 2020 article about fehler, I have been using it in most of my personal projects. For Reasons I recently had a go at eliminating the dependency on fehler from Hippotat. So, I made a branch, deleted the dependency and imports, and started on the whack-a-mole with the compiler errors. After about a half hour of this, I was starting to feel queasy. After an hour I had decided that basically everything I was doing was making the code worse. And, bizarrely, I kept having to make individual decisons about what idiom to use in each place. I couldn t face it any more. After sleeping on the question I decided that Hippotat would be in Debian with fehler, or not at all. Happily the Debian Rust Team generously helped me out, so the answer is that fehler is now in Debian, so it s fine. For me this experience, of trying to convert Rust-with-#[throws] to Rust-without-#[throws] brought the Ok wrapping problem into sharp focus. What is Ok wrapping? Intro to Rust error handling (You can skip this section if you re already a seasoned Rust programer.) In Rust, fallibility is represented by functions that return Result<SuccessValue, Error>: this is a generic type, representing either whatever SuccessValue is (in the Ok variant of the data-bearing enum) or some Error (in the Err variant). For example, std::fs::read_to_string, which takes a filename and returns the contents of the named file, returns Result<String, std::io::Error>. This is a nice and typesafe formulation of, and generalisation of, the traditional C practice, where a function indicates in its return value whether it succeeded, and errors are indicated with an error code. Result is part of the standard library and there are convenient facilities for checking for errors, extracting successful results, and so on. In particular, Rust has the postfix ? operator, which, when applied to a Result, does one of two things: if the Result was Ok, it yields the inner successful value; if the Result was Err, it returns early from the current function, returning an Err in turn to the caller. This means you can write things like this:

    let input_data = std::fs::read_to_string(input_file)?;

and the error handling is pretty automatic. You get a compiler warning, or a type error, if you forget the ?, so you can t accidentally ignore errors. But, there is a downside. When you are returning a successful outcome from your function, you must convert it into a Result. After all, your fallible function has return type Result<SuccessValue, Error>, which is a different type to SuccessValue. So, for example, inside std::fs::read_to_string, we see this:

        let mut string = String::new();
        file.read_to_string(&mut string)?;
        Ok(string)
     

string has type String; fs::read_to_string must return Result<String, ..>, so at the end of the function we must return Ok(string). This applies to return statements, too: if you want an early successful return from a fallible function, you must write return Ok(whatever). This is particularly annoying for functions that don t actually return a nontrivial value. Normally, when you write a function that doesn t return a value you don t write the return type. The compiler interprets this as syntactic sugar for -> (), ie, that the function returns (), the empty tuple, used in Rust as a dummy value in these kind of situations. A block ( ... ) whose last statement ends in a ; has type (). So, when you fall off the end of a function, the return value is (), without you having to write it. So you simply leave out the stuff in your program about the return value, and your function doesn t have one (i.e. it returns ()). But, a function which either fails with an error, or completes successfuly without returning anything, has return type Result<(), Error>. At the end of such a function, you must explicitly provide the success value. After all, if you just fall off the end of a block, it means the block has value (), which is not of type Result<(), Error>. So the fallible function must end with Ok(()), as we see in the example for std::fs::read_to_string. A minor inconvenience, or a significant distraction? I think the need for Ok-wrapping on all success paths from fallible functions is generally regarded as just a minor inconvenience. Certainly the experienced Rust programmer gets very used to it. However, while trying to remove fehler s #[throws] from Hippotat, I noticed something that is evident in codebases using vanilla Rust (without fehler) but which goes un-remarked. There are multiple ways to write the Ok-wrapping, and the different ways are appropriate in different situations. See the following examples, all taken from a real codebase. (And it s not just me: I do all of these in different places, - when I don t have fehler available - but all these examples are from code written by others.) Idioms for Ok-wrapping - a bestiary Wrap just a returned variable binding If you have the return value in a variable, you can write Ok(reval) at the end of the function, instead of retval.

    pub fn take_until(&mut self, term: u8) -> Result<&'a [u8]>  
        // several lines of code
        Ok(result)
     

If the returned value is not already bound to variable, making a function fallible might mean choosing to bind it to a variable. Wrap a nontrivial return expression Even if it s not just a variable, you can wrap the expression which computes the returned value. This is often done if the returned value is a struct literal:

    fn take_from(r: &mut Reader<'_>) -> Result<Self>  
        // several lines of code
        Ok(AuthChallenge   challenge, methods  )
     

Introduce Ok(()) at the end For functions returning Result<()>, you can write Ok(()). This is usual, but not ubiquitous, since sometimes you can omit it. Wrap the whole body If you don t have the return value in a variable, you can wrap the whole body of the function in Ok( ). Whether this is a good idea depends on how big and complex the body is.

    fn from_str(s: &str) -> std::result::Result<Self, Self::Err>  
        Ok(match s  
            "Authority" => RelayFlags::AUTHORITY,
            // many other branches
            _ => RelayFlags::empty(),
         )
     

Omit the wrap when calling fallible sub-functions If your function wraps another function call of the same return and error type, you don t need to write the Ok at all. Instead, you can simply call the function and not apply ?. You can do this even if your function selects between a number of different sub-functions to call:

    fn fmt(&self, f: &mut std::fmt::Formatter<'_>) -> std::fmt::Result  
        if flags::unsafe_logging_enabled()  
            std::fmt::Display::fmt(&self.0, f)
          else  
            self.0.display_redacted(f)
         
     

But this doesn t work if the returned error type isn t the same, but needs the autoconversion implied by the ? operator. Convert a fallible sub-function error with Ok( ... ?) If the final thing a function does is chain to another fallible function, but with a different error type, the error must be converted somehow. This can be done with ?.

     fn try_from(v: i32) -> Result<Self, Error>  
         Ok(Percentage::new(v.try_into()?))
      

Convert a fallible sub-function error with .map_err Or, rarely, people solve the same problem by converting explicitly with .map_err:

     pub fn create_unbootstrapped(self) -> Result<TorClient<R>>  
         // several lines of code
         TorClient::create_inner(
             // several parameters
         )
         .map_err(ErrorDetail::into)
      

What is to be done, then? The fehler library is in excellent taste and has the answer. With fehler:

• Whether a function is fallible, and what it s error type is, is specified in one place. It is not entangled with the main return value type, nor with the success return paths.
• So the success paths out of a function are not specially marked with error handling boilerplate. The end of function return value, and the expression after return, are automatically wrapped up in Ok. So the body of a fallible function is just like the body of an infallible one, except for places where error handling is actually involved.
• Error returns occur through ? error chaining, and with a new explicit syntax for error return.
• We usually talk about the error we are possibly returning, and avoid talking about Result unless we need to.

fehler provides:

• An attribute macro #[throws(ErrorType)] to make a function fallible in this way.
• A macro throws!(error) for explicitly failing.

This is precisely correct. It is very ergonomic. Consequences include:

• One does not need to decide where to put the Ok-wrapping, since it s automatic rather than explicitly written out.
• Specifically, what idiom to adopt in the body (for example write!(...)?; vs write!(...) in a formatter) does not depend on whether the error needs converting, how complex the body is, and whether the final expression in the function is itself fallible.
• Making an infallible function fallible involves only adding #[throws] to its definition, and ? to its call sites. One does not need to edit the body, or the return type.
• Changing the error returned by a function to a suitably compatible different error type does not involve changing the function body.
• There is no need for a local Result alias shadowing std::result::Result, which means that when one needs to speak of Result explciitly, the code is clearer.

Limitations of fehler But, fehler is a Rust procedural macro, so it cannot get everything right. Sadly there are some wrinkles.

• You can t write #[throws] on a closure.
• Sometimes you can get quite poor error messages if you have a sufficiently broken function body.
• Code inside a macro call isn t properly visible to fehler so sometimes return statements inside macro calls are untreated. This will lead to a type error, so isn t a correctness hazard, but it can be nuisance if you like other syntax extensions eg if_chain.
• #[must_use] #[throws(Error)] fn obtain() -> Thing; ought to mean that Thing must be used, not the Result<Thing, Error>.

But, Rust-with-#[throws] is so much nicer a language than Rust-with-mandatory-Ok-wrapping, that these are minor inconveniences. Please can we have #[throws] in the Rust language This ought to be part of the language, not a macro library. In the compiler, it would be possible to get the all the corner cases right. It would make the feature available to everyone, and it would quickly become idiomatic Rust throughout the community. It is evident from reading writings from the time, particularly those from withoutboats, that there were significant objections to automatic Ok-wrapping. It seems to have become quite political, and some folks burned out on the topic. Perhaps, now, a couple of years later, we can revisit this area and solve this problem in the language itself ? Explicitness An argument I have seen made against automatic Ok-wrapping, and, in general, against any kind of useful language affordance, is that it makes things less explicit. But this argument is fundamentally wrong for Ok-wrapping. Explicitness is not an unalloyed good. We humans have only limited attention. We need to focus that attention where it is actually needed. So explicitness is good in situtions where what is going on is unusual; or would otherwise be hard to read; or is tricky or error-prone. Generally: explicitness is good for things where we need to direct humans attention. But Ok-wrapping is ubiquitous in fallible Rust code. The compiler mechanisms and type systems almost completely defend against mistakes. All but the most novice programmer knows what s going on, and the very novice programmer doesn t need to. Rust s error handling arrangments are designed specifically so that we can avoid worrying about fallibility unless necessary except for the Ok-wrapping. Explicitness about Ok-wrapping directs our attention away from whatever other things the code is doing: it is a distraction. So, explicitness about Ok-wrapping is a bad thing. Appendix - examples showning code with Ok wrapping is worse than code using #[throws] Observe these diffs, from my abandoned attempt to remove the fehler dependency from Hippotat. I have a type alias AE for the usual error type (AE stands for anyhow::Error). In the non-#[throws] code, I end up with a type alias AR<T> for Result<T, AE>, which I think is more opaque but at least that avoids typing out -> Result< , AE> a thousand times. Some people like to have a local Result alias, but that means that the standard Result has to be referred to as StdResult or std::result::Result.

With fehler and #[throws]	Vanilla Rust, Result<>, mandatory Ok-wrapping
Return value clearer, error return less wordy:
impl Parseable for Secret	impl Parseable for Secret
#[throws(AE)]
fn parse(s: Option<&str>) -> Self	fn parse(s: Option<&str>) -> AR<Self>
let s = s.value()?;	let s = s.value()?;
if s.is_empty() throw!(anyhow!( secret value cannot be empty ))	if s.is_empty() return Err(anyhow!( secret value cannot be empty ))
Secret(s.into())	Ok(Secret(s.into()))
No need to wrap whole match statement in Ok( ):
#[throws(AE)]
pub fn client<T>(&self, key: & static str, skl: SKL) -> T	pub fn client<T>(&self, key: & static str, skl: SKL) -> AR<T>
where T: Parseable + Default	where T: Parseable + Default
match self.end	Ok(match self.end
LinkEnd::Client => self.ordinary(key, skl)?,	LinkEnd::Client => self.ordinary(key, skl)?,
LinkEnd::Server => default(),	LinkEnd::Server => default(),
	)
Return value and Ok(()) entirely replaced by #[throws]:
impl Display for Loc	impl Display for Loc
#[throws(fmt::Error)]
fn fmt(&self, f: &mut fmt::Formatter)	fn fmt(&self, f: &mut fmt::Formatter) -> fmt::Result
write!(f, :? : , &self.file, self.lno)?;	write!(f, :? : , &self.file, self.lno)?;
if let Some(s) = &self.section	if let Some(s) = &self.section
write!(f, )?;	write!(f, )?;
	Ok(())
Call to write! now looks the same as in more complex case shown above:
impl Debug for Secret	impl Debug for Secret
#[throws(fmt::Error)]
fn fmt(&self, f: &mut fmt::Formatter)	fn fmt(&self, f: &mut fmt::Formatter)-> fmt::Result
write!(f, "Secret(***)")?;	write!(f, "Secret(***)")
Much tiresome return Ok() noise removed:
impl FromStr for SectionName	impl FromStr for SectionName
type Err = AE;	type Err = AE;
#[throws(AE)]
fn from_str(s: &str) -> Self	fn from_str(s: &str) ->AR< Self>
match s	match s
COMMON => return SN::Common,	COMMON => return Ok(SN::Common),
LIMIT => return SN::GlobalLimit,	LIMIT => return Ok(SN::GlobalLimit),
_ =>	_ =>
;	;
if let Ok(n@ ServerName(_)) = s.parse() return SN::Server(n)	if let Ok(n@ ServerName(_)) = s.parse() return Ok(SN::Server(n))
if let Ok(n@ ClientName(_)) = s.parse() return SN::Client(n)	if let Ok(n@ ClientName(_)) = s.parse() return Ok(SN::Client(n))
if client == LIMIT return SN::ServerLimit(server)	if client == LIMIT return Ok(SN::ServerLimit(server))
let client = client.parse().context( client name in link section name )?;	let client = client.parse().context( client name in link section name )?;
SN::Link(LinkName server, client )	Ok(SN::Link(LinkName server, client ))

edited 2022-12-18 19:58 UTC to improve, and 2022-12-18 23:28 to fix, formatting

comments

Like each month, have a look at the work funded by Freexian s Debian LTS offering.

Debian LTS contributors In November, 15 contributors have been paid to work on Debian LTS, their reports are available:

• Abhijith PA did 0.0h (out of 14.0h assigned), thus carrying over 14.0h to the next month.
• Anton Gladky did 6.0h (out of 15.0h assigned), thus carrying over 9.0h to the next month.
• Ben Hutchings did 9.0h (out of 24.0h assigned), thus carrying over 15.0h to the next month.
• Chris Lamb did 18.0h (out of 18.0h assigned).
• Dominik George did 10.0h (out of 0h assigned and 24.0h from previous period), thus carrying over 14.0h to the next month.
• Emilio Pozuelo Monfort did 0.0h (out of 38.0h assigned and 19.5h from previous period), thus carrying over 57.5h to the next month.
• Enrico Zini did 0.0h (out of 0h assigned and 8.0h from previous period), thus carrying over 8.0h to the next month.
• Helmut Grohne did 17.5h (out of 20.0h assigned).
• Markus Koschany did 40.0h (out of 40.0h assigned).
• Ola Lundqvist did 7.5h (out of 11.0h assigned and 5.0h from previous period), thus carrying over 8.5h to the next month.
• Roberto C. S nchez did 20.25h (out of 0.75h assigned and 31.25h from previous period), thus carrying over 11.75h to the next month.
• Stefano Rivera did 2.5h (out of 0h assigned and 17.0h from previous period), thus carrying over 14.5h to the next month.
• Sylvain Beucler did 35.5h (out of 23.0h assigned and 34.5h from previous period), thus carrying over 22.0h to the next month.
• Thorsten Alteholz did 14.0h (out of 14.0h assigned).
• Utkarsh Gupta did 41.0h (out of 32.5h assigned and 25.0h from previous period), thus carrying over 16.5h to the next month.

Evolution of the situation In November, we released 43 DLAs, fixing 183 CVEs. We currently have 63 packages in dla-needed.txt that are waiting for updates, which is 19 fewer than the previous month. We re excited to announce that two Debian Developers Tobias Frost and Guilhem Moulin, have completed the on-boarding process and will begin contributing to LTS as of December 2022. Welcome aboard!

Thanks to our sponsors Sponsors that joined recently are in bold.

• Platinum sponsors:
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  • Alter Way (for 7 months)

The Reproducible Builds project relies on several projects, supporters and sponsors for financial support, but they are also valued as ambassadors who spread the word about our project and the work that we do. This is the sixth instalment in a series featuring the projects, companies and individuals who support the Reproducible Builds project. We started this series by featuring the Civil Infrastructure Platform project and followed this up with a post about the Ford Foundation as well as a recent ones about ARDC, the Google Open Source Security Team (GOSST), Jan Nieuwenhuizen on Bootstrappable Builds, GNU Mes and GNU Guix and Hans-Christoph Steiner of the F-Droid project. Today, however, we will be talking with David A. Wheeler, the Director of Open Source Supply Chain Security at the Linux Foundation.

Holger Levsen: Welcome, David, thanks for taking the time to talk with us today. First, could you briefly tell me about yourself? David: Sure! I m David A. Wheeler and I work for the Linux Foundation as the Director of Open Source Supply Chain Security. That just means that my job is to help open source software projects improve their security, including its development, build, distribution, and incorporation in larger works, all the way out to its eventual use by end-users. In my copious free time I also teach at George Mason University (GMU); in particular, I teach a graduate course on how to design and implement secure software. My background is technical. I have a Bachelor s in Electronics Engineering, a Master s in Computer Science and a PhD in Information Technology. My PhD dissertation is connected to reproducible builds. My PhD dissertation was on countering the Trusting Trust attack, an attack that subverts fundamental build system tools such as compilers. The attack was discovered by Karger & Schell in the 1970s, and later demonstrated & popularized by Ken Thompson. In my dissertation on trusting trust I showed that a process called Diverse Double-Compiling (DDC) could detect trusting trust attacks. That process is a specialized kind of reproducible build specifically designed to detect trusting trust style attacks. In addition, countering the trusting trust attack primarily becomes more important only when reproducible builds become more common. Reproducible builds enable detection of build-time subversions. Most attackers wouldn t bother with a trusting trust attack if they could just directly use a build-time subversion of the software they actually want to subvert.
Holger: Thanks for taking the time to introduce yourself to us. What do you think are the biggest challenges today in computing? There are many big challenges in computing today. For example:

• Lack of resilience & capacity in chip fabrication. Fabs are extraordinarily expensive, and at the high end continue to have technological advancement. As a result, supply is failing to meet demand, and geopolitical issues raise further concerns. We ve seen cars, gaming consoles and many other devices unable to be delivered due to chip shortages. More fabs are being built, and some politicians are raising concerns, but it s unclear that current efforts will be enough.
• Lack of enough developers able to develop the software that people & organizations need. Computers are far faster, and open source software has made software reuse incredibly easy. However, organizations still struggle to automate many tasks. The bottleneck is the lack of enough talented developers able to convert ideas into working software. Low-code and no-code approaches help in specialized areas, just like all previous automate the programmer efforts of the last 60 years, but there s no reason to believe they will help enough.
• Large scale of software. Small systems are easier to develop & maintain, but today s systems increasingly get bigger to meet users needs & are much harder to manage. Even small embedded systems are often supported by huge back-end systems.
• Ending tail of Moore s law & rise of smartphones. Historically people would just wait a few years for their software to speed up, but Moore s law is petering out, and smartphones are necessarily limited by power & size limits. As a result, software developers can t wait for the hardware to save their slow systems; they must redesign. Switching to faster languages, or using multiple processors, is much more difficult than waiting for performance problems to disappear.
• Continuous change in interfaces. Developers continuously find reasons to change component interfaces: perhaps they re too inflexible, too hard to use, and so on. But now that developers are reusing hundreds, thousands, or tens of thousands of components, managing the continuous change of the reused components is challenging. Package managers make updating easy but don t automatically handle interface changes. I think this is mostly a self-inflicted problem most components could support old interfaces (like the Linux kernel does) but because it s often not acknowledged as a problem, it s often not addressed.
• Security & privacy. Decades ago there were fewer computers and most computers weren t connected to a network. Today things are different. Criminals have found many ways to attack computer systems to make money, and nation-states have found many ways to attack computer systems for their own reasons. Attackers now have very strong motivations to perform attacks. Yet many developers aren t told how to develop software that resists attacks, nor how to protect their supply chains. Operations try to monitor and recover from attacks, but their job is difficult due to inadequately secure software that doesn t support those monitoring & recovery efforts well either. The results are terrible security.

Holger: Do you think reproducible builds are an important part in secure computing today already? David: Yes, but first let s put things in context. Today, when attackers exploit software vulnerabilities, they re primarily exploiting unintentional vulnerabilities that were created by the software developers. There are a lot of efforts to counter this:

• Train & education developers in how to develop secure software. The OpenSSF provides a free course on how to do that (full disclosure: I m the author). Take that course or something like it!
• Add tools to your CI pipeline to detect potential vulnerabilities. Yes, they have false positives and false negatives, so you have to also use your brain but that just means you need to be smart about using tools, instead of not using them.
• Get projects & organizations to update the components they use, since often the vulnerabilities are well-known publicly (e.g., Equifax in 2017). Add some tools to your development process to warn you about components with known vulnerabilities! GitHub & GitLab both provide tools to do this, and there are many other tools.
• When starting new projects, try to use memory-safe languages. On average 70% of the vulnerabilities in Chrome and in Microsoft are from memory safety problems; using a memory-safe language eliminates most of them.

We re just starting to get better at this, which is good. However, attackers always try to attack the easiest target. As our deployed software has started to be hardened against attack, attackers have dramatically increased their attacks on the software supply chain (Sonatype found in 2022 that there s been a 742% increase year-over-year). The software supply chain hasn t historically gotten much attention, making it the easy target. There are simple supply chain attacks with simple solutions:

• In almost every year the top attack has been typosquatting. In typo squatting, an attacker creates packages with almost the right name. This is an easy attack to counter developers just need to double-check the name of a package before adding it. But we aren t warning developers enough about it! For more information, see papers such as the Backstabber s Knife Collection.
• Last year the top software supply chain attack was dependency confusion convincing projects to use the wrong repo for a given package. There are simple solutions to this, such as specifying the package source and/or requiring a cryptographic hash to match.
• Some attacks involve takeovers of developer accounts. In almost all cases, these are caused by stolen passwords. Using a multi-factor authentication (MFA) token eliminates stolen password attacks, which is why several repositories are starting to require MFA tokens in some cases.

Unfortunately, attackers know there are other lines of attack. One of the most dangerous is subverted build systems, as demonstrated by the subversion of SolarWinds Orion system. In a subverted build system, developers can review the software source code all day and see no problem, because there is no problem there. Instead, the process to convert source code into the code people run, called the build system , is subverted by an attacker. One solution for countering subverted build systems is to make the build systems harder to attack. That s a good thing to do, but you can never be confident that it was good enough . How can you be sure it s not subverted, if there s no way to know? A stronger defense against subverted build systems is the idea of verified reproducible builds. A build is reproducible if given the same source code, build environment and build instructions, any party can recreate bit-by-bit identical copies of all specified artifacts. A build is verified if multiple different parties verify that they get the same result for that situation. When you have a verified reproducible build, either all the parties colluded (and you could always double-check it yourself), or the build process isn t subverted. There is one last turtle: What if the build system tools or machines are subverted themselves? This is not a common attack today, but it s important to know if we can address them when the time comes. The good news is that we can address this. For some situations reproducible builds can also counter such attacks. If there s a loop (that is, a compiler is used to generate itself), that s called the trusting trust attack, and that is more challenging. Thankfully, the trusting trust attack has been known about for decades and there are known solutions. The diverse double-compiling (DDC) process that I explained in my PhD dissertation, as well as the bootstrappable builds process, can both counter trusting trust attacks in the software space. So there is no reason to lose hope: there is a bottom turtle , as it were.
Holger: Thankfully, this has all slowly started to change and supply chain issues are now widely discussed, as evident by efforts like Securing the Software Supply Chain: Recommended Practices Guide for Developers which you shared on our mailing list. In there, Reproducible Builds are mentioned as recommended advanced practice, which is both pretty cool (we ve come a long way!), but to me it also sounds like this will take another decade until it s become standard normal procedure. Do you agree on that timeline? David: I don t think there will be any particular timeframe. Different projects and ecosystems will move at different speeds. I wouldn t be surprised if it took a decade or so for them to become relatively common there are good reasons for that. Today the most common kinds of attacks based on software vulnerabilities still involve unintentional vulnerabilities in operational systems. Attackers are starting to apply supply chain attacks, but the top such attacks today are typosquatting (creating packages with similar names) and dependency confusion) (convincing projects to download packages from the wrong repositories). Reproducible builds don t counter those kinds of attacks, they counter subverted builds. It s important to eventually have verified reproducible builds, but understandably other issues are currently getting prioritized first. That said, reproducible builds are important long term. Many people are working on countering unintentional vulnerabilities and the most common kinds of supply chain attacks. As these other threats are countered, attackers will increasingly target build systems. Attackers always go for the weakest link. We will eventually need verified reproducible builds in many situations, and it ll take a while to get build systems able to widely perform reproducible builds, so we need to start that work now. That s true for anything where you know you ll need it but it will take a long time to get ready you need to start now.
Holger: What are your suggestions to accelerate adoption? David: Reproducible builds need to be:

• Easy (ideally automatic). Tools need to be modified so that reproducible builds are the default or at least easier to do.
• Transparent to projects & potential users. Many projects have no idea that their results aren t reproducible, and many potential users of the project don t know either. That information needs to be obvious. I ve proposed that the OpenSSF Dashboard SIG try to reproduce builds, for at least some packages, to make it more obvious to everyone when a project isn t reproducible. I don t know if that will happen in that particular case, but the point is to help people learn that information as soon as possible.
• Deployed. Experiments are great, but experiments showing that a project could be reproducible are inadequate. We need the projects that people use to be reproducible.

I think there s a snowball effect. Once many projects packages are reproducible, it will be easier to convince other projects to make their packages reproducible. I also think there should be some prioritization. If a package is in wide use (e.g., part of minimum set of packages for a widely-used Linux distribution or framework), its reproducibility should be a special focus. If a package is vital for supporting some societally important critical infrastructure (e.g., running dams), it should also be considered important. You can then work on the ones that are less important over time.
Holger: How is the Best Practices Badge going? How many projects are participating and how many are missing? David: It s going very well. You can see some automatically-generated statistics, showing we have over 5,000 projects, adding more than 1/day on average. We have more than 900 projects that have earned at least the passing badge level.
Holger: How many of the projects participating in the Best Practices badge engaging with reproducible builds? David: As of this writing there are 168 projects that report meeting the reproducible builds criterion. That s a relatively small percentage of projects. However, note that this criterion (labelled build_reproducible) is only required for the gold badge. It s not required for the passing or silver level badge. Currently we ve been strategically focused on getting projects to at least earn a passing badge, and less on earning silver or gold badges. We would love for all projects to get earn a silver or gold badge, of course, but our theory is that projects that can t even earn a passing badge present the most risk to their users. That said, there are some projects we especially want to see implementing higher badge levels. Those include projects that are very widely used, so that vulnerabilities in them can impact many systems. Examples of such projects include the Linux kernel and curl. In addition, some projects are used within systems where it s important to society that they not have serious security vulnerabilities. Examples include projects used by chemical manufacturers, financial systems and weapons. We definitely encourage any of those kinds of projects to earn higher badge levels.
Holger: Many thanks for this interview, David, and for all of your work at the Linux Foundation and elsewhere!

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For more information about the Reproducible Builds project, please see our website at reproducible-builds.org. If you are interested in ensuring the ongoing security of the software that underpins our civilisation and wish to sponsor the Reproducible Builds project, please reach out to the project by emailing contact@reproducible-builds.org.

Review: Contact, by Carl Sagan

Publisher:	Pocket Books
Copyright:	1985
Printing:	October 1986
ISBN:	0-671-43422-5
Format:	Mass market
Pages:	434

Contact is a standalone first-contact science fiction novel. Carl Sagan (1934 1996) was best known as a non-fiction writer, astronomer, and narrator of the PBS non-fiction program Cosmos. This is his first and only novel. Ellie Arroway is the director of Project Argus, a radio telescope array in the New Mexico desert whose primary mission is SETI: the search for extra-terrestrial intelligence by scanning the skies for unexpected radio signals. Its assignment to SETI is controversial; there are radio astronomy projects waiting, and although 25% of the telescope time is assigned to non-SETI projects, some astronomers think the SETI mission should be scrapped and Argus fully diverted to more useful research. That changes overnight when Argus picks up a signal from Vega, binary pulses representing the sequence of prime numbers. The signal of course doesn't stop when the Earth rotates, so Ellie and her team quickly notify every radio observatory they can get hold of to follow the signal as it passes out of their line of sight. Before long, nearly every country with a radio telescope is involved, and Russian help is particularly vital since they have ship-mounted equipment. The US military and intelligence establishment isn't happy about this and make a few attempts to shove the genie back into the bottle and keep any further discoveries secret, without a lot of success. (Sagan did not anticipate the end of the Cold War, and yet ironically relations with the Russians in his version of the 1990s are warmer by far than they are today. Not that this makes the military types any happier.) For better or worse, making sense of the alien signal becomes a global project. You may be familiar with this book through its 1997 movie adaptation starring Jodie Foster. What I didn't know before reading this book is that it started life as a movie treatment, co-written with Ann Druyan, in 1979. When the movie stalled, Sagan expanded it into a novel. (Given the thanks to Druyan in the author's note, it may not be far wrong to name her as a co-author.) If you've seen the movie, you will have a good idea of what will happen, but the book gives the project a more realistic international scope. Ellie has colleagues carefully selected from all over the world, including for the climactic moment of the story. The biggest problem with Contact as a novel is that Sagan is a non-fiction writer who didn't really know how to write a novel. The long, detailed descriptions of the science and the astronomical equipment fit a certain type of SF story, but the descriptions of the characters, even Ellie, are equally detailed and yet use the same style. The book starts with an account of Ellie's childhood and path into science written like a biography or a magazine profile, not like a novel in which she's the protagonist. The same is true of the other characters: we get characterization of a sort, but the tone ranges from Wikipedia article to long-form essay and never quite feels like a story. Ellie is the most interesting character in the book, partly because the way Sagan writes her is both distant but oddly compelling. Sagan (or perhaps Druyan?) tries hard to show what life is like for a woman born in the middle of the 20th century who is interested in science and I think mostly succeeds, although Ellie's reactions to sexism felt weirdly emotionless. The descriptions of her relationships are even odder and the parts where this book felt the least like a novel, but Sagan does sell some of that tone as reflective of Ellie's personality. She's a scientist, the work is the center of her life, and everything else, even when important, is secondary. It doesn't entirely make the writing style work, but it helps. Sagan does attempt to give Ellie a personal development arc related to her childhood and her relationships with her father and step-father. I thought the conclusion to that was neither believable nor anywhere near as important as Sagan thought it was, which was off-putting. Better were her ongoing arguments with evangelical Christians, one of whom is a close-minded ass and the other of which is a far more interesting character. They felt wedged into this book, and I'm dubious a realistic version of Ellie would have been the person to have those debates, but it's a subject Sagan clearly has deep personal interest in and that shows in how they're written. The other problem with Contact as a novel is that Sagan does not take science fiction seriously as a genre, instead treating it as a way to explore a thought experiment. To a science fiction reader, or at least to this science fiction reader, the interesting bits of this story involve the aliens. Those are not the bits Sagan is interested in. His attention is on how this sort of contact, and project, would affect humanity and human politics. We do get some more traditional science fiction near the end of the book, but Sagan then immediately backs away from it, minimizes that part of the story, and focuses exclusively on the emotional and philosophical implications for humans of his thought experiment. Since I found his philosophical musings about agnosticism and wonder and discovery less interesting than the actual science fiction bits, I found this somewhat annoying. The ending felt a bit more like a cheap trick than a satisfying conclusion. Interestingly, this entire novel is set in an alternate universe, for reasons entirely unexplained (at least that I noticed) in the book. It's set in the late 1990s but was written in 1985, so of course this is an alternate future, but the 1985 of this world still isn't ours. Yuri Gagarin was the first man to set foot on the moon, and the space program and the Cold War developed in subtly different ways. I'm not sure why Sagan made that choice, but it felt to me like he was separating his thought experiment farther from our world to give the ending more plausible deniability. There are, at the time of the novel, permanent orbital colonies for (mostly) rich people, because living in space turns out to greatly extend human lifespans. That gives Sagan an opportunity to wax poetic about the life-altering effects of seeing Earth from space, which in his alternate timeline rapidly sped up nuclear disarmament and made the rich more protective of the planet. This is an old bit of space boosterism that isn't as common these days, mostly because it's become abundantly clear that human psychology doesn't work this way. Sadly, rich sociopaths remain sociopaths even when you send them into space. I was a bit torn between finding Sagan's predictions charmingly hopeful and annoyingly daft. I don't think this novel is very successful as a novel. It's much longer than it needs to be and long parts of it drag. But it's still oddly readable; even knowing the rough shape of the ending in advance, I found it hard to put down once the plot properly kicks into gear about two-thirds of the way through. There's a lot in here that I'd argue with Sagan about, but he's thoughtful and makes a serious attempt to work out the political and scientific ramifications of such a discovery in detail. Despite the dry tone, he does a surprisingly good job capturing the anticipation and excitement of a very expensive and risky scientific experiment. I'm not sure I would recommend this book to anyone, but I'm also the person who found Gregory Benford's Timescape to be boring and tedious, despite its rave reviews as a science fiction novel about the practice of science. If that sort of book is more your jam, you may like Contact better than I did. Rating: 6 out of 10

Version 0.0.11 of RcppSpdlog is now on CRAN and in Debian. RcppSpdlog bundles spdlog, a wonderful header-only C++ logging library with all the bells and whistles you would want that was written by Gabi Melman, and also includes fmt by Victor Zverovich. This release adds support for a basic file logger as a alternative to the console logger. This can be helpful with code which suppresses or hides console output as for example unit test code does. We also expose the formatting helper function for direct use at the C level from other packages, and mention the handy wrapper spdl in the README. The NEWS entry for this release follows.

Changes in RcppSpdlog version 0.0.11 (2022-12-13)

• Export the formatter at C level
• Mention package spdl in README.md
• Support simple file-based logger

Courtesy of my CRANberries, there is also a diffstat report. More detailed information is on the RcppSpdlog page, or the package documention site. If you like this or other open-source work I do, you can sponsor me at GitHub.

This post by Dirk Eddelbuettel originated on his Thinking inside the box blog. Please report excessive re-aggregation in third-party for-profit settings.