Publisher: | Tor |
Copyright: | 2022 |
ISBN: | 0-7653-8913-4 |
Format: | Kindle |
Pages: | 264 |
apt-get
(original announcement). There was also an entire track of talks on Software Bill of Materials (SBOMs). SBOMs are an inventory for software with the intention of increasing the transparency of software components (the US National Telecommunications and Information Administration (NTIA) published a useful Myths vs. Facts document in 2021).
verilator
package was not reproducible [ ], but Chris Lamb pointed out that this was due to the use of Python s datetime.fromtimestamp
over datetime.utcfromtimestamp
[ ].
alembic
package. Chris Lamb was also able to identify the Sphinx documentation generator as the cause of the problem, and provided a potential patch that might fix it. This was later filed upstream [ ].
As I am sure everyone is aware, there is a growing interest in [SBOMs] as a way of improving software security and resilience. In the last two years, the US through the Exec Order, the EU through the proposed Cyber Resilience Act (CRA) and this month the UK has issued a consultation paper looking at software security and SBOMs appear very prominently in each publication. [ ]
Alma are generating and publishing Software Bill of Material (SBOM) files for every package; these are becoming a requirement for all software sold to the US federal government. What s more, they are sending these SBOMs to a third party (CodeNotary) who store them in some sort of Merkle tree system to make it difficult for people to tamper with later. This should theoretically allow end users of the distribution to verify the supply chain of the packages they have installed?
repro-apk
, a set of scripts to make Android .apk
files reproducible.
timestamps_embedded_in_manpages_by_node_marked_man
issue has been marked as resolved [ ].
v1.1.1
and reproducible-apk-tools v0.2.2
+ v0.2.3
were also announced on the same list.
235
and 236
; Mattia Rizzolo later released version 237
.
Contributions include:
debian/tests/control
after merging changes from others [ ]..gitlab-ci.yml
configuration file to ensure that versioned tags are pushed to the container registry [ ].
isoinfo
on GNU Guix [ ].
resources.arsc
files [ ], improved a number of file-matching regular expressions [ ][ ] and added support for Android dexdump
[ ]; they also fixed a test failure (#1031433) caused by Debian s black
package having been updated to a newer version.
aapt
and dexdump
on architectures where they are available [ ], making sure that the latest diffoscope release is in a good fit for the upcoming Debian bookworm freeze.--random-locale
flag [ ].
--vary=locales.locale=LOCALE
to specify the locale to vary [ ].
aiohttp
(build fails in the future)diff-pdf
dpdk
ebumeter
(CPU-related issue)firecracker
(hashmap ordering issue)jhead/gcc
(used random temporary directory name)libhugetlbfs
(drop unused unreproducible file)prosody
(generates nondeterministic example SSL certificates)python-sqlalchemy-migrate
(clean files leftover by Sphinx)tigervnc
(random RSA key)gap-browse
.cwltool
.adacgi
.node-marked-man
(forwarded upstream).multipath-tools
.ruby-pgplot
.pysdl2
.gawk
.pyproject-api
.libreoffice
.osuosl174
node [ ].dd-list
HTML pages update [ ].0.5.11-3
was uploaded by Holger Levsen, fixing a number of issues with the manual page [ ][ ][ ].
#reproducible-builds
on irc.oftc.net
.
rb-general@lists.reproducible-builds.org
import/jon/amex/%.journal: import/jon/amex/%.csv rules/amex.csv.rules
rm -f $(@D)/.latest.$*.csv $@
hledger import --rules-file rules/amex.csv.rules -f $@ $<
This captures the dependency between the journal and the underlying CSV
but also to the relevant rules file; if I modify that, and this target
is run in the future, all dependent journals should be re-generated.1
opening balances
It's all fine and well starting over in a new year, and I might be generous
to forgive debts, but I can't count on others to do the same. We need
to carry over some balance information from one year to the next. Astapov has
a more complex (or perhaps featureful) scheme for this involving a custom
Haskell program, but I bodged something with a pair of make targets:
import/opening/2023.csv: 2022.journal
mkdir -p import/opening
hledger bal -f $< \
$(list_of_accounts_I_want_to_carry_over) \
-O csv -N > $@
import/opening/2023.journal: import/opening/2023.csv rules/opening.rules
rm -f $(@D)/.latest.2023.csv $@
hledger import --rules-file rules/opening.rules \
-f $@ $<
I think this could be golfed into a year-generic rule with a little more work.
The nice thing about this approach is the opening balances for a given year
might change, if adjustments are made in prior years. They shouldn't, for
real accounts, but very well could for more "virtual" liabilities. (including:
deciding to write off debts.)
run lots of reports
Astapov advocates for running lots of reports, and automatically. There's a
really obvious advantage of that to me: there's no chance anyone except me
will actually interact with HLedger itself. For family finances, I need
reports to be able to discuss anything with my wife.
Extending my make
rules to run reports is trivial. I've gone for HTML
reports for the most part, as they're the easiest on the eye. Unfortunately
the most useful report to discuss (at least at the moment) would be a list
of transactions in a given expense category, and the register
/aregister
commands did not support HTML as an output format. I submitted my first
HLedger patch to add HTML output support to aregister
:
https://github.com/simonmichael/hledger/pull/2000
addressing the virtual posting problem
I wrote in my original hledger blog post that I had to resort to
unbalanced virtual postings in order to record both a liability between
my personal cash and family, as well as categorise the spend. I still
haven't found a nice way around that.
But I suspect having broken out the journal into lots of other journals
paves the way to a better solution to the above.
The form of a solution I am thinking of is: some scheme whereby the two
destination accounts are combined together; perhaps, choose one as a primary
and encode the other information in sub-accounts under that. For example,
repeating the example from my hledger blog post:
2022-01-02 ZTL*RELISH
family:liabilities:creditcard -3.00
family:dues:jon 3.00
(jon:expenses:snacks) 3.00
This could become
2022-01-02 ZTL*RELISH
family:liabilities:creditcard -3.00
family:liabilities:jon:snacks
(I note this is very similar to a solution proposed to me by someone
responding on twitter).
The next step is to recognise that sometimes when looking at the data I
care about one aspect, and at other times the other, but rarely both. So
for the case where I'm thinking about family finances, I could use
account aliases
to effectively flatten out the expense category portion and ignore it.
On the other hand, when I'm concerned about how I've spent my personal
cash and not about how much I owe the family account, I could use
aliases to do the opposite: rewrite-away the family:liabilities:jon
prefix and combine the transactions with the regular jon:expenses
account heirarchy.
(this is all speculative: I need to actually try this.)
catching errors after an import
When I import the transactions for a given real bank account, I check the
final balance against another source: usually a bank statement, to make
sure they agree. I wasn't using any of the myriad methods to make sure
that this remains true later on, and so there was the risk that I make an
edit to something and accidentally remove a transaction that contributed
to that number, and not notice (until the next import).
The CSV data my bank gives me for accounts (not for credit cards) also includes
a 'resulting balance' field. It was therefore trivial to extend the CSV import
rules to add balance
assertions to
the transactions that are generated. This catches the problem.
There are a couple of warts with balance assertions on every such
transaction: for example, dealing with the duplicate transaction for paying
a credit card: one from the bank statement, one from the credit card.
Removing one of the two is sufficient to correct the account balances but
sometimes they don't agree on the transaction date, or the transactions
within a given day are sorted slightly differently by HLedger than by the
bank. The simple solution is to just manually delete one or two assertions:
there remain plenty more for assurance.
going forward
I've only scratched the surface of the suggestions in Astapov's "full fledged
HLedger" notes. I'm up to step 2 of 14. I'm expecting to return to it once
the changes I've made have bedded in a little bit.
I suppose I could anonymize and share the framework (Makefile
etc) that I am
using if anyone was interested. It would take some work, though, so I don't know
when I'd get around to it.
#!/bin/bash
# Either rb3011 (arm) or rb5009 (arm64)
#HOSTNAME="rb3011"
HOSTNAME="rb5009"
if [ "x$ HOSTNAME " == "xrb3011" ]; then
ARCH=armhf
elif [ "x$ HOSTNAME " == "xrb5009" ]; then
ARCH=arm64
else
echo "Unknown host: $ HOSTNAME "
exit 1
fi
BASE_DIR=$(dirname $0)
IMAGE_FILE=$(mktemp --tmpdir router.$ ARCH .XXXXXXXXXX.img)
MOUNT_POINT=$(mktemp -p /mnt -d router.$ ARCH .XXXXXXXXXX)
# Build and mount an ext4 image file to put the root file system in
dd if=/dev/zero bs=1 count=0 seek=1G of=$ IMAGE_FILE
mkfs -t ext4 $ IMAGE_FILE
mount -o loop $ IMAGE_FILE $ MOUNT_POINT
# Add dpkg excludes
mkdir -p $ MOUNT_POINT /etc/dpkg/dpkg.cfg.d/
cat <<EOF > $ MOUNT_POINT /etc/dpkg/dpkg.cfg.d/path-excludes
# Exclude docs
path-exclude=/usr/share/doc/*
# Only locale we want is English
path-exclude=/usr/share/locale/*
path-include=/usr/share/locale/en*/*
path-include=/usr/share/locale/locale.alias
# No man pages
path-exclude=/usr/share/man/*
EOF
# Setup fstab + mtab
echo "# Empty fstab as root is pre-mounted" > $ MOUNT_POINT /etc/fstab
ln -s ../proc/self/mounts $ MOUNT_POINT /etc/mtab
# Setup hostname
echo $ HOSTNAME > $ MOUNT_POINT /etc/hostname
# Add the root SSH keys
mkdir -p $ MOUNT_POINT /root/.ssh/
cat <<EOF > $ MOUNT_POINT /root/.ssh/authorized_keys
ssh-rsa AAAAB3NzaC1yc2EAAAABIwAAAQEAv8NkUeVdsVdegS+JT9qwFwiHEgcC9sBwnv6RjpH6I4d3im4LOaPOatzneMTZlH8Gird+H4nzluciBr63hxmcFjZVW7dl6mxlNX2t/wKvV0loxtEmHMoI7VMCnrWD0PyvwJ8qqNu9cANoYriZRhRCsBi27qPNvI741zEpXN8QQs7D3sfe4GSft9yQplfJkSldN+2qJHvd0AHKxRdD+XTxv1Ot26+ZoF3MJ9MqtK+FS+fD9/ESLxMlOpHD7ltvCRol3u7YoaUo2HJ+u31l0uwPZTqkPNS9fkmeCYEE0oXlwvUTLIbMnLbc7NKiLgniG8XaT0RYHtOnoc2l2UnTvH5qsQ== noodles@earth.li
ssh-rsa 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 noodles@yubikey
ssh-rsa AAAAB3NzaC1yc2EAAAADAQABAAABAQC0I8UHj4IpfqUcGE4cTvLB0d2xmATSUzqtxW6ZhGbZxvQDKJesVW6HunrJ4NFTQuQJYgOXY/o82qBpkEKqaJMEFHTCjcaj3M6DIaxpiRfQfs0nhtzDB6zPiZn9Suxb0s5Qr4sTWd6iI9da72z3hp9QHNAu4vpa4MSNE+al3UfUisUf4l8TaBYKwQcduCE0z2n2FTi3QzmlkOgH4MgyqBBEaqx1tq7Zcln0P0TYZXFtrxVyoqBBIoIEqYxmFIQP887W50wQka95dBGqjtV+d8IbrQ4pB55qTxMd91L+F8n8A6nhQe7DckjS0Xdla52b9RXNXoobhtvx9K2prisagsHT noodles@cup
ecdsa-sha2-nistp256 AAAAE2VjZHNhLXNoYTItbmlzdHAyNTYAAAAIbmlzdHAyNTYAAABBBK6iGog3WbNhrmrkglNjVO8/B6m7mN6q1tMm1sXjLxQa+F86ETTLiXNeFQVKCHYrk8f7hK0d2uxwgj6Ixy9k0Cw= noodles@sevai
EOF
# Bootstrap our install
debootstrap \
--arch=$ ARCH \
--include=collectd-core,conntrack,dnsmasq,ethtool,iperf3,kexec-tools,mosquitto,mtd-utils,mtr-tiny,ppp,tcpdump,rng-tools5,ssh,watchdog,wget \
--exclude=dmidecode,isc-dhcp-client,isc-dhcp-common,makedev,nano \
bullseye $ MOUNT_POINT https://deb.debian.org/debian/
debootstrap
step, including a bunch of extra packages that we want.
# Install mqtt-arp
cp $ BASE_DIR /debs/mqtt-arp_1_$ ARCH .deb $ MOUNT_POINT /tmp
chroot $ MOUNT_POINT dpkg -i /tmp/mqtt-arp_1_$ ARCH .deb
rm $ MOUNT_POINT /tmp/mqtt-arp_1_$ ARCH .deb
# Frob the mqtt-arp config so it starts after mosquitto
sed -i -e 's/After=.*/After=mosquitto.service/' $ MOUNT_POINT /lib/systemd/system/mqtt-arp.service
# Frob watchdog so it starts earlier than multi-user
sed -i -e 's/After=.*/After=basic.target/' $ MOUNT_POINT /lib/systemd/system/watchdog.service
# Make sure the watchdog is poking the device file
sed -i -e 's/^#watchdog-device/watchdog-device/' $ MOUNT_POINT /etc/watchdog.conf
# Clean up docs + locales
rm -r $ MOUNT_POINT /usr/share/doc/*
rm -r $ MOUNT_POINT /usr/share/man/*
for dir in $ MOUNT_POINT /usr/share/locale/*/; do
if [ "$ dir " != "$ MOUNT_POINT /usr/share/locale/en/" ]; then
rm -r $ dir
fi
done
# Set root password to root
echo "root:root" chroot $ MOUNT_POINT chpasswd
# Add security to sources.list + update
echo "deb https://security.debian.org/debian-security bullseye-security main" >> $ MOUNT_POINT /etc/apt/sources.list
chroot $ MOUNT_POINT apt update
chroot $ MOUNT_POINT apt -y full-upgrade
chroot $ MOUNT_POINT apt clean
# Cleanup the APT lists
rm $ MOUNT_POINT /var/lib/apt/lists/www.*
rm $ MOUNT_POINT /var/lib/apt/lists/security.*
# Disable the daily APT timer
rm $ MOUNT_POINT /etc/systemd/system/timers.target.wants/apt-daily.timer
# Disable daily dpkg backup
cat <<EOF > $ MOUNT_POINT /etc/cron.daily/dpkg
#!/bin/sh
# Don't do the daily dpkg backup
exit 0
EOF
# We don't want a persistent systemd journal
rmdir $ MOUNT_POINT /var/log/journal
# Enable nftables
ln -s /lib/systemd/system/nftables.service \
$ MOUNT_POINT /etc/systemd/system/sysinit.target.wants/nftables.service
# Add systemd-coredump + systemd-timesync user / group
echo "systemd-timesync:x:998:" >> $ MOUNT_POINT /etc/group
echo "systemd-coredump:x:999:" >> $ MOUNT_POINT /etc/group
echo "systemd-timesync:!*::" >> $ MOUNT_POINT /etc/gshadow
echo "systemd-coredump:!*::" >> $ MOUNT_POINT /etc/gshadow
echo "systemd-timesync:x:998:998:systemd Time Synchronization:/:/usr/sbin/nologin" >> $ MOUNT_POINT /etc/passwd
echo "systemd-coredump:x:999:999:systemd Core Dumper:/:/usr/sbin/nologin" >> $ MOUNT_POINT /etc/passwd
echo "systemd-timesync:!*:47358::::::" >> $ MOUNT_POINT /etc/shadow
echo "systemd-coredump:!*:47358::::::" >> $ MOUNT_POINT /etc/shadow
# Create /etc/.pwd.lock, otherwise it'll end up in the overlay
touch $ MOUNT_POINT /etc/.pwd.lock
chmod 600 $ MOUNT_POINT /etc/.pwd.lock
# Copy config files
cp --recursive --preserve=mode,timestamps $ BASE_DIR /etc/* $ MOUNT_POINT /etc/
cp --recursive --preserve=mode,timestamps $ BASE_DIR /etc-$ ARCH /* $ MOUNT_POINT /etc/
chroot $ MOUNT_POINT chown mosquitto /etc/mosquitto/mosquitto.users
chroot $ MOUNT_POINT chown mosquitto /etc/ssl/mqtt.home.key
# Build symlinks into flash for boot / modules
ln -s /mnt/flash/lib/modules $ MOUNT_POINT /lib/modules
rmdir $ MOUNT_POINT /boot
ln -s /mnt/flash/boot $ MOUNT_POINT /boot
# Put our git revision into os-release
echo -n "GIT_VERSION=" >> $ MOUNT_POINT /etc/os-release
(cd $ BASE_DIR ; git describe --tags) >> $ MOUNT_POINT /etc/os-release
# Add some stuff to root's .bashrc
cat << EOF >> $ MOUNT_POINT /root/.bashrc
alias ls='ls -F --color=auto'
eval "\$(dircolors)"
case "\$TERM" in
xterm* rxvt*)
PS1="\\[\\e]0;\\u@\\h: \\w\a\\]\$PS1"
;;
*)
;;
esac
EOF
# Build the squashfs
mksquashfs $ MOUNT_POINT /tmp/router.$ ARCH .squashfs \
-comp xz
# Save the installed package list off
chroot $ MOUNT_POINT dpkg --get-selections > /tmp/wip-installed-packages
/etc
, shared across both routers are the following:
apt/apt.conf.d/10periodic
, apt/apt.conf.d/local-recommends
default/locale
dnsmasq.conf
, dnsmasq.d/dhcp-ranges
, dnsmasq.d/static-ips
hosts
, resolv.conf
sysctl.conf
logrotate.conf
, rsyslog.conf
mosquitto/mosquitto.users
, mosquitto/conf.d/ssl.conf
, mosquitto/conf.d/users.conf
, mosquitto/mosquitto.acl
, mosquitto/mosquitto.conf
mqtt-arp.conf
ssl/lets-encrypt-r3.crt
, ssl/mqtt.home.key
, ssl/mqtt.home.crt
ppp/ip-up.d/0000usepeerdns
, ppp/ipv6-up.d/defaultroute
, ppp/pap-secrets
, ppp/chap-secrets
network/interfaces.d/pppoe-wan
nftables.conf
dnsmasq.d/interfaces
network/interfaces.d/eth0
, network/interfaces.d/p1
, network/interfaces.d/p2
, network/interfaces.d/p7
, network/interfaces.d/p8
ppp/peers/aquiss
ssh/ssh_host_ecdsa_key
, ssh/ssh_host_ed25519_key
, ssh/ssh_host_rsa_key
, ssh/ssh_host_ecdsa_key.pub
, ssh/ssh_host_ed25519_key.pub
, ssh/ssh_host_rsa_key.pub
collectd/collectd.conf
, collectd/collectd.conf.d/network.conf
Barbie No, seriously! If anyone can make a good film about a doll franchise, it's probably Greta Gerwig. Not only was Little Women (2019) more than admirable, the same could be definitely said for Lady Bird (2017). More importantly, I can't help feel she was the real 'Driver' behind Frances Ha (2012), one of the better modern takes on Claudia Weill's revelatory Girlfriends (1978). Still, whenever I remember that Barbie will be a film about a billion-dollar toy and media franchise with a nettlesome history, I recall I rubbished the "Facebook film" that turned into The Social Network (2010). Anyway, the trailer for Barbie is worth watching, if only because it seems like a parody of itself.
Blitz It's difficult to overstate just how important the aerial bombing of London during World War II is crucial to understanding the British psyche, despite it being a constructed phenomenon from the outset. Without wishing to underplay the deaths of over 40,000 civilian deaths, Angus Calder pointed out in the 1990s that the modern mythology surrounding the event "did not evolve spontaneously; it was a propaganda construct directed as much at [then neutral] American opinion as at British." It will therefore be interesting to see how British Grenadian Trinidadian director Steve McQueen addresses a topic so essential to the British self-conception. (Remember the controversy in right-wing circles about the sole Indian soldier in Christopher Nolan's Dunkirk (2017)?) McQueen is perhaps best known for his 12 Years a Slave (2013), but he recently directed a six-part film anthology for the BBC which addressed the realities of post-Empire immigration to Britain, and this leads me to suspect he sees the Blitz and its surrounding mythology with a more critical perspective. But any attempt to complicate the story of World War II will be vigorously opposed in a way that will make the recent hullabaloo surrounding The Crown seem tame. All this is to say that the discourse surrounding this release may be as interesting as the film itself.
Dune, Part II Coming out of the cinema after the first part of Denis Vileneve's adaptation of Dune (2021), I was struck by the conception that it was less of a fresh adaptation of the 1965 novel by Frank Herbert than an attempt to rehabilitate David Lynch's 1984 version and in a broader sense, it was also an attempt to reestablish the primacy of cinema over streaming TV and the myriad of other distractions in our lives. I must admit I'm not a huge fan of the original novel, finding within it a certain prurience regarding hereditary military regimes and writing about them with a certain sense of glee that belies a secret admiration for them... not to mention an eyebrow-raising allegory for the Middle East. Still, Dune, Part II is going to be a fantastic spectacle.
Ferrari It'll be curious to see how this differs substantially from the recent Ford v Ferrari (2019), but given that Michael Mann's Heat (1995) so effectively re-energised the gangster/heist genre, I'm more than willing to kick the tires of this about the founder of the eponymous car manufacturer. I'm in the minority for preferring Mann's Thief (1981) over Heat, in part because the former deals in more abstract themes, so I'd have perhaps prefered to look forward to a more conceptual film from Mann over a story about one specific guy.
How Do You Live There are a few directors one can look forward to watching almost without qualification, and Hayao Miyazaki (My Neighbor Totoro, Kiki's Delivery Service, Princess Mononoke Howl's Moving Castle, etc.) is one of them. And this is especially so given that The Wind Rises (2013) was meant to be the last collaboration between Miyazaki and Studio Ghibli. Let's hope he is able to come out of retirement in another ten years.
Indiana Jones and the Dial of Destiny Given I had a strong dislike of Indiana Jones and the Kingdom of the Crystal Skull (2008), I seriously doubt I will enjoy anything this film has to show me, but with 1981's Raiders of the Lost Ark remaining one of my most treasured films (read my brief homage), I still feel a strong sense of obligation towards the Indiana Jones name, despite it feeling like the copper is being pulled out of the walls of this franchise today.
Kafka I only know Polish filmmaker Agnieszka Holland through her Spoor (2017), an adaptation of Olga Tokarczuk's 2009 eco-crime novel Drive Your Plow Over the Bones of the Dead. I wasn't an unqualified fan of Spoor (nor the book on which it is based), but I am interested in Holland's take on the life of Czech author Franz Kafka, an author enmeshed with twentieth-century art and philosophy, especially that of central Europe. Holland has mentioned she intends to tell the story "as a kind of collage," and I can hope that it is an adventurous take on the over-furrowed biopic genre. Or perhaps Gregor Samsa will awake from uneasy dreams to find himself transformed in his bed into a huge verminous biopic.
The Killer It'll be interesting to see what path David Fincher is taking today, especially after his puzzling and strangely cold Mank (2020) portraying the writing process behind Orson Welles' Citizen Kane (1941). The Killer is said to be a straight-to-Netflix thriller based on the graphic novel about a hired assassin, which makes me think of Fincher's Zodiac (2007), and, of course, Se7en (1995). I'm not as entranced by Fincher as I used to be, but any film with Michael Fassbender and Tilda Swinton (with a score by Trent Reznor) is always going to get my attention.
Killers of the Flower Moon In Killers of the Flower Moon, Martin Scorsese directs an adaptation of a book about the FBI's investigation into a conspiracy to murder Osage tribe members in the early years of the twentieth century in order to deprive them of their oil-rich land. (The only thing more quintessentially American than apple pie is a conspiracy combined with a genocide.) Separate from learning more about this disquieting chapter of American history, I'd love to discover what attracted Scorsese to this particular story: he's one of the few top-level directors who have the ability to lucidly articulate their intentions and motivations.
Napoleon It often strikes me that, despite all of his achievements and fame, it's somehow still possible to claim that Ridley Scott is relatively underrated compared to other directors working at the top level today. Besides that, though, I'm especially interested in this film, not least of all because I just read Tolstoy's War and Peace (read my recent review) and am working my way through the mind-boggling 431-minute Soviet TV adaptation, but also because several auteur filmmakers (including Stanley Kubrick) have tried to make a Napoleon epic and failed.
Oppenheimer In a way, a biopic about the scientist responsible for the atomic bomb and the Manhattan Project seems almost perfect material for Christopher Nolan. He can certainly rely on stars to queue up to be in his movies (Robert Downey Jr., Matt Damon, Kenneth Branagh, etc.), but whilst I'm certain it will be entertaining on many fronts, I fear it will fall into the well-established Nolan mould of yet another single man struggling with obsession, deception and guilt who is trying in vain to balance order and chaos in the world.
The Way of the Wind Marked by philosophical and spiritual overtones, all of Terrence Malick's films are perfumed with themes of transcendence, nature and the inevitable conflict between instinct and reason. My particular favourite is his stunning Days of Heaven (1978), but The Thin Red Line (1998) and A Hidden Life (2019) also touched me ways difficult to relate, and are one of the few films about the Second World War that don't touch off my sensitivity about them (see my remarks about Blitz above). It is therefore somewhat Malickian that his next film will be a biblical drama about the life of Jesus. Given Malick's filmography, I suspect this will be far more subdued than William Wyler's 1959 Ben-Hur and significantly more equivocal in its conviction compared to Paolo Pasolini's ardently progressive The Gospel According to St. Matthew (1964). However, little beyond that can be guessed, and the film may not even appear until 2024 or even 2025.
Zone of Interest I was mesmerised by Jonathan Glazer's Under the Skin (2013), and there is much to admire in his borderline 'revisionist gangster' film Sexy Beast (2000), so I will definitely be on the lookout for this one. The only thing making me hesitate is that Zone of Interest is based on a book by Martin Amis about a romance set inside the Auschwitz concentration camp. I haven't read the book, but Amis has something of a history in his grappling with the history of the twentieth century, and he seems to do it in a way that never sits right with me. But if Paul Verhoeven's Starship Troopers (1997) proves anything at all, it's all in the adaption.
Series: | Edinburgh Nights #1 |
Publisher: | Tor |
Copyright: | 2021 |
Printing: | 2022 |
ISBN: | 1-250-76777-6 |
Format: | Kindle |
Pages: | 329 |
Publisher: | Amazon Original Stories |
Copyright: | September 2019 |
ISBN: | 1-5420-9206-X |
ISBN: | 1-5420-4363-8 |
ISBN: | 1-5420-9357-0 |
ISBN: | 1-5420-0434-9 |
ISBN: | 1-5420-4363-8 |
ISBN: | 1-5420-4425-1 |
Format: | Kindle |
Pages: | 300 |
.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.
aespipe
(#661079, #1020809), cdbackup
(#1011428) & xmlrpc-epi
(#865688, #1020651)
apr-util
(#1006865), lirc
(#979024) & ruby-omniauth-tumblr
amavisd-milter
(#975954), apophenia
(#940013), cfi
(#995647), chessx
(#881664), cmocka
(#991181), desmume
(#890312), golang-gonum-v1-plot
(#968045), intel-gpu-tools
(#945105), jhbuild
(#971420), libjama
(#986601), libjs-qunit
(#976445), liblip
(#1001513, #989583), libstatgrab
(#961747), mlpost
(#977179 and #977180), netcdf-parallel
(#972930), netgen-lvs
(#955783), perfect-scrollbar
(#1000770), python-tomli
(#994979), pytsk
(#992060), smplayer
(#997689), squeak-plugins-scratch
(#876771, #942006), stgit
(#942009), strace
(#896016), surgescript
(#992061), sympow
(#973601), wxmaxima
(#983148), xavs2
(#952493), xaw3d
(#991180, #986704) and yard
(#972668).
OpenRGB
(filesystem ordering issue)python-maturin
(report an issue regarding random numbers)rav1e
(datetime-related issue)weblate
(report that the build fails in 2038)osuosl167
machine is no longer a openqa-worker
node anymore. [ ][ ]foot-terminfo
package on Debian systems. [ ]--timeout
flag. [ ][ ]
228
, 229
and 230
to Debian:
file(1)
version 5.43, with thanks to Christoph Biedl. [ ]test_html.py::test_diff
test if html2text
is not installed. (#1026034)Standards-Version
on all of our packages, including diffoscope [ ], strip-nondeterminism [ ], disorderfs [ ] and reprotest [ ].
#reproducible-builds
on irc.oftc.net
.
rb-general@lists.reproducible-builds.org
To bind an encryption key to the value of a TPM NV index, you can use the TPM2_NV_DefineSpace command to define an NV index with the TPMA_NV_BIND attribute.Woo! That sounds perfect. Only one problem - I can't actually find the TPMA_NV_BIND attribute defined anywhere in the spec. Well, ask the AI again.
Here is the definition of TPMA_NV_BIND from the TPM 2.0 specification:
TPMA_NV_BIND (BIT 17) If SET, the contents of the NV Index are bound to the platform hierarchy.
The definition of TPMA_NV_BIND is on page 126 of the TPM 2.0 specification, in section 9.7.1 "TPMA_NV".
I apologize for the error in my previous response. You are correct that the TPMA_NV_BIND attribute does not appear in the TPM 2.0 specification.
To bind an encryption key to the value of a TPM NV index, you can use the TPM2_NV_DefineSpace command with the TPMA_NV_BIND attribute.
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.
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.
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.
Series: | Arcana Imperii #1 |
Publisher: | Gollancz |
Copyright: | June 2021 |
ISBN: | 1-4732-3262-7 |
Format: | Kindle |
Pages: | 483 |
i3
configuration to Sway, and adapt my systemd
startup sequence to the
new environment. Screen sharing only works with Pipewire, so I also
did that migration, which basically requires an upgrade to Debian
bookworm to get a nice enough Pipewire release.
I'm testing Wayland on my laptop, but I'm not using it as a daily
driver because I first need to upgrade to Debian bookworm on my main
workstation.
Most irritants have been solved one way or the other. My main problem
with Wayland right now is that I spent a frigging week doing the
conversion: it's exciting and new, but it basically sucked the life
out of all my other projects and it's distracting, and I want it to
stop.
The rest of this page documents why I made the switch, how it
happened, and what's left to do. Hopefully it will keep you from
spending as much time as I did in fixing this.
TL;DR: Wayland is mostly ready. Main blockers you might find are
that you need to do manual configurations, DisplayLink (multiple
monitors on a single cable) doesn't work in Sway, HDR and color
management are still in development.
I had to install the following packages:
apt install \
brightnessctl \
foot \
gammastep \
gdm3 \
grim slurp \
pipewire-pulse \
sway \
swayidle \
swaylock \
wdisplays \
wev \
wireplumber \
wlr-randr \
xdg-desktop-portal-wlr
And did some of tweaks in my $HOME
, mostly dealing with my esoteric
systemd startup sequence, which you won't have to deal with if you are
not a fan.
It s amazing. I have never experienced gaming on Linux that looked this smooth in my life.... I'm not a gamer, but I do care about latency. The longer version is worth a read as well. The point here is not to bash one side or the other, or even do a thorough comparison. I start with the premise that Xorg is likely going away in the future and that I will need to adapt some day. In fact, the last major Xorg release (21.1, October 2021) is rumored to be the last ("just like the previous release...", that said, minor releases are still coming out, e.g. 21.1.4). Indeed, it seems even core Xorg people have moved on to developing Wayland, or at least Xwayland, which was spun off it its own source tree. X, or at least Xorg, in in maintenance mode and has been for years. Granted, the X Window System is getting close to forty years old at this point: it got us amazingly far for something that was designed around the time the first graphical interface. Since Mac and (especially?) Windows released theirs, they have rebuilt their graphical backends numerous times, but UNIX derivatives have stuck on Xorg this entire time, which is a testament to the design and reliability of X. (Or our incapacity at developing meaningful architectural change across the entire ecosystem, take your pick I guess.) What pushed me over the edge is that I had some pretty bad driver crashes with Xorg while screen sharing under Firefox, in Debian bookworm (around November 2022). The symptom would be that the UI would completely crash, reverting to a text-only console, while Firefox would keep running, audio and everything still working. People could still see my screen, but I couldn't, of course, let alone interact with it. All processes still running, including Xorg. (And no, sorry, I haven't reported that bug, maybe I should have, and it's actually possible it comes up again in Wayland, of course. But at first, screen sharing didn't work of course, so it's coming a much further way. After making screen sharing work, though, the bug didn't occur again, so I consider this a Xorg-specific problem until further notice.) There were also frustrating glitches in the UI, in general. I actually had to setup a compositor alongside i3 to make things bearable at all. Video playback in a window was laggy, sluggish, and out of sync. Wayland fixed all of this.
man -k sway
to find what they need. I don't think we need that kind
of elitism in our communities, to put this bluntly.
But let's put that aside: Sway is still a no-brainer. It's the easiest
thing to migrate to, because it's mostly compatible with i3. I had
to immediately fix those resources to get a minimal session going:
i3 | Sway | note |
---|---|---|
set_from_resources |
set |
no support for X resources, naturally |
new_window pixel 1 |
default_border pixel 1 |
actually supported in i3 as well |
brightnessctl
instead of
xbacklight
to change the backlight levels.
See a copy of my full sway/config for details.
Other options include:
nm-applet
work. Based on this
nm-applet.service, I found that you need to pass --indicator
for
it to show up at all.
In theory, tray icon support was merged in 1.5, but in practice
there are still several limitations, like icons not
clickable. Also, on startup, nm-applet --indicator
triggers this
error in the Sway logs:
nov 11 22:34:12 angela sway[298938]: 00:49:42.325 [INFO] [swaybar/tray/host.c:24] Registering Status Notifier Item ':1.47/org/ayatana/NotificationItem/nm_applet'
nov 11 22:34:12 angela sway[298938]: 00:49:42.327 [ERROR] [swaybar/tray/item.c:127] :1.47/org/ayatana/NotificationItem/nm_applet IconPixmap: No such property IconPixmap
nov 11 22:34:12 angela sway[298938]: 00:49:42.327 [ERROR] [swaybar/tray/item.c:127] :1.47/org/ayatana/NotificationItem/nm_applet AttentionIconPixmap: No such property AttentionIconPixmap
nov 11 22:34:12 angela sway[298938]: 00:49:42.327 [ERROR] [swaybar/tray/item.c:127] :1.47/org/ayatana/NotificationItem/nm_applet ItemIsMenu: No such property ItemIsMenu
nov 11 22:36:10 angela sway[313419]: info: fcft.c:838: /usr/share/fonts/truetype/dejavu/DejaVuSans.ttf: size=24.00pt/32px, dpi=96.00
... but that seems innocuous. The tray icon displays but is not
clickable.
Note that there is currently (November 2022) a pull request to
hook up a "Tray D-Bus Menu" which, according to Reddit might fix
this, or at least be somewhat relevant.
If you don't see the icon, check the bar.tray_output
property in the
Sway config, try: tray_output *
.
The non-working tray was the biggest irritant in my migration. I have
used nmtui
to connect to new Wifi hotspots or change connection
settings, but that doesn't support actions like "turn off WiFi".
I eventually fixed this by switching from py3status to
waybar, which was another yak horde shaving session, but
ultimately, it worked.
echo MOZ_ENABLE_WAYLAND=1 >> ~/.config/environment.d/firefox.conf && apt install xdg-desktop-portal-wlr
MOZ_ENABLE_WAYLAND=1 firefox
To make the change permanent, many recipes recommend adding this to an
environment startup script:
if [ "$XDG_SESSION_TYPE" == "wayland" ]; then
export MOZ_ENABLE_WAYLAND=1
fi
At least that's the theory. In practice, Sway doesn't actually run any
startup shell script, so that can't possibly work. Furthermore,
XDG_SESSION_TYPE
is not actually set when starting Sway from gdm3
which I find really confusing, and I'm not the only one. So
the above trick doesn't actually work, even if the environment
(XDG_SESSION_TYPE
) is set correctly, because we don't have
conditionals in environment.d(5).
(Note that systemd.environment-generator(7) do support running
arbitrary commands to generate environment, but for some some do not
support user-specific configuration files... Even then it may be a
solution to have a conditional MOZ_ENABLE_WAYLAND
environment, but
I'm not sure it would work because ordering between those two isn't
clear: maybe the XDG_SESSION_TYPE
wouldn't be set just yet...)
At first, I made this ridiculous script to workaround those
issues. Really, it seems to me Firefox should just parse the
XDG_SESSION_TYPE
variable here... but then I realized that Firefox
works fine in Xorg when the MOZ_ENABLE_WAYLAND
is set.
So now I just set that variable in environment.d
and It Just Works :
MOZ_ENABLE_WAYLAND=1
chromium -enable-features=UseOzonePlatform -ozone-platform=wayland
If it shows an ugly gray border, check the Use system title bar and
borders
setting.
It can do some screensharing. Sharing a window and a tab seems to
work, but sharing a full screen doesn't: it's all black. Maybe not
ready for prime time.
And since Firefox can do what I need under Wayland now, I will not
need to fight with Chromium to work under Wayland:
apt purge chromium
Note that a similar fix was necessary for Signal Desktop, see this
commit. Basically you need to figure out a way to pass those same
flags to signal:
--enable-features=WaylandWindowDecorations --ozone-platform-hint=auto
$PATH
in /etc
! and certain things are simply not
working in my setup. For example, this hook never gets ran on startup:
(add-hook 'after-init-hook 'server-start t)
Still, like many X11 applications, Emacs mostly works fine under
Xwayland. The clipboard works as expected, for example.
Scaling is a bit of an issue: fonts look fuzzy.
I have heard anecdotal evidence of hard lockups with Emacs running
under Xwayland as well, but haven't experienced any problem so far. I
did experience a Wayland crash with the snapshot version however.
TODO: look again at Wayland in Emacs 29.
redshift -m drm -PO 3000
This tip is from the arch wiki which also has other suggestions
for Wayland-based alternatives. Both KDE and GNOME have their own "red
shifters", and for wlroots-based compositors, they (currently,
Sept. 2022) list the following alternatives:
gammastep
with a simple gammastep.service file
associated with the sway-session.target.
nov 16 16:41:43 angela sway[843121]: 00:00:00.002 [ERROR] [wlr] [libseat] [common/terminal.c:162] Could not open target tty: Permission denied
Possible alternatives:
foot-terminfo
package
on the remote host, which is available in Debian stable.
This should eventually resolve itself, as Debian bookworm has a newer
version. Note that some corrections were also shipped in the
20211113 release, but that is also shipped in Debian bookworm.
That said, I am almost certain I will have to revert back to xterm
under Xwayland at some point in the future. Back when I was using
GNOME Terminal, it would mostly work for everything until I had to use
the serial console on a (HP ProCurve) network switch, which have a
fancy TUI that was basically unusable there. I fully expect such
problems with foot, or any other terminal than xterm, for that matter.
The foot wiki has good troubleshooting instructions as well.
Update: I did find one tiny thing to improve with foot, and it's the
default logging level which I found pretty verbose. After discussing
it with the maintainer on IRC, I submitted this patch to tweak
it, which I described like this on Mastodon:
today's reason why i will go to hell when i die (TRWIWGTHWID?): a 600-word, 63 lines commit log for a one line change: https://codeberg.org/dnkl/foot/pulls/1215It's Friday.
Tool | In Debian | Notes |
---|---|---|
alfred | yes | general launcher/assistant tool |
bemenu | yes, bookworm+ | inspired by dmenu |
cerebro | no | Javascript ... uh... thing |
dmenu-wl | no | fork of dmenu, straight port to Wayland |
Fuzzel | ITP 982140 | dmenu/drun replacement, app icon overlay |
gmenu | no | drun replacement, with app icons |
kickoff | no | dmenu/run replacement, fuzzy search, "snappy", history, copy-paste, Rust |
krunner | yes | KDE's runner |
mauncher | no | dmenu/drun replacement, math |
nwg-launchers | no | dmenu/drun replacement, JSON config, app icons, nwg-shell project |
Onagre | no | rofi/alfred inspired, multiple plugins, Rust |
menu | no | dmenu/drun rewrite |
Rofi (lbonn's fork) | no | see above |
sirula | no | .desktop based app launcher |
Ulauncher | ITP 949358 | generic launcher like Onagre/rofi/alfred, might be overkill |
tofi | yes, bookworm+ | dmenu/drun replacement, C |
wmenu | no | fork of dmenu-wl, but mostly a rewrite |
Wofi | yes | dmenu/drun replacement, not actively maintained |
yofi | no | dmenu/drun replacement, Rust |
input-method-unstable-v2
protocol (sample
emoji picker, but is not packaged in Debian.
As it turns out, wtype just works as expected, and fixing this was
basically a two-line patch. Another alternative, not in Debian, is
wofi-pass.
The other problem is that I actually heavily modified rofi. I use
"modis" which are not actually implemented in wofi or tofi, so I'm
left with reinventing those wheels from scratch or using the rofi +
wayland fork... It's really too bad that fork isn't being
reintegrated...
For now, I'm actually still using rofi under Xwayland. The main
downside is that fonts are fuzzy, but it otherwise just works.
Note that wlogout could be a partial replacement (just for the
"power menu").
mpv
seems to work fine under Wayland,
better than Xorg on my new laptop (as mentioned in the introduction),
and that before the version which improves Wayland support
significantly, by bringing native Pipewire support and DMA-BUF
support.
gmpc is more of a problem, mainly because it is abandoned. See
2022-08-22-gmpc-alternatives for the full discussion, one of
the alternatives there will likely support Wayland.
Finally, I might just switch to sublime-music instead... In any
case, not many changes here, thankfully.
swayidle
with a configuration based on
the systemd integration wiki page but with additional tweaks from
this service, see the resulting swayidle.service file.
Interestingly, damjan also has a service for swaylock itself,
although it's not clear to me what its purpose is...
--audio
, duh). It's also
packaged in Debian.
One has to wonder how this works while keeping the "between app
security" that Wayland promises, however... Would installing such a
program make my system less secure?
Many other options are available, see the awesome Wayland
screencasting list.
.Xresources
- just say goodbye to that old resource system, it
was used, in my case, only for rofi, xterm, and ... Xboard!? swaymsg input 0:0:X11_keyboard xkb_layout de
or using this config:
input *
xkb_layout "ca,us"
xkb_options "grp:sclk_toggle"
That works refreshingly well, even better than in Xorg, I must say.
swaykbdd is an alternative that supports per-window layouts
(in Debian).nm-applet
work. based on
this nm-applet.service, I found that you need to pass --indicator
. In
theory, tray icon support was merged in 1.5, but in practice
there are still several limitations, like icons not
clickable. On startup, nm-applet --indicator
triggers this
error in the Sway logs:
nov 11 22:34:12 angela sway[298938]: 00:49:42.325 [INFO] [swaybar/tray/host.c:24] Registering Status Notifier Item ':1.47/org/ayatana/NotificationItem/nm_applet'
nov 11 22:34:12 angela sway[298938]: 00:49:42.327 [ERROR] [swaybar/tray/item.c:127] :1.47/org/ayatana/NotificationItem/nm_applet IconPixmap: No such property IconPixmap
nov 11 22:34:12 angela sway[298938]: 00:49:42.327 [ERROR] [swaybar/tray/item.c:127] :1.47/org/ayatana/NotificationItem/nm_applet AttentionIconPixmap: No such property AttentionIconPixmap
nov 11 22:34:12 angela sway[298938]: 00:49:42.327 [ERROR] [swaybar/tray/item.c:127] :1.47/org/ayatana/NotificationItem/nm_applet ItemIsMenu: No such property ItemIsMenu
nov 11 22:36:10 angela sway[313419]: info: fcft.c:838: /usr/share/fonts/truetype/dejavu/DejaVuSans.ttf: size=24.00pt/32px, dpi=96.00
... but it seems innocuous. The tray icon displays but, as stated
above, is not clickable. If you don't see the icon, check the
bar.tray_output
property in the Sway config, try: tray_output *
.
Note that there is currently (November 2022) a pull request to
hook up a "Tray D-Bus Menu" which, according to Reddit might
fix this, or at least be somewhat relevant.
This was the biggest irritant in my migration. I have used nmtui
to connect to new Wifi hotspots or change connection settings, but
that doesn't support actions like "turn off WiFi".
I eventually fixed this by switching from py3status to
waybar.i3
I was using this bespoke i3-focus
script, which doesn't work under Sway, swayr an option, not in
Debian. So I put together this other bespoke hack from
multiple sources, which works.X11 | Wayland | In Debian |
---|---|---|
arandr |
wdisplays | yes |
autorandr |
kanshi | yes |
xdotool |
wtype | yes |
xev |
wev | yes |
xlsclients |
swaymsg -t get_tree |
yes |
xrandr |
wlr-randr | yes |
xlsclients
but is not
packaged in Debian.
See also:
.xsession
like
this:
#!/bin/sh
. ~/.shenv
systemctl --user import-environment
exec systemctl --user start --wait xsession.target
But obviously, the xsession.target
is not started by the Sway
session. It seems to just start a default.target
, which is really
not what we want because we want to associate the services directly
with the graphical-session.target
, so that they don't start when
logging in over (say) SSH.
damjan
on #debian-systemd
showed me his sway-setup which
features systemd integration. It involves starting a different session
in a completely new .desktop
file. That work was submitted
upstream but refused on the grounds that "I'd rather not give a
preference to any particular init system." Another PR was
abandoned because "restarting sway does not makes sense: that
kills everything".
The work was therefore moved to the wiki.
So. Not a great situation. The upstream wiki systemd
integration suggests starting the systemd target from within
Sway, which has all sorts of problems:
$PATH
and environment.
So I went down that rabbit hole and managed to correctly configure
Sway to be started from the systemd --user
session.
I have partly followed the wiki but also picked ideas from damjan's
sway-setup and xdbob's sway-services. Another option is
uwsm (not in Debian).
This is the config I have in .config/systemd/user/
:
I have also configured those services, but that's somewhat optional:
You will also need at least part of my sway/config, which
sends the systemd notification (because, no, Sway doesn't support any
sort of readiness notification, that would be too easy). And you might
like to see my swayidle-config while you're there.
Finally, you need to hook this up somehow to the login manager. This
is typically done with a desktop file, so drop
sway-session.desktop in /usr/share/wayland-sessions
and
sway-user-service somewhere in your $PATH
(typically
/usr/bin/sway-user-service
).
The session then looks something like this:
$ systemd-cgls head -101
Control group /:
-.slice
user.slice (#472)
user.invocation_id: bc405c6341de4e93a545bde6d7abbeec
trusted.invocation_id: bc405c6341de4e93a545bde6d7abbeec
user-1000.slice (#10072)
user.invocation_id: 08f40f5c4bcd4fd6adfd27bec24e4827
trusted.invocation_id: 08f40f5c4bcd4fd6adfd27bec24e4827
user@1000.service (#10156)
user.delegate: 1
trusted.delegate: 1
user.invocation_id: 76bed72a1ffb41dca9bfda7bb174ef6b
trusted.invocation_id: 76bed72a1ffb41dca9bfda7bb174ef6b
session.slice (#10282)
xdg-document-portal.service (#12248)
9533 /usr/libexec/xdg-document-portal
9542 fusermount3 -o rw,nosuid,nodev,fsname=portal,auto_unmount,subt
xdg-desktop-portal.service (#12211)
9529 /usr/libexec/xdg-desktop-portal
pipewire-pulse.service (#10778)
6002 /usr/bin/pipewire-pulse
wireplumber.service (#10519)
5944 /usr/bin/wireplumber
gvfs-daemon.service (#10667)
5960 /usr/libexec/gvfsd
gvfs-udisks2-volume-monitor.service (#10852)
6021 /usr/libexec/gvfs-udisks2-volume-monitor
at-spi-dbus-bus.service (#11481)
6210 /usr/libexec/at-spi-bus-launcher
6216 /usr/bin/dbus-daemon --config-file=/usr/share/defaults/at-spi2
6450 /usr/libexec/at-spi2-registryd --use-gnome-session
pipewire.service (#10403)
5940 /usr/bin/pipewire
dbus.service (#10593)
5946 /usr/bin/dbus-daemon --session --address=systemd: --nofork --n
background.slice (#10324)
tracker-miner-fs-3.service (#10741)
6001 /usr/libexec/tracker-miner-fs-3
app.slice (#10240)
xdg-permission-store.service (#12285)
9536 /usr/libexec/xdg-permission-store
gammastep.service (#11370)
6197 gammastep
dunst.service (#11958)
7460 /usr/bin/dunst
wterminal.service (#13980)
69100 foot --title pop-up
69101 /bin/bash
77660 sudo systemd-cgls
77661 head -101
77662 wl-copy
77663 sudo systemd-cgls
77664 systemd-cgls
syncthing.service (#11995)
7529 /usr/bin/syncthing -no-browser -no-restart -logflags=0 --verbo
7537 /usr/bin/syncthing -no-browser -no-restart -logflags=0 --verbo
dconf.service (#10704)
5967 /usr/libexec/dconf-service
gnome-keyring-daemon.service (#10630)
5951 /usr/bin/gnome-keyring-daemon --foreground --components=pkcs11
gcr-ssh-agent.service (#10963)
6035 /usr/libexec/gcr-ssh-agent /run/user/1000/gcr
swayidle.service (#11444)
6199 /usr/bin/swayidle -w
nm-applet.service (#11407)
6198 /usr/bin/nm-applet --indicator
wcolortaillog.service (#11518)
6226 foot colortaillog
6228 /bin/sh /home/anarcat/bin/colortaillog
6230 sudo journalctl -f
6233 ccze -m ansi
6235 sudo journalctl -f
6236 journalctl -f
afuse.service (#10889)
6051 /usr/bin/afuse -o mount_template=sshfs -o transform_symlinks -
gpg-agent.service (#13547)
51662 /usr/bin/gpg-agent --supervised
51719 scdaemon --multi-server
emacs.service (#10926)
6034 /usr/bin/emacs --fg-daemon
33203 /usr/bin/aspell -a -m -d en --encoding=utf-8
xdg-desktop-portal-gtk.service (#12322)
9546 /usr/libexec/xdg-desktop-portal-gtk
xdg-desktop-portal-wlr.service (#12359)
9555 /usr/libexec/xdg-desktop-portal-wlr
sway.service (#11037)
6037 /usr/bin/sway
6181 swaybar -b bar-0
6209 py3status
6309 /usr/bin/i3status -c /tmp/py3status_oy4ntfnq
6969 Xwayland :0 -rootless -terminate -core -listen 29 -listen 30 -
init.scope (#10198)
5909 /lib/systemd/systemd --user
5911 (sd-pam)
session-7.scope (#10440)
5895 gdm-session-worker [pam/gdm-password]
6028 /usr/libexec/gdm-wayland-session --register-session sway-user-serv
[...]
I think that's pretty neat.
$PATH
, which
broke a lot of my workflow. It's hard to tell exactly how Wayland
gets started or where to inject environment. This discussion
suggests a few alternatives and this Debian bug report discusses
this issue as well.
I eventually picked environment.d(5) since I already manage my user
session with systemd, and it fixes a bunch of other problems. I used
to have a .shenv
that I had to manually source everywhere. The only
problem with that approach is that it doesn't support conditionals,
but that's something that's rarely needed.
apt install pipewire pipewire-audio-client-libraries pipewire-pulse wireplumber
Then, as a regular user:
systemctl --user daemon-reload
systemctl --user --now disable pulseaudio.service pulseaudio.socket
systemctl --user --now enable pipewire pipewire-pulse
systemctl --user mask pulseaudio
An optional (but key, IMHO) configuration you should also make is to
"switch on connect", which will make your Bluetooth or USB headset
automatically be the default route for audio, when connected. In
~/.config/pipewire/pipewire-pulse.conf.d/autoconnect.conf
:
context.exec = [
path = "pactl" args = "load-module module-always-sink"
path = "pactl" args = "load-module module-switch-on-connect"
# path = "/usr/bin/sh" args = "~/.config/pipewire/default.pw"
]
See the excellent as usual Arch wiki page about Pipewire for
that trick and more information about Pipewire. Note that you must
not put the file in ~/.config/pipewire/pipewire.conf
(or
pipewire-pulse.conf
, maybe) directly, as that will break your
setup. If you want to add to that file, first copy the template from
/usr/share/pipewire/pipewire-pulse.conf
first.
So far I'm happy with Pipewire in bookworm, but I've heard mixed
reports from it. I have high hopes it will become the standard media
server for Linux in the coming months or years, which is great because
I've been (rather boldly, I admit) on the record saying I don't like
PulseAudio.
Rereading this now, I feel it might have been a little unfair, as
"over-engineered and tries to do too many things at once" applies
probably even more to Pipewire than PulseAudio (since it also handles
video dispatching).
That said, I think Pipewire took the right approach by implementing
existing interfaces like Pulseaudio and JACK. That way we're not
adding a third (or fourth?) way of doing audio in Linux; we're just
making the server better.
d c 06 10:36:31 curie sway[343384]: 23:32:14.034 [ERROR] [wlr] [libinput] event5 - SONiX USB Keyboard: client bug: event processing lagging behind by 37ms, your system is too slow
... and corresponds to an open bug report in Sway. It seems the
"system is too slow" should really be "your compositor is too slow"
which seems to be the case here on this older system
(curie). It doesn't happen often, but it does happen,
particularly when a bunch of busy processes start in parallel (in my
case: a linter running inside a container and notmuch new
).
The proposed fix for this in Sway is to gain real time privileges
and add the CAP_SYS_NICE
capability to the binary. We'll see how
that goes in Debian once 1.8 gets released and shipped.
xeyes
(in the x11-apps
package) will run in Wayland, and can
actually be used to easily see if a given window is also in
Wayland. If the "eyes" follow the cursor, the app is actually running
in xwayland, so not natively in Wayland.
Another way to see what is using Wayland in Sway is with the command:
swaymsg -t get_tree
chooser
installed, see
xdg-desktop-portal-wrl(5))destroy table
and delete table
should be defined consistently, with
the following meanings:
-m nft xyz
. Which feels ugly, but may work. We also explored playing with the semantics of
release version numbers. And another idea: store strings in the nft rule userdata area with the equivalent
matching information for older iptables-nft.
In fact, what Phil may have been looking for is not backwards but forward compatibility. Phil was undecided which path
to follow, but perhaps the most common-sense approach is to fall back to a major release version bump (2.x.y)
and declaring compatibility breakage with older iptables 1.x.y.
That was pretty much it for the first day. We had dinner together and went to sleep for the next day.
The second day was opened by Florian Westphal (Netfilter coreteam member and Red Hat engineer). Florian has been
trying to improve nftables performance in kernels with RETPOLINE mitigations enabled. He commented that several
workarounds have been collected over the years to avoid the performance penalty of such mitigations.
The basic strategy is to avoid function indirect calls in the kernel.
Florian also described how BPF programs work around this more effectively. And actually, Florian tried translating
nf_hook_slow()
to BPF. Some preliminary benchmarks results were showed, with about 2% performance improvement in
MB/s and PPS. The flowtable infrastructure is specially benefited from this approach. The software
flowtable infrastructure already offers a 5x performance improvement with regards the classic forwarding path, and the
change being researched by Florian would be an addition on top of that.
We then moved into discussing the meeting Florian had with Alexei in Zurich. My personal opinion was that
Netfilter offers interesting user-facing interfaces and semantics that BPF does not. Whereas BPF may be more performant
in certain scenarios. The idea of both things going hand in hand may feel natural for some people. Others also
shared my view, but no particular agreement was reached in this topic. Florian will probably continue exploring options
on that front.
The next topic was opened by Fernando. He wanted to discuss Netfilter involvement in Google Summer of Code and Outreachy.
Pablo had some personal stuff going on last year that prevented him from engaging in such projects. After all, GSoC is
not fundamental or a priority for Netfilter. Also, Pablo mentioned the lack of support from others in the project for
mentoring activities. There was no particular decision made here. Netfilter may be present again in such initiatives
in the future, perhaps under the umbrella of other organizations.
Again, Fernando proposed the next topic: nftables JSON support. Fernando shared his plan of going over all features
and introduce programmatic tests from them. He also mentioned that the nftables wiki was incomplete and couldn t be
used as a reference for missing tests. Phil suggested running the nftables python test-suite in JSON mode, which
should complain about missing features. The py test suite should cover pretty much all statements and variations on
how the nftables expression are invoked.
Next, Phil commented on nftables xtables support. This is, supporting legacy xtables extensions in nftables.
The most prominent problem was that some translations had some corner cases that resulted in a listed ruleset that
couldn t be fed back into the kernel. Also, iptables-to-nftables translations can be sloppy, and the resulting
rule won t work in some cases. In general, nft list ruleset nft -f
may fail in rulesets created by iptables-nft
and there is no trivial way to solve it.
Phil also commented on potential iptables-tests.py speed-ups. Running the test suite may take very long time
depending on the hardware. Phil will try to re-architect it, so it runs faster. Some alternatives had been
explored, including collecting all rules into a single iptables-restore run, instead of hundreds of individual
iptables calls.
Next topic was about documentation on the nftables wiki. Phil is interested in having all nftables
code-flows documented, and presented some improvements in that front. We are trying to organize all
developer-oriented docs on a mediawiki portal, but the extension was not active yet. Since I worked at the
Wikimedia Foundation, all the room stared at me, so at the end I kind of committed to exploring and enabling the
mediawiki portal extension. Note to self: is this perhaps https://www.mediawiki.org/wiki/Portals ?
Next presentation was by Pablo. He had a list of assorted topics for quick review and comment.
struct constant_expr
, which
can reduce 12.5% mem usage.nft_tunnel
expression that can do this encapsulation for complete feature parity. It is only available in
the kernel, but it can be made available easily on the userspace utility too.
Also, we discussed some limitations of katran, for example, inability to handle IP fragmentation, IP options, and
potentially others not documented anywhere. This seems to be common with XDP/BPF programs, because handling all
possible network scenarios would over-complicate the BPF programs, and at that point you are probably better off by
using the normal Linux network stack and nftables.
In summary, we agreed that nftlb can pretty much offer the same as katran, in a more flexible way.
Finally, after many interesting debates over two days, the workshop ended. We all agreed on the need for extending
it to 3 days next time, since 2 days feel too intense and too short for all the topics worth discussing.
That s all on my side! I really enjoyed this Netfilter workshop round.
Next.