Search Results: "Chris Lamb"

7 January 2023

Reproducible Builds: Reproducible Builds in December 2022

Welcome to the December 2022 report from the Reproducible Builds project.
We are extremely pleased to announce that the dates for the Reproducible Builds Summit in 2023 have been announced in 2022 already: We plan to spend three days continuing to the grow of the Reproducible Builds effort. As in previous events, the exact content of the meeting will be shaped by the participants. And, as mentioned in Holger Levsen s post to our mailing list, the dates have been booked and confirmed with the venue, so if you are considering attending, please reserve these dates in your calendar today.
R my Gr nblatt, an associate professor in the T l com Sud-Paris engineering school wrote up his pain points of using Nix and NixOS. Although some of the points do not touch on reproducible builds, R my touches on problems he has encountered with the different kinds of reproducibility that these distributions appear to promise including configuration files affecting the behaviour of systems, the fragility of upstream sources as well as the conventional idea of binary reproducibility.
Morten Linderud reported that he is quietly optimistic that if Go programming language resolves all of its issues with reproducible builds (tracking issue) then the Go binaries distributed from Google and by Arch Linux may be bit-for-bit identical. It s just a bit early to sorta figure out what roadblocks there are. [But] Go bootstraps itself every build, so in theory I think it should be possible.
On December 15th, Holger Levsen published an in-depth interview he performed with David A. Wheeler on supply-chain security and reproducible builds, but it also touches on the biggest challenges in computing as well. This is part of a larger series of posts featuring the projects, companies and individuals who support the Reproducible Builds project. Other instalments include an article 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.
A number of changes were made to the Reproducible Builds website and documentation this month, including FC Stegerman adding an F-Droid/apksigcopier example to our embedded signatures page [ ], Holger Levsen making a large number of changes related to the 2022 summit in Venice as well as 2023 s summit in Hamburg [ ][ ][ ][ ] and Simon Butler updated our publications page [ ][ ].
On our mailing list this month, James Addison asked a question about whether there has been any effort to trace the files used by a build system in order to identify the corresponding build-dependency packages. [ ] In addition, Bernhard M. Wiedemann then posed a thought-provoking question asking How to talk to skeptics? , which was occasioned by a colleague who had published a blog post in May 2021 skeptical of reproducible builds. The thread generated a number of replies.

Android news obfusk (FC Stegerman) performed a thought-provoking review of tools designed to determine the difference between two different .apk files shipped by a number of free-software instant messenger applications. These scripts are often necessary in the Android/APK ecosystem due to these files containing embedded signatures so the conventional bit-for-bit comparison cannot be used. After detailing a litany of issues with these tools, they come to the conclusion that:
It s quite possible these messengers actually have reproducible builds, but the verification scripts they use don t actually allow us to verify whether they do.
This reflects the consensus view within the Reproducible Builds project: pursuing a situation in language or package ecosystems where binaries are bit-for-bit identical (over requiring a bespoke ecosystem-specific tool) is not a luxury demanded by purist engineers, but rather the only practical way to demonstrate reproducibility. obfusk also announced the first release of their own set of tools on our mailing list. Related to this, obfusk also posted to an issue filed against Mastodon regarding the difficulties of creating bit-by-bit identical APKs, especially with respect to copying v2/v3 APK signatures created by different tools; they also reported that some APK ordering differences were not caused by building on macOS after all, but by using Android Studio [ ] and that F-Droid added 16 more apps published with Reproducible Builds in December.

Debian As mentioned in last months report, Vagrant Cascadian has been organising a series of online sprints in order to clear the huge backlog of reproducible builds patches submitted by performing NMUs (Non-Maintainer Uploads). During December, meetings were held on the 1st, 8th, 15th, 22nd and 29th, resulting in a large number of uploads and bugs being addressed: The next sprint is due to take place this coming Tuesday, January 10th at 16:00 UTC.

Upstream patches The Reproducible Builds project attempts to fix as many currently-unreproducible packages as possible. This month, we wrote a large number of such patches, including:

Testing framework The Reproducible Builds project operates a comprehensive testing framework at tests.reproducible-builds.org in order to check packages and other artifacts for reproducibility. In October, the following changes were made by Holger Levsen:
  • The osuosl167 machine is no longer a openqa-worker node anymore. [ ][ ]
  • Detect problems with APT repository signatures [ ] and update a repository signing key [ ].
  • reproducible Debian builtin-pho: improve job output. [ ]
  • Only install the foot-terminfo package on Debian systems. [ ]
In addition, Mattia Rizzolo added support for the version of diffoscope in Debian stretch which doesn t support the --timeout flag. [ ][ ]

diffoscope diffoscope is our in-depth and content-aware diff utility. Not only can it locate and diagnose reproducibility issues, it can provide human-readable diffs from many kinds of binary formats. This month, Chris Lamb made the following changes to diffoscope, including preparing and uploading versions 228, 229 and 230 to Debian:
  • Fix compatibility with file(1) version 5.43, with thanks to Christoph Biedl. [ ]
  • Skip the test_html.py::test_diff test if html2text is not installed. (#1026034)
  • Update copyright years. [ ]
In addition, Jelle van der Waa added support for Berkeley DB version 6. [ ] Orthogonal to this, Holger Levsen bumped the Debian Standards-Version on all of our packages, including diffoscope [ ], strip-nondeterminism [ ], disorderfs [ ] and reprotest [ ].
If you are interested in contributing to the Reproducible Builds project, please visit our Contribute page on our website. You can get in touch with us via:

31 December 2022

Chris Lamb: Favourite films of 2022

In my four most recent posts, I went over the memoirs and biographies, the non-fiction, the fiction and the 'classic' fiction I enjoyed reading in 2022. But in the very last of my roundup posts and in relatively less detail I'll be quickly sketching out the favourite movies that were new to me in 2022:

La Ronde (1950) An all-knowing narrator (Adolf Wohlbr ck) guides us through a series of vignettes in 1900s Vienna a soldier meets an eager young lady of the evening, and later he has an affair with a young lady who becomes a maid and who then does similarly with the young man of the house. On and on it goes, spinning on the carousel of life. A wonderfully beguiling movie, and a reminder that 'innocent' and 'charming' doesn't always imply 'childish'.

A Man Escaped (1956) A Man Escaped is the story of a WW2 resistance fighter who wishes to escape from a prison. Filmed in Robert Bresson's quasi-minimalistic style (and touching on his usual themes of Christian redemption), this deceptively simple-looking film rewards deeper analysis.

The Music Room (1958) In The Music Room, Satyajit Ray (best known for his Apu Trilogy) tells the story of a wealthy landlord who lives a decadent life with his wife and son. His passion is for music, however, and he spends a significant portion of his fortune on concerts held for the locals in his magnificent music room (or 'jalsaghar). However, his obsession for music (and its attendant quest for respect from his peers) is his eventual undoing, as he sacrifices both his family and wealth whilst trying to retain it. Indeed, The Music Room is less of an examination of a single rich man (or of the hypnotic sitar music by Vilayat Khan) than of the dying Bengali landowning class, which I read as symbolic of what was about to vanish from Indian culture in the post-Independence drive toward modernity. Still, this is a multi-layered and textured film, as this is also an intensely moving portrait of a highly-detached man as well.

The Hustler (1961) 'Fast Eddie' Felson is a small-time pool hustler with a lot of talent but a self-destructive attitude. His bravado causes him to challenge the legendary Minnesota Fats to a high-stakes match. The stakes are always much bigger than just money though, as Fast Eddie's ego is on the line. Despite not caring so much about the game, I was completely gripped by Paul Newman's superb performance. Almost certainly the best film about pool ever made, and probably the best sports film as well.

Picnic at Hanging Rock (1975) One Valentine's Day in early-1900s Australia, an upper-class school takes its girls on a field trip to a scenic volcanic formation in the middle of the brush. Despite all the rules against it, however, several of the girls venture off onto the rock, and it's not until the end of the day that the group realises some of the girls and one of the teachers have disappeared without a trace. A mesmerising film about colonialism, sexual repression and Antonioni-esque alienation, Picnic at Hanging Rock's dreamlike aesthetic is haunting.

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1976) Jeanne Dielman is a three-and-a-half-hour film that shows a widowed housewife doing her daily chores and taking care of her apartment. Yet in its uncompromising nature, it raises the tedium of her life to the level of profundity. I watched this radically political film a few months before it was recently voted as the 'greatest of all time'), but despite its relentless rigorous nature (and long running time), the conclusion when it comes is shattering.

Raise the Red Lantern (1991) Set in China during the 1920s, Raise the Red Lantern tells the story of a young woman who has become the new concubine of a wealthy man. However, as he has three wives already (each living in a separate house within his castle) she becomes are engaged in an extremely complicated competition attention and the privileges that come with it. Richly colourful, both in its visuals and symbolism, this is film both specifically about China at the time and human universals.

Moonlight (2016) A heartbreaking story of a young man's struggle to find himself, told across three defining chapters in his life as he experiences the pain and beauty of falling in love, whilst grappling with his own sexuality within the ambient weather of race and class in the United States. Absolutely spellbinding and visually stunning.

Drive My Car (2021) Yusuke Kafuku is a stage director who is unable to cope with the loss of his wife, and has therefore accepted an invitation to direct Anton Chekhov's [Uncle Vanya][https://en.wikipedia.org/wiki/Uncle_Vanya] at a festival in Hiroshima, Japan. Yet whilst many reviewers have focused on the compelling relationship between Yusuke and Misaki (the introverted young woman who has been appointed to drive his car), what I found devastating was the embedded meditation on language, communication, understanding and empathy, especially concerning what happens when these break down or are no longer possible. Drive My Car touches on the limits of each of these phenomena connecting to the next: being able to speak the same language as another doesn't mean you can communicate with them; and being able to communicate doesn't mean you can understand someone, let alone empathise with them. All of this through the near-ungraspable emotion of grief as well, and the portion of this film where the actress was silently employing Korean Sign Language was the most moving thing I saw this year.

30 December 2022

Chris Lamb: Favourite books of 2022: Non-fiction

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.

Reproducible Builds (diffoscope): diffoscope 230 released

The diffoscope maintainers are pleased to announce the release of diffoscope version 230. This version includes the following changes: 
[ Chris Lamb ]
* Fix compatibility with file(1) version 5.43; thanks, Christoph Biedl.
[ Jelle van der Waa ]
* Support Berkeley DB version 6.
You find out more by visiting the project homepage.

29 December 2022

Chris Lamb: Favourite books of 2022: Memoir/biography

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.

28 December 2022

Chris Lamb: Favourite books of 2022: Classics

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.

27 December 2022

Chris Lamb: Favourite books of 2022: Fiction

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.

20 December 2022

Reproducible Builds (diffoscope): diffoscope 229 released

The diffoscope maintainers are pleased to announce the release of diffoscope version 229. This version includes the following changes: 
[ Chris Lamb ]
* Skip test_html.py::test_diff if html2text is not installed.
  (Closes: #1026034)
[ Holger Levsen ]
* Bump standards version to 4.6.2, no changes needed.
You find out more by visiting the project homepage.

18 December 2022

Freexian Collaborators: Monthly report about Debian Long Term Support, November 2022 (by Anton Gladky)

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.

8 December 2022

Reproducible Builds: Reproducible Builds in November 2022

Welcome to yet another report from the Reproducible Builds project, this time for November 2022. In all of these reports (which we have been publishing regularly since May 2015) we attempt to outline the most important things that we have been up to over the past month. As always, if you interested in contributing to the project, please visit our Contribute page on our website.

Reproducible Builds Summit 2022 Following-up from last month s report about our recent summit in Venice, Italy, a comprehensive report from the meeting has not been finalised yet watch this space! As a very small preview, however, we can link to several issues that were filed about the website during the summit (#38, #39, #40, #41, #42, #43, etc.) and collectively learned about Software Bill of Materials (SBOM) s and how .buildinfo files can be seen/used as SBOMs. And, no less importantly, the Reproducible Builds t-shirt design has been updated

Reproducible Builds at European Cyber Week 2022 During the European Cyber Week 2022, a Capture The Flag (CTF) cybersecurity challenge was created by Fr d ric Pierret on the subject of Reproducible Builds. The challenge consisted in a pedagogical sense based on how to make a software release reproducible. To progress through the challenge issues that affect the reproducibility of build (such as build path, timestamps, file ordering, etc.) were to be fixed in steps in order to get the final flag in order to win the challenge. At the end of the competition, five people succeeded in solving the challenge, all of whom were awarded with a shirt. Fr d ric Pierret intends to create similar challenge in the form of a how to in the Reproducible Builds documentation, but two of the 2022 winners are shown here:

On business adoption and use of reproducible builds Simon Butler announced on the rb-general mailing list that the Software Quality Journal published an article called On business adoption and use of reproducible builds for open and closed source software. This article is an interview-based study which focuses on the adoption and uses of Reproducible Builds in industry, with a focus on investigating the reasons why organisations might not have adopted them:
[ ] industry application of R-Bs appears limited, and we seek to understand whether awareness is low or if significant technical and business reasons prevent wider adoption.
This is achieved through interviews with software practitioners and business managers, and touches on both the business and technical reasons supporting the adoption (or not) of Reproducible Builds. The article also begins with an excellent explanation and literature review, and even introduces a new helpful analogy for reproducible builds:
[Users are] able to perform a bitwise comparison of the two binaries to verify that they are identical and that the distributed binary is indeed built from the source code in the way the provider claims. Applied in this manner, R-Bs function as a canary, a mechanism that indicates when something might be wrong, and offer an improvement in security over running unverified binaries on computer systems.
The full paper is available to download on an open access basis. Elsewhere in academia, Beatriz Michelson Reichert and Rafael R. Obelheiro have published a paper proposing a systematic threat model for a generic software development pipeline identifying possible mitigations for each threat (PDF). Under the Tampering rubric of their paper, various attacks against Continuous Integration (CI) processes:
An attacker may insert a backdoor into a CI or build tool and thus introduce vulnerabilities into the software (resulting in an improper build). To avoid this threat, it is the developer s responsibility to take due care when making use of third-party build tools. Tampered compilers can be mitigated using diversity, as in the diverse double compiling (DDC) technique. Reproducible builds, a recent research topic, can also provide mitigation for this problem. (PDF)

Misc news
On our mailing list this month:

Debian & other Linux distributions Over 50 reviews of Debian packages were added this month, another 48 were updated and almost 30 were removed, all of which adds to our knowledge about identified issues. Two new issue types were added as well. [ ][ ]. Vagrant Cascadian announced on our mailing list another online sprint to help clear the huge backlog of reproducible builds patches submitted by performing NMUs (Non-Maintainer Uploads). The first such sprint took place on September 22nd, but others were held on October 6th and October 20th. There were two additional sprints that occurred in November, however, which resulted in the following progress: Lastly, Roland Clobus posted his latest update of the status of reproducible Debian ISO images on our mailing list. This reports that all major desktops build reproducibly with bullseye, bookworm and sid as well as that no custom patches needed to applied to Debian unstable for this result to occur. During November, however, Roland proposed some modifications to live-setup and the rebuild script has been adjusted to fix the failing Jenkins tests for Debian bullseye [ ][ ].
In other news, Miro Hron ok proposed a change to clamp build modification times to the value of SOURCE_DATE_EPOCH. This was initially suggested and discussed on a devel@ mailing list post but was later written up on the Fedora Wiki as well as being officially proposed to Fedora Engineering Steering Committee (FESCo).

Upstream patches The Reproducible Builds project detects, dissects and attempts to fix as many currently-unreproducible packages as possible. We endeavour to send all of our patches upstream where appropriate. This month, we wrote a large number of such patches, including:

diffoscope diffoscope is our in-depth and content-aware diff utility. Not only can it locate and diagnose reproducibility issues, it can provide human-readable diffs from many kinds of binary formats. This month, Chris Lamb prepared and uploaded versions 226 and 227 to Debian:
  • Support both python3-progressbar and python3-progressbar2, two modules providing the progressbar Python module. [ ]
  • Don t run Python decompiling tests on Python bytecode that file(1) cannot detect yet and Python 3.11 cannot unmarshal. (#1024335)
  • Don t attempt to attach text-only differences notice if there are no differences to begin with. (#1024171)
  • Make sure we recommend apksigcopier. [ ]
  • Tidy generation of os_list. [ ]
  • Make the code clearer around generating the Debian substvars . [ ]
  • Use our assert_diff helper in test_lzip.py. [ ]
  • Drop other copyright notices from lzip.py and test_lzip.py. [ ]
In addition to this, Christopher Baines added lzip support [ ], and FC Stegerman added an optimisation whereby we don t run apktool if no differences are detected before the signing block [ ].
A significant number of changes were made to the Reproducible Builds website and documentation this month, including Chris Lamb ensuring the openEuler logo is correctly visible with a white background [ ], FC Stegerman de-duplicated by email address to avoid listing some contributors twice [ ], Herv Boutemy added Apache Maven to the list of affiliated projects [ ] and boyska updated our Contribute page to remark that the Reproducible Builds presence on salsa.debian.org is not just the Git repository but is also for creating issues [ ][ ]. In addition to all this, however, Holger Levsen made the following changes:
  • Add a number of existing publications [ ][ ] and update metadata for some existing publications as well [ ].
  • Hide draft posts on the website homepage. [ ]
  • Add the Warpforge build tool as a participating project of the summit. [ ]
  • Clarify in the footer that we welcome patches to the website repository. [ ]

Testing framework The Reproducible Builds project operates a comprehensive testing framework at tests.reproducible-builds.org in order to check packages and other artifacts for reproducibility. In October, the following changes were made by Holger Levsen:
  • Improve the generation of meta package sets (used in grouping packages for reporting/statistical purposes) to treat Debian bookworm as equivalent to Debian unstable in this specific case [ ] and to parse the list of packages used in the Debian cloud images [ ][ ][ ].
  • Temporarily allow Frederic to ssh(1) into our snapshot server as the jenkins user. [ ]
  • Keep some reproducible jobs Jenkins logs much longer [ ] (later reverted).
  • Improve the node health checks to detect failures to update the Debian cloud image package set [ ][ ] and to improve prioritisation of some kernel warnings [ ].
  • Always echo any IRC output to Jenkins output as well. [ ]
  • Deal gracefully with problems related to processing the cloud image package set. [ ]
Finally, Roland Clobus continued his work on testing Live Debian images, including adding support for specifying the origin of the Debian installer [ ] and to warn when the image has unmet dependencies in the package list (e.g. due to a transition) [ ].
If you are interested in contributing to the Reproducible Builds project, please visit our Contribute page on our website. You can get in touch with us via:

2 December 2022

Reproducible Builds (diffoscope): diffoscope 228 released

The diffoscope maintainers are pleased to announce the release of diffoscope version 228. This version includes the following changes: 
[ FC Stegerman ]
* As an optimisation, don't run apktool if no differences are detected before
  the signing block. (Closes: reproducible-builds/diffoscope!105)
[ Chris Lamb ]
* Support both the python3-progressbar and python3-progressbar2 Debian
  packages, two modules providing the "progressbar" Python module.
  (Closes: reproducible-builds/diffoscope#323)
* Ensure we recommend apksigcopier. (Re: reproducible-builds/diffoscope!105)
* Make the code clearer around generating the Debian substvars and tidy
  generation of os_list.
* Update copyright years.
You find out more by visiting the project homepage.

19 November 2022

Freexian Collaborators: Monthly report about Debian Long Term Support, October 2022 (by Rapha l Hertzog)

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

Debian LTS contributors In October, 15 contributors have been paid to work on Debian LTS, their reports are available:
  • Abhijith PA did 14.0h (out of 2.0h assigned and 12.0h from previous period).
  • Anton Gladky did 20.0h (out of 19.0h assigned and 1.0h from previous period).
  • Ben Hutchings did 9.0h (out of 0h assigned and 9.0h from previous period).
  • Chris Lamb did 18.0h (out of 18.0h assigned).
  • Dominik George did 0.0h (out of 0h assigned and 24.0h from previous period), thus carrying over 24.0h to the next month.
  • Emilio Pozuelo Monfort did 40.5h (out of 58.0h assigned and 2.0h from previous period), thus carrying over 19.5h 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 15.0h (out of 15.0h assigned).
  • Markus Koschany did 40.0h (out of 40.0h assigned).
  • Ola Lundqvist did 7.0h (out of 12.0h assigned), thus carrying over 5.0h to the next month.
  • Roberto C. S nchez did 0.75h (out of 1.0h assigned and 31.0h from previous period), thus carrying over 31.25h to the next month.
  • Stefano Rivera did 12.5h (out of 9.0h assigned and 26.0h from previous period), thus carrying over 22.5h to the next month.
  • Sylvain Beucler did 25.5h (out of 31.5h assigned and 28.5h from previous period), thus carrying over 34.5h to the next month.
  • Thorsten Alteholz did 14.0h (out of 14.0h assigned).
  • Utkarsh Gupta did 35.0h (out of 38.0h assigned and 22.0h from previous period), thus carrying over 25.0h to the next month.

Evolution of the situation In October, we have released 42 DLAs, closing 106 CVEs. At the moment we have 82 packages in dla-needed.txt, waiting for update. We are continuously working on updating our infrastructure, trying to document all of our changes in the git-repo. Most of packages there are having continuous integration (CI) pipelines.

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

18 November 2022

Reproducible Builds (diffoscope): diffoscope 227 released

The diffoscope maintainers are pleased to announce the release of diffoscope version 227. This version includes the following changes: 
[ Chris Lamb ]
* Don't attempt to attach text-only differences notice if there are no
  differences to begin with. (Closes: #1024171, #1024349)
* Don't run Python decompiling tests on Python bytecode that both file(1)
  cannot yet detect and Python 3.11 cannot demarshall. (Closes: #1024335)
You find out more by visiting the project homepage.

11 November 2022

Reproducible Builds: Reproducible Builds in October 2022

Welcome to the Reproducible Builds report for October 2022! In these reports we attempt to outline the most important things that we have been up to over the past month. As ever, if you are interested in contributing to the project, please visit our Contribute page on our website.

Our in-person summit this year was held in the past few days in Venice, Italy. Activity and news from the summit will therefore be covered in next month s report!
A new article related to reproducible builds was recently published in the 2023 IEEE Symposium on Security and Privacy. Titled Taxonomy of Attacks on Open-Source Software Supply Chains and authored by Piergiorgio Ladisa, Henrik Plate, Matias Martinez and Olivier Barais, their paper:
[ ] proposes a general taxonomy for attacks on opensource supply chains, independent of specific programming languages or ecosystems, and covering all supply chain stages from code contributions to package distribution.
Taking the form of an attack tree, the paper covers 107 unique vectors linked to 94 real world supply-chain incidents which is then mapped to 33 mitigating safeguards including, of course, reproducible builds:
Reproducible Builds received a very high utility rating (5) from 10 participants (58.8%), but also a high-cost rating (4 or 5) from 12 (70.6%). One expert commented that a reproducible build like used by Solarwinds now, is a good measure against tampering with a single build system and another claimed this is going to be the single, biggest barrier .
It was noticed this month that Solarwinds published a whitepaper back in December 2021 in order to:
[ ] illustrate a concerning new reality for the software industry and illuminates the increasingly sophisticated threats made by outside nation-states to the supply chains and infrastructure on which we all rely.
The 12-month anniversary of the 2020 Solarwinds attack (which SolarWinds Worldwide LLC itself calls the SUNBURST attack) was, of course, the likely impetus for publication.
Whilst collaborating on making the Cyrus IMAP server reproducible, Ellie Timoney asked why the Reproducible Builds testing framework uses two remarkably distinctive build paths when attempting to flush out builds that vary on the absolute system path in which they were built. In the case of the Cyrus IMAP server, these happened to be: Asked why they vary in three different ways, Chris Lamb listed in detail the motivation behind to each difference.
On our mailing list this month:
The Reproducible Builds project is delighted to welcome openEuler to the Involved projects page [ ]. openEuler is Linux distribution developed by Huawei, a counterpart to it s more commercially-oriented EulerOS.

Debian Colin Watson wrote about his experience towards making the databases generated by the man-db UNIX manual page indexing tool:
One of the people working on [reproducible builds] noticed that man-db s database files were an obstacle to [reproducibility]: in particular, the exact contents of the database seemed to depend on the order in which files were scanned when building it. The reporter proposed solving this by processing files in sorted order, but I wasn t keen on that approach: firstly because it would mean we could no longer process files in an order that makes it more efficient to read them all from disk (still valuable on rotational disks), but mostly because the differences seemed to point to other bugs.
Colin goes on to describe his approach to solving the problem, including fixing various fits of internal caching, and he ends his post with None of this is particularly glamorous work, but it paid off .
Vagrant Cascadian announced on our mailing list another online sprint to help clear the huge backlog of reproducible builds patches submitted by performing NMUs (Non-Maintainer Uploads). The first such sprint took place on September 22nd, but another was held on October 6th, and another small one on October 20th. This resulted in the following progress:
41 reviews of Debian packages were added, 62 were updated and 12 were removed this month adding to our knowledge about identified issues. A number of issue types were updated too. [1][ ]
Lastly, Luca Boccassi submitted a patch to debhelper, a set of tools used in the packaging of the majority of Debian packages. The patch addressed an issue in the dh_installsysusers utility so that the postinst post-installation script that debhelper generates the same data regardless of the underlying filesystem ordering.

Other distributions F-Droid is a community-run app store that provides free software applications for Android phones. This month, F-Droid changed their documentation and guidance to now explicitly encourage RB for new apps [ ][ ], and FC Stegerman created an extremely in-depth issue on GitLab concerning the APK signing block. You can read more about F-Droid s approach to reproducibility in our July 2022 interview with Hans-Christoph Steiner of the F-Droid Project. In openSUSE, Bernhard M. Wiedemann published his usual openSUSE monthly report.

Upstream patches The Reproducible Builds project detects, dissects and attempts to fix as many currently-unreproducible packages as possible. We endeavour to send all of our patches upstream where appropriate. This month, we wrote a large number of such patches, including:

diffoscope diffoscope is our in-depth and content-aware diff utility. Not only can it locate and diagnose reproducibility issues, it can provide human-readable diffs from many kinds of binary formats. This month, Chris Lamb prepared and uploaded versions 224 and 225 to Debian:
  • Add support for comparing the text content of HTML files using html2text. [ ]
  • Add support for detecting ordering-only differences in XML files. [ ]
  • Fix an issue with detecting ordering differences. [ ]
  • Use the capitalised version of Ordering consistently everywhere in output. [ ]
  • Add support for displaying font metadata using ttx(1) from the fonttools suite. [ ]
  • Testsuite improvements:
    • Temporarily allow the stable-po pipeline to fail in the CI. [ ]
    • Rename the order1.diff test fixture to json_expected_ordering_diff. [ ]
    • Tidy the JSON tests. [ ]
    • Use assert_diff over get_data and an manual assert within the XML tests. [ ]
    • Drop the ALLOWED_TEST_FILES test; it was mostly just annoying. [ ]
    • Tidy the tests/test_source.py file. [ ]
Chris Lamb also added a link to diffoscope s OpenBSD packaging on the diffoscope.org homepage [ ] and Mattia Rizzolo fix an test failure that was occurring under with LLVM 15 [ ].

Testing framework The Reproducible Builds project operates a comprehensive testing framework at tests.reproducible-builds.org in order to check packages and other artifacts for reproducibility. In October, the following changes were made by Holger Levsen:
  • Run the logparse tool to analyse results on the Debian Edu build logs. [ ]
  • Install btop(1) on all nodes running Debian. [ ]
  • Switch Arch Linux from using SHA1 to SHA256. [ ]
  • When checking Debian debstrap jobs, correctly log the tool usage. [ ]
  • Cleanup more task-related temporary directory names when testing Debian packages. [ ][ ]
  • Use the cdebootstrap-static binary for the 2nd runs of the cdebootstrap tests. [ ]
  • Drop a workaround when testing OpenWrt and coreboot as the issue in diffoscope has now been fixed. [ ]
  • Turn on an rm(1) warning into an info -level message. [ ]
  • Special case the osuosl168 node for running Debian bookworm already. [ ][ ]
  • Use the new non-free-firmware suite on the o168 node. [ ]
In addition, Mattia Rizzolo made the following changes:
  • Ensure that 2nd build has a merged /usr. [ ]
  • Only reconfigure the usrmerge package on Debian bookworm and above. [ ]
  • Fix bc(1) syntax in the computation of the percentage of unreproducible packages in the dashboard. [ ][ ][ ]
  • In the index_suite_ pages, order the package status to be the same order of the menu. [ ]
  • Pass the --distribution parameter to the pbuilder utility. [ ]
Finally, Roland Clobus continued his work on testing Live Debian images. In particular, he extended the maintenance script to warn when workspace directories cannot be deleted. [ ]
If you are interested in contributing to the Reproducible Builds project, please visit our Contribute page on our website. However, you can get in touch with us via:

4 November 2022

Reproducible Builds (diffoscope): diffoscope 226 released

The diffoscope maintainers are pleased to announce the release of diffoscope version 226. This version includes the following changes: 
[ Christopher Baines ]
* Add an lzip comparator with tests.
[ Chris Lamb ]
* Add support for comparing the "text" content of HTML files using html2text.
  (Closes: #1022209, reproducible-builds/diffoscope#318)
* Misc/test improvements:
  * Drop the ALLOWED_TEST_FILES test; it's mostly just annoying.
  * Drop other copyright notices from lzip.py and test_lzip.py.
  * Use assert_diff helper in test_lzip.py.
  * Pylint tests/test_source.py.
[ Mattia Rizzolo ]
* Add lzip to debian dependencies.
You find out more by visiting the project homepage.

28 October 2022

Reproducible Builds (diffoscope): diffoscope 225 released

The diffoscope maintainers are pleased to announce the release of diffoscope version 225. This version includes the following changes: 
[ Chris Lamb ]
* Add support for detecting ordering-only differences in XML files.
  (Closes: #1022146)
* Fix an issue with detecting ordering differences. (Closes: #1022145)
* Add support for ttx(1) from fonttools.
  (Re: reproducible-builds/diffoscope#315)
* Test improvements:
  - Tidy up the JSON tests and use assert_diff over get_data and manual
    assert in XML tests.
  - Rename order1.diff to json_expected_ordering_diff for consistency.
  - Temporarily allow the stable-po pipeline to fail in the CI.
* Use consistently capitalised "Ordering" everywhere we use the word in
  diffoscope's output.
You find out more by visiting the project homepage.

7 October 2022

Reproducible Builds: Reproducible Builds in September 2022

Welcome to the September 2022 report from the Reproducible Builds project! In our reports we try to outline the most important things that we have been up to over the past month. As a quick recap, whilst anyone may inspect the source code of free software for malicious flaws, almost all software is distributed to end users as pre-compiled binaries. If you are interested in contributing to the project, please visit our Contribute page on our website.
David A. Wheeler reported to us that the US National Security Agency (NSA), Cybersecurity and Infrastructure Security Agency (CISA) and the Office of the Director of National Intelligence (ODNI) have released a document called Securing the Software Supply Chain: Recommended Practices Guide for Developers (PDF). As David remarked in his post to our mailing list, it expressly recommends having reproducible builds as part of advanced recommended mitigations . The publication of this document has been accompanied by a press release.
Holger Levsen was made aware of a small Microsoft project called oss-reproducible. Part of, OSSGadget, a larger collection of tools for analyzing open source packages , the purpose of oss-reproducible is to:
analyze open source packages for reproducibility. We start with an existing package (for example, the NPM left-pad package, version 1.3.0), and we try to answer the question, Do the package contents authentically reflect the purported source code?
More details can be found in the README.md file within the code repository.
David A. Wheeler also pointed out that there are some potential upcoming changes to the OpenSSF Best Practices badge for open source software in relation to reproducibility. Whilst the badge programme has three certification levels ( passing , silver and gold ), the gold level includes the criterion that The project MUST have a reproducible build . David reported that some projects have argued that this reproducibility criterion should be slightly relaxed as outlined in an issue on the best-practices-badge GitHub project. Essentially, though, the claim is that the reproducibility requirement doesn t make sense for projects that do not release built software, and that timestamp differences by themselves don t necessarily indicate malicious changes. Numerous pragmatic problems around excluding timestamps were raised in the discussion of the issue.
Sonatype, a pioneer of software supply chain management , issued a press release month to report that they had found:
[ ] a massive year-over-year increase in cyberattacks aimed at open source project ecosystems. According to early data from Sonatype s 8th annual State of the Software Supply Chain Report, which will be released in full this October, Sonatype has recorded an average 700% jump in repository attacks over the last three years.
More information is available in the press release.
A number of changes were made to the Reproducible Builds website and documentation this month, including Chris Lamb adding a redirect from /projects/ to /who/ in order to keep old or archived links working [ ], Jelle van der Waa added a Rust programming language example for SOURCE_DATE_EPOCH [ ][ ] and Mattia Rizzolo included Protocol Labs amongst our project-level sponsors [ ].

Debian There was a large amount of reproducibility work taking place within Debian this month:
  • The nfft source package was removed from the archive, and now all packages in Debian bookworm now have a corresponding .buildinfo file. This can be confirmed and tracked on the associated page on the tests.reproducible-builds.org site.
  • Vagrant Cascadian announced on our mailing list an informal online sprint to help clear the huge backlog of reproducible builds patches submitted by performing NMU (Non-Maintainer Uploads). The first such sprint took place on September 22nd with the following results:
    • Holger Levsen:
      • Mailed #1010957 in man-db asking for an update and whether to remove the patch tag for now. This was subsequently removed and the maintainer started to address the issue.
      • Uploaded gmp to DELAYED/15, fixing #1009931.
      • Emailed #1017372 in plymouth and asked for the maintainer s opinion on the patch. This resulted in the maintainer improving Vagrant s original patch (and uploading it) as well as filing an issue upstream.
      • Uploaded time to DELAYED/15, fixing #983202.
    • Vagrant Cascadian:
      • Verify and updated patch for mylvmbackup (#782318)
      • Verified/updated patches for libranlip. (#788000, #846975 & #1007137)
      • Uploaded libranlip to DELAYED/10.
      • Verified patch for cclive. (#824501)
      • Uploaded cclive to DELAYED/10.
      • Vagrant was unable to reproduce the underlying issue within #791423 (linuxtv-dvb-apps) and so the bug was marked as done .
      • Researched #794398 (in clhep).
    The plan is to repeat these sprints every two weeks, with the next taking place on Thursday October 6th at 16:00 UTC on the #debian-reproducible IRC channel.
  • Roland Clobus posted his 13th update of the status of reproducible Debian ISO images on our mailing list. During the last month, Roland ensured that the live images are now automatically fed to openQA for automated testing after they have been shown to be reproducible. Additionally Roland asked on the debian-devel mailing list about a way to determine the canonical timestamp of the Debian archive. [ ]
  • Following up on last month s work on reproducible bootstrapping, Holger Levsen filed two bugs against the debootstrap and cdebootstrap utilities. (#1019697 & #1019698)
Lastly, 44 reviews of Debian packages were added, 91 were updated and 17 were removed this month adding to our knowledge about identified issues. A number of issue types have been updated too, including the descriptions of cmake_rpath_contains_build_path [ ], nondeterministic_version_generated_by_python_param [ ] and timestamps_in_documentation_generated_by_org_mode [ ]. Furthermore, two new issue types were created: build_path_used_to_determine_version_or_package_name [ ] and captures_build_path_via_cmake_variables [ ].

Other distributions In openSUSE, Bernhard M. Wiedemann published his usual openSUSE monthly report.

diffoscope diffoscope is our in-depth and content-aware diff utility. Not only can it locate and diagnose reproducibility issues, it can provide human-readable diffs from many kinds of binary formats. This month, Chris Lamb prepared and uploaded versions 222 and 223 to Debian, as well as made the following changes:
  • The cbfstools utility is now provided in Debian via the coreboot-utils package so we can enable that functionality within Debian. [ ]
  • Looked into Mach-O support.
  • Fixed the try.diffoscope.org service by addressing a compatibility issue between glibc/seccomp that was preventing the Docker-contained diffoscope instance from spawning any external processes whatsoever [ ]. I also updated the requirements.txt file, as some of the specified packages were no longer available [ ][ ].
In addition Jelle van der Waa added support for file version 5.43 [ ] and Mattia Rizzolo updated the packaging:
  • Also include coreboot-utils in the Build-Depends and Test-Depends fields so that it is available for tests. [ ]
  • Use pep517 and pip to load the requirements. [ ]
  • Remove packages in Breaks/Replaces that have been obsoleted since the release of Debian bullseye. [ ]

Reprotest reprotest is our end-user tool to build the same source code twice in widely and deliberate different environments, and checking whether the binaries produced by the builds have any differences. This month, reprotest version 0.7.22 was uploaded to Debian unstable by Holger Levsen, which included the following changes by Philip Hands:
  • Actually ensure that the setarch(8) utility can actually execute before including an architecture to test. [ ]
  • Include all files matching *.*deb in the default artifact_pattern in order to archive all results of the build. [ ]
  • Emit an error when building the Debian package if the Debian packaging version does not patch the Python version of reprotest. [ ]
  • Remove an unneeded invocation of the head(1) utility. [ ]

Upstream patches The Reproducible Builds project detects, dissects and attempts to fix as many currently-unreproducible packages as possible. We endeavour to send all of our patches upstream where appropriate. This month, we wrote a large number of such patches, including:

Testing framework The Reproducible Builds project runs a significant testing framework at tests.reproducible-builds.org in order to check packages and other artifacts for reproducibility. This month, however, the following changes were made:
  • Holger Levsen:
    • Add a job to build reprotest from Git [ ] and use the correct Git branch when building it [ ].
  • Mattia Rizzolo:
    • Enable syncing of results from building live Debian ISO images. [ ]
    • Use scp -p in order to preserve modification times when syncing live ISO images. [ ]
    • Apply the shellcheck shell script analysis tool. [ ]
    • In a build node wrapper script, remove some debugging code which was messing up calling scp(1) correctly [ ] and consquently add support to use both scp -p and regular scp [ ].
  • Roland Clobus:
    • Track and handle the case where the Debian archive gets updated between two live image builds. [ ]
    • Remove a call to sudo(1) as it is not (or no longer) required to delete old live-build results. [ ]

Contact As ever, if you are interested in contributing to the Reproducible Builds project, please visit our Contribute page on our website. However, you can get in touch with us via:

30 September 2022

Reproducible Builds (diffoscope): diffoscope 223 released

The diffoscope maintainers are pleased to announce the release of diffoscope version 223. This version includes the following changes: 
[ Chris Lamb ]
* The cbfstools utility is now provided in Debian via the coreboot-utils
  Debian package, so we can enable that functionality within Debian.
  (Closes: #1020630)
[ Mattia Rizzolo ]
* Also include coreboot-utils in Build-Depends and Test-Depends so it is
  available for the tests.
[ Jelle van der Waa ]
* Add support for file 5.43.
You find out more by visiting the project homepage.

14 September 2022

Russell Coker: Storing Local Secrets

In the operation of a normal Linux system there are many secrets stored on behalf of a user. Wifi passwords, passwords from web sites, etc. Ideally you want them to be quickly and conveniently accessible to the rightful user but also be as difficult as possible for hostile parties to access. The solution in GNOME and KDE is to have a wallet that is encrypted to store such passwords, the idea is that if a hostile party gets access to a PC that doesn t use full disk encryption then the secrets will be protected. This is an OK feature. In early versions it required entering a password every time you logged in. The current default mode of operation is to have the login password used to decrypt the wallet which is very convenient. The problem is the case where the user login password has a scope larger than the local PC, EG a domain login password for Active Directory, Kerberos, or similar systems. In such a case if an attacker gets the encrypted wallet that could facilitate a brute force attack on the password used for domain logins. I think that a better option for this would be to store wallets in a directory that the user can t access directly, EG a mode 1770 directory with group wallet . Then when logging in a PAM process running as root could open the wallet and pass a file handle to a process running in the context of the user. For access apart from login there could be SETGID programs to manage it which could require authenticating the user s password before any operation that exports the data so that a vulnerability in a web browser or other Internet facing program can t just grab the file contents. Storing the data in a file that needs a SETGID or root owned process to access it doesn t preclude the possibility of encrypting that file. The same encryption options would be available including encrypting with the login password and unlocking at login time via PAM. The difference is that a brute force attack to discover the login password would first require breaking the security of one of those SETGID programs to get access to the raw data direct attacks by running the wallet open command repeatedly could be managed by the usual rate limiting mechanisms and logging in the system logs. The same methods could be used for protecting the secret keys for GPG and SSH which by default are readable by all processes running in the user context and encrypted with a passphrase. The next issue to consider is where to store such an restricted directory for wallets. Under the user home directory would give the advantage of having the same secrets operate over a network filesystem and not need anything special in backup configuration. Under /var/lib would give the advantage of better isolation from all the less secret (in a cryptographic sense) data in the user home directories. What do you think?
Related posts:
  1. PIN for Login Windows 10 added a new PIN login method, which is...
  2. Storing a GPG key Chris Lamb has suggested storing a GPG key on a...
  3. Defense in Depth and Sudo My blog post about logging in as root and whether...

9 September 2022

Reproducible Builds: Reproducible Builds in August 2022

Welcome to the August 2022 report from the Reproducible Builds project! In these reports we outline the most important things that we have been up to over the past month. As a quick recap, whilst anyone may inspect the source code of free software for malicious flaws, almost all software is distributed to end users as pre-compiled binaries. The motivation behind the reproducible builds effort is to ensure no flaws have been introduced during this compilation process by promising identical results are always generated from a given source, thus allowing multiple third-parties to come to a consensus on whether a build was compromised. As ever, if you are interested in contributing to the project, please visit our Contribute page on our website.

Community news As announced last month, registration is currently open for our in-person summit this year which is due to be held between November 1st November 3rd. The event will take place in Venice (Italy). Very soon we intend to pick a venue reachable via the train station and an international airport. However, the precise venue will depend on the number of attendees. Please see the announcement email for information about how to register.
The US National Security Agency (NSA), Cybersecurity and Infrastructure Security Agency (CISA) and the Office of the Director of National Intelligence (ODNI) have released a document called Securing the Software Supply Chain: Recommended Practices Guide for Developers (PDF) as part of their Enduring Security Framework (ESF) work. The document expressly recommends having reproducible builds as part of advanced recommended mitigations, along with hermetic builds. Page 31 (page 35 in the PDF) says:
Reproducible builds provide additional protection and validation against attempts to compromise build systems. They ensure the binary products of each build system match: i.e., they are built from the same source, regardless of variable metadata such as the order of input files, timestamps, locales, and paths. Reproducible builds are those where re-running the build steps with identical input artifacts results in bit-for-bit identical output. Builds that cannot meet this must provide a justification why the build cannot be made reproducible.
The full press release is available online.
On our mailing list this month, Marc Prud hommeaux posted a feature request for diffoscope which additionally outlines a project called The App Fair, an autonomous distribution network of free and open-source macOS and iOS applications, where validated apps are then signed and submitted for publication .
Author/blogger Cory Doctorow posted published a provocative blog post this month titled Your computer is tormented by a wicked god . Touching on Ken Thompson s famous talk, Reflections on Trusting Trust , the early goals of Secure Computing and UEFI firmware interfaces:
This is the core of a two-decade-old debate among security people, and it s one that the benevolent God faction has consistently had the upper hand in. They re the curated computing advocates who insist that preventing you from choosing an alternative app store or side-loading a program is for your own good because if it s possible for you to override the manufacturer s wishes, then malicious software may impersonate you to do so, or you might be tricked into doing so. [..] This benevolent dictatorship model only works so long as the dictator is both perfectly benevolent and perfectly competent. We know the dictators aren t always benevolent. [ ] But even if you trust a dictator s benevolence, you can t trust in their perfection. Everyone makes mistakes. Benevolent dictator computing works well, but fails badly. Designing a computer that intentionally can t be fully controlled by its owner is a nightmare, because that is a computer that, once compromised, can attack its owner with impunity.
Lastly, Chengyu HAN updated the Reproducible Builds website to correct an incorrect Git command. [ ]

Debian In Debian this month, the essential and required package sets became 100% reproducible in Debian bookworm on the amd64 and arm64 architectures. These two subsets of the full Debian archive refer to Debian package priority levels as described in the 2.5 Priorities section of the Debian Policy there is no canonical minimal installation package set in Debian due to its diverse methods of installation. As it happens, these package sets are not reproducible on the i386 architecture because the ncurses package on that architecture is not yet reproducible, and the sed package currently fails to build from source on armhf too. The full list of reproducible packages within these package sets can be viewed within our QA system, such as on the page of required packages in amd64 and the list of essential packages on arm64, both for Debian bullseye.
It recently has become very easy to install reproducible Debian Docker containers using podman on Debian bullseye: 
$ sudo apt install podman
$ podman run --rm -it debian:bullseye bash
The (pre-built) image used is itself built using debuerrotype, as explained on docker.debian.net. This page also details how to build the image yourself and what checksums are expected if you do so.
Related to this, it has also become straightforward to reproducibly bootstrap Debian using mmdebstrap, a replacement for the usual debootstrap tool to create Debian root filesystems: 
$ SOURCE_DATE_EPOCH=$(date --utc --date=2022-08-29 +%s) mmdebstrap unstable > unstable.tar
This works for (at least) Debian unstable, bullseye and bookworm, and is tested automatically by a number of QA jobs set up by Holger Levsen (unstable, bookworm and bullseye)
Work has also taken place to ensure that the canonical debootstrap and cdebootstrap tools are also capable of bootstrapping Debian reproducibly, although it currently requires a few extra steps:
  1. Clamping the modification time of files that are newer than $SOURCE_DATE_EPOCH to be not greater than SOURCE_DATE_EPOCH.
  2. Deleting a few files. For debootstrap, this requires the deletion of /etc/machine-id, /var/cache/ldconfig/aux-cache, /var/log/dpkg.log, /var/log/alternatives.log and /var/log/bootstrap.log, and for cdebootstrap we also need to delete the /var/log/apt/history.log and /var/log/apt/term.log files as well.
This process works at least for unstable, bullseye and bookworm and is now being tested automatically by a number of QA jobs setup by Holger Levsen [ ][ ][ ][ ][ ][ ]. As part of this work, Holger filed two bugs to request a better initialisation of the /etc/machine-id file in both debootstrap [ ] and cdebootstrap [ ].
Elsewhere in Debian, 131 reviews of Debian packages were added, 20 were updated and 27 were removed this month, adding to our extensive knowledge about identified issues. Chris Lamb added a number of issue types, including: randomness_in_browserify_output [ ], haskell_abi_hash_differences [ ], nondeterministic_ids_in_html_output_generated_by_python_sphinx_panels [ ]. Lastly, Mattia Rizzolo removed the deterministic flag from the captures_kernel_variant flag [ ].

Other distributions Vagrant Cascadian posted an update of the status of Reproducible Builds in GNU Guix, writing that:
Ignoring the pesky unknown packages, it is more like ~93% reproducible and ~7% unreproducible... that feels a bit better to me! These numbers wander around over time, mostly due to packages moving back into an "unknown" state while the build farms catch up with each other... although the above numbers seem to have been pretty consistent over the last few days.
The post itself contains a lot more details, including a brief discussion of tooling. Elsewhere in GNU Guix, however, Vagrant updated a number of packages such as itpp [ ], perl-class-methodmaker [ ], libnet [ ], directfb [ ] and mm-common [ ], as well as updated the version of reprotest to 0.7.21 [ ]. In openSUSE, Bernhard M. Wiedemann published his usual openSUSE monthly report.

diffoscope diffoscope is our in-depth and content-aware diff utility. Not only can it locate and diagnose reproducibility issues, it can provide human-readable diffs from many kinds of binary formats. This month, Chris Lamb prepared and uploaded versions 220 and 221 to Debian, as well as made the following changes:
  • Update external_tools.py to reflect changes to xxd and the vim-common package. [ ]
  • Depend on the dedicated xxd package now, not the vim-common package. [ ]
  • Don t crash if we can open a PDF file using the PyPDF library, but cannot subsequently parse the annotations within. [ ]
In addition, Vagrant Cascadian updated diffoscope in GNU Guix, first to to version 220 [ ] and later to 221 [ ].

Community news The Reproducible Builds project aims to fix as many currently-unreproducible packages as possible as well as to send all of our patches upstream wherever appropriate. This month we created a number of patches, including:

Testing framework The Reproducible Builds project runs a significant testing framework at tests.reproducible-builds.org, to check packages and other artifacts for reproducibility. This month, Holger Levsen made the following changes:
  • Debian-related changes:
    • Temporarily add Debian unstable deb-src lines to enable test builds a Non-maintainer Upload (NMU) campaign targeting 708 sources without .buildinfo files found in Debian unstable, including 475 in bookworm. [ ][ ]
    • Correctly deal with the Debian Edu packages not being installable. [ ]
    • Finally, stop scheduling stretch. [ ]
    • Make sure all Ubuntu nodes have the linux-image-generic kernel package installed. [ ]
  • Health checks & view:
    • Detect SSH login problems. [ ]
    • Only report the first uninstallable package set. [ ]
    • Show new bootstrap jobs. [ ] and debian-live jobs. [ ] in the job health view.
    • Fix regular expression to detect various zombie jobs. [ ]
  • New jobs:
    • Add a new job to test reproducibility of mmdebstrap bootstrapping tool. [ ][ ][ ][ ]
    • Run our new mmdebstrap job remotely [ ][ ]
    • Improve the output of the mmdebstrap job. [ ][ ][ ]
    • Adjust the mmdebstrap script to additionally support debootstrap as well. [ ][ ][ ]
    • Work around mmdebstrap and debootstrap keeping logfiles within their artifacts. [ ][ ][ ]
    • Add support for testing cdebootstrap too and add such a job for unstable. [ ][ ][ ]
    • Use a reproducible value for SOURCE_DATE_EPOCH for all our new bootstrap jobs. [ ]
  • Misc changes:
    • Send the create_meta_pkg_sets notification to #debian-reproducible-changes instead of #debian-reproducible. [ ]
In addition, Roland Clobus re-enabled the tests for live-build images [ ] and added a feature where the build would retry instead of give up when the archive was synced whilst building an ISO [ ], and Vagrant Cascadian added logging to report the current target of the /bin/sh symlink [ ].

Contact As ever, if you are interested in contributing to the Reproducible Builds project, please visit our Contribute page on our website. However, you can get in touch with us via:

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