Review: I Didn't Do the Thing Today, by Madeleine Dore

Publisher:	Avery
Copyright:	2022
ISBN:	0-593-41914-6
Format:	Kindle
Pages:	291

At least from my narrow view of it, the world of productivity self-help literature is a fascinating place right now. The pandemic overturned normal work patterns and exacerbated schedule inequality, creating vastly different experiences for the people whose work continued to be in-person and the people whose work could become mostly or entirely remote. Self-help literature, which is primarily aimed at the more affluent white-collar class, primarily tracked the latter disruption: newly-remote work, endless Zoom meetings, the impossibility of child care, the breakdown of boundaries between work and home, and the dawning realization that much of the mechanics of day-to-day office work are neither productive nor defensible. My primary exposure these days to the more traditional self-help productivity literature is via Cal Newport. The stereotype of the productivity self-help book is a collection of life hacks and list-making techniques that will help you become a more efficient capitalist cog, but Newport has been moving away from that dead end for as long as I've been reading him, and his recent work focuses more on structural issues with the organization of knowledge work. He also shares with the newer productivity writers a willingness to tell people to use the free time they recover via improved efficiency on some life goal other than improved job productivity. But he's still prickly and defensive about the importance of personal productivity and accomplishing things. He gives lip service on his podcast to the value of the critique of productivity, but then usually reverts to characterizing anti-productivity arguments as saying that productivity is a capitalist invention to control workers. (Someone has doubtless said this on Twitter, but I've never seen a serious critique of productivity make this simplistic of an argument.) On the anti-productivity side, as it's commonly called, I've seen a lot of new writing in the past couple of years that tries to break the connection between productivity and human worth so endemic to US society. This is not a new analysis; disabled writers have been making this point for decades, it's present in both Keynes and in Galbraith's The Affluent Society, and Kathi Weeks's The Problem with Work traces some of its history in Marxist thought. But what does feel new to me is its widespread mainstream appearance in newspaper articles, viral blog posts, and books such as Jenny Odell's How to Do Nothing and Devon Price's Laziness Does Not Exist. The pushback against defining life around productivity is having a moment. Entering this discussion is Madeleine Dore's I Didn't Do the Thing Today. Dore is the author of the Extraordinary Routines blog and host of the Routines and Ruts podcast. Extraordinary Routines began as a survey of how various people organize their daily lives. I Didn't Do the Thing Today is, according to the preface, a summary of the thoughts Dore has had about her own life and routines as a result of those interviews. As you might guess from the subtitle (Letting Go of Productivity Guilt), Dore's book is superficially on the anti-productivity side. Its chapters are organized around gentle critiques of productivity concepts, with titles like "The Hopeless Search for the Ideal Routine," "The Myth of Balance," or "The Harsh Rules of Discipline." But I think anti-productivity is a poor name for this critique; its writers are not opposed to being productive, only to its position as an all-consuming focus and guilt-generating measure of personal worth. Dore structures most chapters by naming an aspect, goal, or concern of a life defined by productivity, such as wasted time, ambition, busyness, distraction, comparison, or indecision. Each chapter sketches the impact of that idea and then attempts to gently dismantle the grip that it may have on the reader's life. All of these discussions are nuanced; it's rare for Dore to say that one of these aspects has no value, and she anticipates numerous objections. But her overarching goal is to help the reader be more comfortable with imperfection, more willing to live in the moment, and less frustrated with the limitations of life and the human brain. If striving for productivity is like lifting weights, Dore's diagnosis is that we've tried too hard for too long, and have overworked that muscle until it is cramping. This book is a gentle massage to induce the muscle to relax and let go. Whether this will work is, as with all self-help books, individual. I found it was best read in small quantities, perhaps a chapter per day, since it otherwise began feeling too much the same. I'm also not the ideal audience; Dore is a creative freelancer and primarily interviewed other creative people, which I think has a different sort of productivity rhythm than the work that I do. She's also not a planner to the degree that I am; more on that below. And yet, I found this book worked on me anyway. I can't say that I was captivated all the way through, but I found myself mentally relaxing while I was reading it, and I may re-read some chapters from time to time. How does this relate to the genre of productivity self-help? With less conflict than I think productivity writers believe, although there seems to be one foundational difference of perspective. Dore is not opposed to accomplishing things, or even to systems that help people accomplish things. She is more attuned than the typical productivity writer to the guilt and frustration that can accumulate when one has a day in which one does not do the thing, but her goal is not to talk you out of attempting things. It is, instead, to convince you to hold those attempts and goals more lightly, to allow them to move and shift and change, and to not treat a failure to do the thing today as a reason for guilt. This is wholly compatible with standard productivity advice. It's adding nuance at one level of abstraction higher: how tightly to cling to productivity goals, and what to do when they don't work out. Cramping muscles are not strong muscles capable of lifting heavy things. If one can massage out the cramp, one's productivity by even the strict economic definition may improve. Where I do see a conflict is that most productivity writers are planners, and Dore is not. This is, I think, a significant blind spot in productivity self-help writing. Cal Newport, for example, advocates time-block planning, where every hour of the working day has a job. David Allen advocates a complex set of comprehensive lists and well-defined next actions. Mark Forster builds a flurry of small systems for working through lists. The standard in productivity writing is to to add structure to your day and cultivate the self-discipline required to stick to that structure. For many people, including me, this largely works. I'm mostly a planner, and when my life gets chaotic, adding more structure and focusing on that structure helps me. But the productivity writers I've read are quite insistent that their style of structure will work for everyone, and on that point I am dubious. Newport, for example, advocates time-block planning for everyone without exception, insisting that it is the best way to structure a day. Dore, in contrast, describes spending years trying to perfect a routine before realizing that elastic possibilities work better for her than routines. For those who are more like Dore than Newport, I Didn't Do the Thing Today is more likely to be helpful than Newport's instructions. This doesn't make Newport's ideas wrong; it simply makes them not universal, something that the productivity self-help genre seems to have trouble acknowledging. Even for readers like myself who prefer structure, I Didn't Do the Thing Today is a valuable corrective to the emphasis on every-better systems. For those who never got along with too much structure, I think it may strike a chord. The standard self-help caveat still applies: Dore has the most to say to people who are in a similar social class and line of work as her. I'm not sure this book will be of much help to someone who has to juggle two jobs with shift work and child care, where the problem is more sharp external constraints than internalized productivity guilt. But for its target audience, I think it's a valuable, calming message. Dore doesn't have a recipe to sort out your life, but may help you feel better about the merits of life unsorted. Rating: 7 out of 10

In my four most recent posts, I went over the memoirs and biographies, the non-fiction, the fiction and the 'classic' novels that I enjoyed reading the most in 2021. But in the very last of my 2021 roundup posts, I'll be going over some of my favourite movies. (Saying that, these are perhaps less of my 'favourite films' than the ones worth remarking on after all, nobody needs to hear that The Godfather is a good movie.) It's probably helpful to remark you that I took a self-directed course in film history in 2021, based around the first volume of Roger Ebert's The Great Movies. This collection of 100-odd movie essays aims to make a tour of the landmarks of the first century of cinema, and I watched all but a handul before the year was out. I am slowly making my way through volume two in 2022. This tome was tremendously useful, and not simply due to the background context that Ebert added to each film: it also brought me into contact with films I would have hardly come through some other means. Would I have ever discovered the sly comedy of Trouble in Paradise (1932) or the touching proto-realism of L'Atalante (1934) any other way? It also helped me to 'get around' to watching films I may have put off watching forever the influential Battleship Potemkin (1925), for instance, and the ur-epic Lawrence of Arabia (1962) spring to mind here. Choosing a 'worst' film is perhaps more difficult than choosing the best. There are first those that left me completely dry (Ready or Not, Written on the Wind, etc.), and those that were simply poorly executed. And there are those that failed to meet their own high opinions of themselves, such as the 'made for Reddit' Tenet (2020) or the inscrutable Vanilla Sky (2001) the latter being an almost perfect example of late-20th century cultural exhaustion. But I must save my most severe judgement for those films where I took a visceral dislike how their subjects were portrayed. The sexually problematic Sixteen Candles (1984) and the pseudo-Catholic vigilantism of The Boondock Saints (1999) both spring to mind here, the latter of which combines so many things I dislike into such a short running time I'd need an entire essay to adequately express how much I disliked it.

Dogtooth (2009) A father, a mother, a brother and two sisters live in a large and affluent house behind a very high wall and an always-locked gate. Only the father ever leaves the property, driving to the factory that he happens to own. Dogtooth goes far beyond any allusion to Josef Fritzl's cellar, though, as the children's education is a grotesque parody of home-schooling. Here, the parents deliberately teach their children the wrong meaning of words (e.g. a yellow flower is called a 'zombie'), all of which renders the outside world utterly meaningless and unreadable, and completely mystifying its very existence. It is this creepy strangeness within a 'regular' family unit in Dogtooth that is both socially and epistemically horrific, and I'll say nothing here of its sexual elements as well. Despite its cold, inscrutable and deadpan surreality, Dogtooth invites all manner of potential interpretations. Is this film about the artificiality of the nuclear family that the West insists is the benchmark of normality? Or is it, as I prefer to believe, something more visceral altogether: an allegory for the various forms of ontological violence wrought by fascism, as well a sobering nod towards some of fascism's inherent appeals? (Perhaps it is both. In 1972, French poststructuralists Gilles and F lix Guattari wrote Anti-Oedipus, which plays with the idea of the family unit as a metaphor for the authoritarian state.) The Greek-language Dogtooth, elegantly shot, thankfully provides no easy answers.

Holy Motors (2012) There is an infamous scene in Un Chien Andalou, the 1929 film collaboration between Luis Bu uel and famed artist Salvador Dal . A young woman is cornered in her own apartment by a threatening man, and she reaches for a tennis racquet in self-defence. But the man suddenly picks up two nearby ropes and drags into the frame two large grand pianos... each leaden with a dead donkey, a stone tablet, a pumpkin and a bewildered priest. This bizarre sketch serves as a better introduction to Leos Carax's Holy Motors than any elementary outline of its plot, which ostensibly follows 24 hours in the life of a man who must play a number of extremely diverse roles around Paris... all for no apparent reason. (And is he even a man?) Surrealism as an art movement gets a pretty bad wrap these days, and perhaps justifiably so. But Holy Motors and Un Chien Andalou serve as a good reminder that surrealism can be, well, 'good, actually'. And if not quite high art, Holy Motors at least demonstrates that surrealism can still unnerving and hilariously funny. Indeed, recalling the whimsy of the plot to a close friend, the tears of laughter came unbidden to my eyes once again. ("And then the limousines...!") Still, it is unclear how Holy Motors truly refreshes surrealism for the twenty-first century. Surrealism was, in part, a reaction to the mechanical and unfeeling brutality of World War I and ultimately sought to release the creative potential of the unconscious mind. Holy Motors cannot be responding to another continental conflagration, and so it appears to me to be some kind of commentary on the roles we exhibit in an era of 'post-postmodernity': a sketch on our age of performative authenticity, perhaps, or an idle doodle on the function and psychosocial function of work. Or perhaps not. After all, this film was produced in a time that offers the near-universal availability of mind-altering substances, and this certainly changes the context in which this film was both created. And, how can I put it, was intended to be watched.

Manchester by the Sea (2016) An absolutely devastating portrayal of a character who is unable to forgive himself and is hesitant to engage with anyone ever again. It features a near-ideal balance between portraying unrecoverable anguish and tender warmth, and is paradoxically grandiose in its subtle intimacy. The mechanics of life led me to watch this lying on a bed in a chain hotel by Heathrow Airport, and if this colourless circumstance blunted the film's emotional impact on me, I am probably thankful for it. Indeed, I find myself reduced in this review to fatuously recalling my favourite interactions instead of providing any real commentary. You could write a whole essay about one particular incident: its surfaces, subtexts and angles... all despite nothing of any substance ever being communicated. Truly stunning.

McCabe & Mrs. Miller (1971) Roger Ebert called this movie one of the saddest films I have ever seen, filled with a yearning for love and home that will not ever come. But whilst it is difficult to disagree with his sentiment, Ebert's choice of sad is somehow not quite the right word. Indeed, I've long regretted that our dictionaries don't have more nuanced blends of tragedy and sadness; perhaps the Ancient Greeks can loan us some. Nevertheless, the plot of this film is of a gambler and a prostitute who become business partners in a new and remote mining town called Presbyterian Church. However, as their town and enterprise booms, it comes to the attention of a large mining corporation who want to bully or buy their way into the action. What makes this film stand out is not the plot itself, however, but its mood and tone the town and its inhabitants seem to be thrown together out of raw lumber, covered alternatively in mud or frozen ice, and their days (and their personalities) are both short and dark in equal measure. As a brief aside, if you haven't seen a Roger Altman film before, this has all the trappings of being a good introduction. As Ebert went on to observe: This is not the kind of movie where the characters are introduced. They are all already here. Furthermore, we can see some of Altman's trademark conversations that overlap, a superb handling of ensemble casts, and a quietly subversive view of the tyranny of 'genre'... and the latter in a time when the appetite for revisionist portrays of the West was not very strong. All of these 'Altmanian' trademarks can be ordered in much stronger measures in his later films: in particular, his comedy-drama Nashville (1975) has 24 main characters, and my jejune interpretation of Gosford Park (2001) is that it is purposefully designed to poke fun those who take a reductionist view of 'genre', or at least on the audience's expectations. (In this case, an Edwardian-era English murder mystery in the style of Agatha Christie, but where no real murder or detection really takes place.) On the other hand, McCabe & Mrs. Miller is actually a poor introduction to Altman. The story is told in a suitable deliberate and slow tempo, and the two stars of the film are shown thoroughly defrocked of any 'star status', in both the visual and moral dimensions. All of these traits are, however, this film's strength, adding up to a credible, fascinating and riveting portrayal of the old West.

Detour (1945) Detour was filmed in less than a week, and it's difficult to decide out of the actors and the screenplay which is its weakest point.... Yet it still somehow seemed to drag me in. The plot revolves around luckless Al who is hitchhiking to California. Al gets a lift from a man called Haskell who quickly falls down dead from a heart attack. Al quickly buries the body and takes Haskell's money, car and identification, believing that the police will believe Al murdered him. An unstable element is soon introduced in the guise of Vera, who, through a set of coincidences that stretches credulity, knows that this 'new' Haskell (ie. Al pretending to be him) is not who he seems. Vera then attaches herself to Al in order to blackmail him, and the world starts to spin out of his control. It must be understood that none of this is executed very well. Rather, what makes Detour so interesting to watch is that its 'errors' lend a distinctively creepy and unnatural hue to the film. Indeed, in the early twentieth century, Sigmund Freud used the word unheimlich to describe the experience of something that is not simply mysterious, but something creepy in a strangely familiar way. This is almost the perfect description of watching Detour its eerie nature means that we are not only frequently second-guessed about where the film is going, but are often uncertain whether we are watching the usual objective perspective offered by cinema. In particular, are all the ham-fisted segues, stilted dialogue and inscrutable character motivations actually a product of Al inventing a story for the viewer? Did he murder Haskell after all, despite the film 'showing' us that Haskell died of natural causes? In other words, are we watching what Al wants us to believe? Regardless of the answers to these questions, the film succeeds precisely because of its accidental or inadvertent choices, so it is an implicit reminder that seeking the director's original intention in any piece of art is a complete mirage. Detour is certainly not a good film, but it just might be a great one. (It is a short film too, and, out of copyright, it is available online for free.)

Safe (1995) Safe is a subtly disturbing film about an upper-middle-class housewife who begins to complain about vague symptoms of illness. Initially claiming that she doesn't feel right, Carol starts to have unexplained headaches, a dry cough and nosebleeds, and eventually begins to have trouble breathing. Carol's family doctor treats her concerns with little care, and suggests to her husband that she sees a psychiatrist. Yet Carol's episodes soon escalate. For example, as a 'homemaker' and with nothing else to occupy her, Carol's orders a new couch for a party. But when the store delivers the wrong one (although it is not altogether clear that they did), Carol has a near breakdown. Unsure where to turn, an 'allergist' tells Carol she has "Environmental Illness," and so Carol eventually checks herself into a new-age commune filled with alternative therapies. On the surface, Safe is thus a film about the increasing about of pesticides and chemicals in our lives, something that was clearly felt far more viscerally in the 1990s. But it is also a film about how lack of genuine healthcare for women must be seen as a critical factor in the rise of crank medicine. (Indeed, it made for something of an uncomfortable watch during the coronavirus lockdown.) More interestingly, however, Safe gently-yet-critically examines the psychosocial causes that may be aggravating Carol's illnesses, including her vacant marriage, her hollow friends and the 'empty calorie' stimulus of suburbia. None of this should be especially new to anyone: the gendered Victorian term 'hysterical' is often all but spoken throughout this film, and perhaps from the very invention of modern medicine, women's symptoms have often regularly minimised or outright dismissed. (Hilary Mantel's 2003 memoir, Giving Up the Ghost is especially harrowing on this.) As I opened this review, the film is subtle in its messaging. Just to take one example from many, the sound of the cars is always just a fraction too loud: there's a scene where a group is eating dinner with a road in the background, and the total effect can be seen as representing the toxic fumes of modernity invading our social lives and health. I won't spoiler the conclusion of this quietly devasting film, but don't expect a happy ending.

The Driver (1978) Critics grossly misunderstood The Driver when it was first released. They interpreted the cold and unemotional affect of the characters with the lack of developmental depth, instead of representing their dissociation from the society around them. This reading was encouraged by the fact that the principal actors aren't given real names and are instead known simply by their archetypes instead: 'The Driver', 'The Detective', 'The Player' and so on. This sort of quasi-Jungian erudition is common in many crime films today (Reservoir Dogs, Kill Bill, Layer Cake, Fight Club), so the critics' misconceptions were entirely reasonable in 1978. The plot of The Driver involves the eponymous Driver, a noted getaway driver for robberies in Los Angeles. His exceptional talent has far prevented him from being captured thus far, so the Detective attempts to catch the Driver by pardoning another gang if they help convict the Driver via a set-up robbery. To give himself an edge, however, The Driver seeks help from the femme fatale 'Player' in order to mislead the Detective. If this all sounds eerily familiar, you would not be far wrong. The film was essentially remade by Nicolas Winding Refn as Drive (2011) and in Edgar Wright's 2017 Baby Driver. Yet The Driver offers something that these neon-noir variants do not. In particular, the car chases around Los Angeles are some of the most captivating I've seen: they aren't thrilling in the sense of tyre squeals, explosions and flying boxes, but rather the vehicles come across like wild animals hunting one another. This feels especially so when the police are hunting The Driver, which feels less like a low-stakes game of cat and mouse than a pack of feral animals working together a gang who will tear apart their prey if they find him. In contrast to the undercar neon glow of the Fast & Furious franchise, the urban realism backdrop of the The Driver's LA metropolis contributes to a sincere feeling of artistic fidelity as well. To be sure, most of this is present in the truly-excellent Drive, where the chase scenes do really communicate a credible sense of stakes. But the substitution of The Driver's grit with Drive's soft neon tilts it slightly towards that common affliction of crime movies: style over substance. Nevertheless, I can highly recommend watching The Driver and Drive together, as it can tell you a lot about the disconnected socioeconomic practices of the 1980s compared to the 2010s. More than that, however, the pseudo-1980s synthwave soundtrack of Drive captures something crucial to analysing the world of today. In particular, these 'sounds from the past filtered through the present' bring to mind the increasing role of nostalgia for lost futures in the culture of today, where temporality and pop culture references are almost-exclusively citational and commemorational.

The Souvenir (2019) The ostensible outline of this quietly understated film follows a shy but ambitious film student who falls into an emotionally fraught relationship with a charismatic but untrustworthy older man. But that doesn't quite cover the plot at all, for not only is The Souvenir a film about a young artist who is inspired, derailed and ultimately strengthened by a toxic relationship, it is also partly a coming-of-age drama, a subtle portrait of class and, finally, a film about the making of a film. Still, one of the geniuses of this truly heartbreaking movie is that none of these many elements crowds out the other. It never, ever feels rushed. Indeed, there are many scenes where the camera simply 'sits there' and quietly observes what is going on. Other films might smother themselves through references to 18th-century oil paintings, but The Souvenir somehow evades this too. And there's a certain ring of credibility to the story as well, no doubt in part due to the fact it is based on director Joanna Hogg's own experiences at film school. A beautifully observed and multi-layered film; I'll be happy if the sequel is one-half as good.

The Wrestler (2008) Randy 'The Ram' Robinson is long past his prime, but he is still rarin' to go in the local pro-wrestling circuit. Yet after a brutal beating that seriously threatens his health, Randy hangs up his tights and pursues a serious relationship... and even tries to reconnect with his estranged daughter. But Randy can't resist the lure of the ring, and readies himself for a comeback. The stage is thus set for Darren Aronofsky's The Wrestler, which is essentially about what drives Randy back to the ring. To be sure, Randy derives much of his money from wrestling as well as his 'fitness', self-image, self-esteem and self-worth. Oh, it's no use insisting that wrestling is fake, for the sport is, needless to say, Randy's identity; it's not for nothing that this film is called The Wrestler. In a number of ways, The Sound of Metal (2019) is both a reaction to (and a quiet remake of) The Wrestler, if only because both movies utilise 'cool' professions to explore such questions of identity. But perhaps simply when The Wrestler was produced makes it the superior film. Indeed, the role of time feels very important for the Wrestler. In the first instance, time is clearly taking its toll on Randy's body, but I felt it more strongly in the sense this was very much a pre-2008 film, released on the cliff-edge of the global financial crisis, and the concomitant precarity of the 2010s. Indeed, it is curious to consider that you couldn't make The Wrestler today, although not because the relationship to work has changed in any fundamentalway. (Indeed, isn't it somewhat depressing the realise that, since the start of the pandemic and the 'work from home' trend to one side, we now require even more people to wreck their bodies and mental health to cover their bills?) No, what I mean to say here is that, post-2016, you cannot portray wrestling on-screen without, how can I put it, unwelcome connotations. All of which then reminds me of Minari's notorious red hat... But I digress. The Wrestler is a grittily stark darkly humorous look into the life of a desperate man and a sorrowful world, all through one tragic profession.

Thief (1981) Frank is an expert professional safecracker and specialises in high-profile diamond heists. He plans to use his ill-gotten gains to retire from crime and build a life for himself with a wife and kids, so he signs on with a top gangster for one last big score. This, of course, could be the plot to any number of heist movies, but Thief does something different. Similar to The Wrestler and The Driver (see above) and a number of other films that I watched this year, Thief seems to be saying about our relationship to work and family in modernity and postmodernity. Indeed, the 'heist film', we are told, is an understudied genre, but part of the pleasure of watching these films is said to arise from how they portray our desired relationship to work. In particular, Frank's desire to pull off that last big job feels less about the money it would bring him, but a displacement from (or proxy for) fulfilling some deep-down desire to have a family or indeed any relationship at all. Because in theory, of course, Frank could enter into a fulfilling long-term relationship right away, without stealing millions of dollars in diamonds... but that's kinda the entire point: Frank needing just one more theft is an excuse to not pursue a relationship and put it off indefinitely in favour of 'work'. (And being Federal crimes, it also means Frank cannot put down meaningful roots in a community.) All this is communicated extremely subtly in the justly-lauded lowkey diner scene, by far the best scene in the movie. The visual aesthetic of Thief is as if you set The Warriors (1979) in a similarly-filthy Chicago, with the Xenophon-inspired plot of The Warriors replaced with an almost deliberate lack of plot development... and the allure of The Warriors' fantastical criminal gangs (with their alluringly well-defined social identities) substituted by a bunch of amoral individuals with no solidarity beyond the immediate moment. A tale of our time, perhaps. I should warn you that the ending of Thief is famously weak, but this is a gritty, intelligent and strangely credible heist movie before you get there.

Uncut Gems (2019) The most exhausting film I've seen in years; the cinematic equivalent of four cups of double espresso, I didn't even bother even trying to sleep after downing Uncut Gems late one night. Directed by the two Safdie Brothers, it often felt like I was watching two films that had been made at the same time. (Or do I mean two films at 2X speed?) No, whatever clumsy metaphor you choose to adopt, the unavoidable effect of this film's finely-tuned chaos is an uncompromising and anxiety-inducing piece of cinema. The plot follows Howard as a man lost to his countless vices mostly gambling with a significant side hustle in adultery, but you get the distinct impression he would be happy with anything that will give him another high. A true junkie's junkie, you might say. You know right from the beginning it's going to end in some kind of disaster, the only question remaining is precisely how and what. Portrayed by an (almost unrecognisable) Adam Sandler, there's an uncanny sense of distance in the emotional chasm between 'Sandler-as-junkie' and 'Sandler-as-regular-star-of-goofy-comedies'. Yet instead of being distracting and reducing the film's affect, this possibly-deliberate intertextuality somehow adds to the masterfully-controlled mayhem. My heart races just at the memory. Oof.

Woman in the Dunes (1964) I ended up watching three films that feature sand this year: Denis Villeneuve's Dune (2021), Lawrence of Arabia (1962) and Woman in the Dunes. But it is this last 1964 film by Hiroshi Teshigahara that will stick in my mind in the years to come. Sure, there is none of the Medician intrigue of Dune or the Super Panavision-70 of Lawrence of Arabia (or its quasi-orientalist score, itself likely stolen from Anton Bruckner's 6th Symphony), but Woman in the Dunes doesn't have to assert its confidence so boldly, and it reveals the enormity of its plot slowly and deliberately instead. Woman in the Dunes never rushes to get to the film's central dilemma, and it uncovers its terror in little hints and insights, all whilst establishing the daily rhythm of life. Woman in the Dunes has something of the uncanny horror as Dogtooth (see above), as well as its broad range of potential interpretations. Both films permit a wide array of readings, without resorting to being deliberately obscurantist or being just plain random it is perhaps this reason why I enjoyed them so much. It is true that asking 'So what does the sand mean?' sounds tediously sophomoric shorn of any context, but it somehow applies to this thoughtfully self-contained piece of cinema.

A Quiet Place (2018) Although A Quiet Place was not actually one of the best films I saw this year, I'm including it here as it is certainly one of the better 'mainstream' Hollywood franchises I came across. Not only is the film very ably constructed and engages on a visceral level, I should point out that it is rare that I can empathise with the peril of conventional horror movies (and perhaps prefer to focus on its cultural and political aesthetics), but I did here. The conceit of this particular post-apocalyptic world is that a family is forced to live in almost complete silence while hiding from creatures that hunt by sound alone. Still, A Quiet Place engages on an intellectual level too, and this probably works in tandem with the pure 'horrorific' elements and make it stick into your mind. In particular, and to my mind at least, A Quiet Place a deeply American conservative film below the surface: it exalts the family structure and a certain kind of sacrifice for your family. (The music often had a passacaglia-like strain too, forming a tombeau for America.) Moreover, you survive in this dystopia by staying quiet that is to say, by staying stoic suggesting that in the wake of any conflict that might beset the world, the best thing to do is to keep quiet. Even communicating with your loved ones can be deadly to both of you, so not emote, acquiesce quietly to your fate, and don't, whatever you do, speak up. (Or join a union.) I could go on, but The Quiet Place is more than this. It's taut and brief, and despite cinema being an increasingly visual medium, it encourages its audience to develop a new relationship with sound.

After a hiatus of 6 years, it was nice to be back with the ThinkPad. This blog post briefly touches upon my impressions with the current generation ThinkPad T14 Gen2 AMD variant.

Lenovo It took 8 weeks to get my hands on the machine. Given the pandemic, restrictions and uncertainities, not sure if I should call it an ontime delivery. This was a CTO - Customise-to-order; so was nice to get rid of things I really didn t care/use much. On the other side, it also meant I could save on some power. It also came comparatively cheaper overall.

• No fingerprint reader
• No Touch screen

There s still parts where Lenovo could improve. Or less frustate a customer. I don t understand why a company would provide a full customization option on their portal, while at the same time, not provide an explicit option to choose the make/model of the hardware one wants. Lenovo deliberately chooses to not show/specify which WiFi adapter one could choose. So, as I suspected, I ended up with a MEDIATEK Corp. Device 7961 wifi adapter.

AMD For the first time in my computing life, I m now using AMD at the core. I was pretty frustrated with annoying Intel Graphics bugs, so decided to take the plunge and give AMD/ATI a shot, knowing that the radeon driver does have decent support. So far, on the graphics side of things, I m glad that things look bright. The stock in-kernel radeon driver has been working perfect for my needs and I haven t had to tinker even once so far, in my 30 days of use. On the overall system performance, I have not done any benchmarks nor do I want to do. But wholly, the system performance is smooth.

Power/Thermal This is where things need more improvement on the AMD side. This AMD laptop terribly draws a lot of power in suspend mode. And it isn t just this machine, but also the previous T14 Gen1 which has similar problems. I m not sure if this is a generic ThinkPad problem, or an AMD specific problem. But coming from the Dell XPS 13 9370 Intel, this does draw a lot lot more power. So much, that I chose to use hibernation instead. Similarly, on the thermal side, this machine doesn t cool down well as compared the the Dell XPS Intel one. On an idle machine, its temperature are comparatively higher. Looking at powertop reports, it does show to consume an average of 10 watts power even while idle. I m hoping these are Linux ingeration issues and that Lenovo/AMD will improve things in the coming months. But given the user feedback on the ThinkPad T14 Gen1 thread, it may just be wishful thinking.

Linux The overall hardware support has been surprisingly decent. The MediaTek WiFi driver had some glitches but with Linux 5.15+, things have considerably improved. And I hope the trend will continue with forthcoming Linux releases. My previous device driver experience with MediaTek wasn t good but I took the plunge, considering that in the worst scenario I d have the option to swap the card. There s a lot of marketing about Linux + Intel. But I took a jibe with Linux + AMD. There are glitches but nothing so far that has been a dealbreaker. If anything, I wish Lenovo/AMD would seriously work on the power/thermal issues.

Migration Other than what s mentioned above, I haven t had any serious issues. I may have had some rare occassional hangs but they ve been so infrequent that I haven t spent time to investigate those. Upon receiving the machine, my biggest requirement was how to switch my current workstation from Dell XPS to Lenovo ThinkPad. I ve been using btrfs for some time now. And over the years, built my own practise on how to structure it. Things like, provisioning [sub]volumes, based on use cases is one thing I see. Like keeping separate subvols for: cache/temporary data, copy-on-write data , swap etc. I wish these things could be simplified; either on the btrfs tooling side or some different tool on top of it. Below is filtered list of subvols created over years, that were worthy of moving to the new machine.

rrs@priyasi:~$ cat btrfs-volume-layout 
ID 550 gen 19166 top level 5 path home/foo/.cache
ID 552 gen 1522688 top level 5 path home/rrs
ID 553 gen 1522688 top level 552 path home/rrs/.cache
ID 555 gen 1426323 top level 552 path home/rrs/rrs-home/Libvirt-Images
ID 618 gen 1522672 top level 5 path var/spool/news
ID 634 gen 1522670 top level 5 path var/tmp
ID 635 gen 1522688 top level 5 path var/log
ID 639 gen 1522226 top level 5 path var/cache
ID 992 gen 1522670 top level 5 path disk-tmp
ID 1018 gen 1522688 top level 552 path home/rrs/NoBackup
ID 1196 gen 1522671 top level 5 path etc
ID 23721 gen 775692 top level 5 path swap
18:54                      

btrfs send/receive This did come in handy but I sorely missed some feature. Maybe they aren t there, or are there and I didn t look close enough. Over the years, different attributes were set to different subvols. Over time I forget what feature was added where. But from a migration point of view, it d be nice to say, Take this volume and take it with all its attributes . I didn t find that functionality in send/receive. There s get/set-property which I noticed later but by then it was late. So some sort of tooling, ideally something like btrfs migrate or somesuch would be nicer. In the file system world, we already have nice tools to take care of similar scenarios. Like with rsync, I can request it to carry all file attributes. Also, iirc, send/receive works only on ro volumes. So there s more work one needs to do in:

1. create ro vol
2. send
3. receive
4. don t forget to set rw property
5. And then somehow find out other properties set on each individual subvols and [re]apply the same on the destination

I wish this all be condensed into a sub-command. For my own sake, for this migration, the steps used were:

user@debian:~$ for volume in  sudo btrfs sub list /media/user/TOSHIBA/Migrate/   cut -d ' ' -f9   grep -v ROOTVOL   grep -v etc   grep -v btrbk ; do echo $volume; sud
o btrfs send /media/user/TOSHIBA/$volume   sudo btrfs receive /media/user/BTRFSROOT/ ; done            
Migrate/snapshot_disk-tmp
At subvol /media/user/TOSHIBA/Migrate/snapshot_disk-tmp
At subvol snapshot_disk-tmp
Migrate/snapshot-home_foo_.cache
At subvol /media/user/TOSHIBA/Migrate/snapshot-home_foo_.cache
At subvol snapshot-home_foo_.cache
Migrate/snapshot-home_rrs
At subvol /media/user/TOSHIBA/Migrate/snapshot-home_rrs
At subvol snapshot-home_rrs
Migrate/snapshot-home_rrs_.cache
At subvol /media/user/TOSHIBA/Migrate/snapshot-home_rrs_.cache
At subvol snapshot-home_rrs_.cache
ERROR: crc32 mismatch in command
Migrate/snapshot-home_rrs_rrs-home_Libvirt-Images
At subvol /media/user/TOSHIBA/Migrate/snapshot-home_rrs_rrs-home_Libvirt-Images
At subvol snapshot-home_rrs_rrs-home_Libvirt-Images
ERROR: crc32 mismatch in command
Migrate/snapshot-var_spool_news
At subvol /media/user/TOSHIBA/Migrate/snapshot-var_spool_news
At subvol snapshot-var_spool_news
Migrate/snapshot-var_lib_machines
At subvol /media/user/TOSHIBA/Migrate/snapshot-var_lib_machines
At subvol snapshot-var_lib_machines
Migrate/snapshot-var_lib_machines_DebianSidTemplate
..... snipped .....

And then, follow-up with:

user@debian:~$ for volume in  sudo btrfs sub list /media/user/BTRFSROOT/   cut -d ' ' -f9 ; do echo $volume; sudo btrfs property set -ts /media/user/BTRFSROOT/$volume ro false; done
ROOTVOL
ERROR: Could not open: No such file or directory
etc
snapshot_disk-tmp
snapshot-home_foo_.cache
snapshot-home_rrs
snapshot-var_spool_news
snapshot-var_lib_machines
snapshot-var_lib_machines_DebianSidTemplate
snapshot-var_lib_machines_DebSidArmhf
snapshot-var_lib_machines_DebianJessieTemplate
snapshot-var_tmp
snapshot-var_log
snapshot-var_cache
snapshot-disk-tmp

And then finally, renaming everything to match proper:

user@debian:/media/user/BTRFSROOT$ for x in snapshot*; do vol=$(echo $x   cut -d '-' -f2   sed -e "s _ / g"); echo $x $vol; sudo mv $x $vol; done
snapshot-var_lib_machines var/lib/machines
snapshot-var_lib_machines_Apertisv2020ospackTargetARMHF var/lib/machines/Apertisv2020ospackTargetARMHF
snapshot-var_lib_machines_Apertisv2021ospackTargetARM64 var/lib/machines/Apertisv2021ospackTargetARM64
snapshot-var_lib_machines_Apertisv2022dev3ospackTargetARMHF var/lib/machines/Apertisv2022dev3ospackTargetARMHF
snapshot-var_lib_machines_BusterArm64 var/lib/machines/BusterArm64
snapshot-var_lib_machines_DebianBusterTemplate var/lib/machines/DebianBusterTemplate
snapshot-var_lib_machines_DebianJessieTemplate var/lib/machines/DebianJessieTemplate
snapshot-var_lib_machines_DebianSidTemplate var/lib/machines/DebianSidTemplate
snapshot-var_lib_machines_DebianSidTemplate_var_lib_portables var/lib/machines/DebianSidTemplate/var/lib/portables
snapshot-var_lib_machines_DebSidArm64 var/lib/machines/DebSidArm64
snapshot-var_lib_machines_DebSidArmhf var/lib/machines/DebSidArmhf
snapshot-var_lib_machines_DebSidMips var/lib/machines/DebSidMips
snapshot-var_lib_machines_JenkinsApertis var/lib/machines/JenkinsApertis
snapshot-var_lib_machines_v2019 var/lib/machines/v2019
snapshot-var_lib_machines_v2019LinuxSupport var/lib/machines/v2019LinuxSupport
snapshot-var_lib_machines_v2020 var/lib/machines/v2020
snapshot-var_lib_machines_v2021dev3Slim var/lib/machines/v2021dev3Slim
snapshot-var_lib_machines_v2021dev3SlimTarget var/lib/machines/v2021dev3SlimTarget
snapshot-var_lib_machines_v2022dev2OspackMinimal var/lib/machines/v2022dev2OspackMinimal
snapshot-var_lib_portables var/lib/portables
snapshot-var_log var/log
snapshot-var_spool_news var/spool/news
snapshot-var_tmp var/tmp

snapper Entirely independent of this, but indirectly related. I use snapper as my snapshotting tool. It worked perfect on my previous machine. While everything got migrated, the only thing that fell apart was snapper. It just wouldn t start/run proper. Funny thing is that I just removed the snapper configs and reinitialized with the exact same config again, and voila snapper was happy.

Conclusion That was pretty much it. With the above and then also migrating /boot and then just chroot to install the boot loader. At some time, I d like to explore other boot options but given that that is such a non-essential task, it is low on the list. The good part was that I booted into my new machine with my exact workstation setup as it was. All the way to the user cache and the desktop session. So it was nice on that part. But I surely think there s room for a better migration experience here. If not directly as btrfs migrate, then maybe as an independent tool. The problem is that such a tool is going to be used once in years, so I didn t find the motivation to write one. But this surely would be a good use case for the distribution vendors.

In my two most recent posts, I listed the memoirs and biographies and followed this up with the non-fiction I enjoyed the most in 2021. I'll leave my roundup of 'classic' fiction until tomorrow, but today I'll be going over my favourite fiction. Books that just miss the cut here include Kingsley Amis' comic Lucky Jim, Cormac McCarthy's The Road (although see below for McCarthy's Blood Meridian) and the Complete Adventures of Tintin by Herg , the latter forming an inadvertently incisive portrait of the first half of the 20th century. Like ever, there were a handful of books that didn't live up to prior expectations. Despite all of the hype, Emily St. John Mandel's post-pandemic dystopia Station Eleven didn't match her superb The Glass Hotel (one of my favourite books of 2020). The same could be said of John le Carr 's The Spy Who Came in from the Cold, which felt significantly shallower compared to Tinker, Tailor, Soldier, Spy again, a favourite of last year. The strangest book (and most difficult to classify at all) was undoubtedly Patrick S skind's Perfume: The Story of a Murderer, and the non-fiction book I disliked the most was almost-certainly Beartown by Fredrik Bachman. Two other mild disappointments were actually film adaptions. Specifically, the original source for Vertigo by Pierre Boileau and Thomas Narcejac didn't match Alfred Hitchock's 1958 masterpiece, as did James Sallis' Drive which was made into a superb 2011 neon-noir directed by Nicolas Winding Refn. These two films thus defy the usual trend and are 'better than the book', but that's a post for another day.

A Wizard of Earthsea (1971) Ursula K. Le Guin How did it come to be that Harry Potter is the publishing sensation of the century, yet Ursula K. Le Guin's Earthsea is only a popular cult novel? Indeed, the comparisons and unintentional intertextuality with Harry Potter are entirely unavoidable when reading this book, and, in almost every respect, Ursula K. Le Guin's universe comes out the victor. In particular, the wizarding world that Le Guin portrays feels a lot more generous and humble than the class-ridden world of Hogwarts School of Witchcraft and Wizardry. Just to take one example from many, in Earthsea, magic turns out to be nurtured in a bottom-up manner within small village communities, in almost complete contrast to J. K. Rowling's concept of benevolent government departments and NGOs-like institutions, which now seems a far too New Labour for me. Indeed, imagine an entire world imbued with the kindly benevolence of Dumbledore, and you've got some of the moral palette of Earthsea. The gently moralising tone that runs through A Wizard of Earthsea may put some people off:

Vetch had been three years at the School and soon would be made Sorcerer; he thought no more of performing the lesser arts of magic than a bird thinks of flying. Yet a greater, unlearned skill he possessed, which was the art of kindness.

Still, these parables aimed directly at the reader are fairly rare, and, for me, remain on the right side of being mawkish or hectoring. I'm thus looking forward to reading the next two books in the series soon.

Blood Meridian (1985) Cormac McCarthy Blood Meridian follows a band of American bounty hunters who are roaming the Mexican-American borderlands in the late 1840s. Far from being remotely swashbuckling, though, the group are collecting scalps for money and killing anyone who crosses their path. It is the most unsparing treatment of American genocide and moral depravity I have ever come across, an anti-Western that flouts every convention of the genre. Blood Meridian thus has a family resemblance to that other great anti-Western, Once Upon a Time in the West: after making a number of gun-toting films that venerate the American West (ie. his Dollars Trilogy), Sergio Leone turned his cynical eye to the western. Yet my previous paragraph actually euphemises just how violent Blood Meridian is. Indeed, I would need to be a much better writer (indeed, perhaps McCarthy himself) to adequately 0utline the tone of this book. In a certain sense, it's less than you read this book in a conventional sense, but rather that you are forced to witness successive chapters of grotesque violence... all occurring for no obvious reason. It is often said that books 'subvert' a genre and, indeed, I implied as such above. But the term subvert implies a kind of Puck-like mischievousness, or brings to mind court jesters licensed to poke fun at the courtiers. By contrast, however, Blood Meridian isn't funny in the slightest. There isn't animal cruelty per se, but rather wanton negligence of another kind entirely. In fact, recalling a particular passage involving an injured horse makes me feel physically ill. McCarthy's prose is at once both baroque in its language and thrifty in its presentation. As Philip Connors wrote back in 2007, McCarthy has spent forty years writing as if he were trying to expand the Old Testament, and learning that McCarthy grew up around the Church therefore came as no real surprise. As an example of his textual frugality, I often looked for greater precision in the text, finding myself asking whether who a particular 'he' is, or to which side of a fight some two men belonged to. Yet we must always remember that there is no precision to found in a gunfight, so this infidelity is turned into a virtue. It's not that these are fair fights anyway, or even 'murder': Blood Meridian is just slaughter; pure butchery. Murder is a gross understatement for what this book is, and at many points we are grateful that McCarthy spares us precision. At others, however, we can be thankful for his exactitude. There is no ambiguity regarding the morality of the puppy-drowning Judge, for example: a Colonel Kurtz who has been given free license over the entire American south. There is, thank God, no danger of Hollywood mythologising him into a badass hero. Indeed, we must all be thankful that it is impossible to film this ultra-violent book... Indeed, the broader idea of 'adapting' anything to this world is, beyond sick. An absolutely brutal read; I cannot recommend it highly enough.

Bodies of Light (2014) Sarah Moss Bodies of Light is a 2014 book by Glasgow-born Sarah Moss on the stirrings of women's suffrage within an arty clique in nineteenth-century England. Set in the intellectually smoggy cities of Manchester and London, this poignant book follows the studiously intelligent Alethia 'Ally' Moberly who is struggling to gain the acceptance of herself, her mother and the General Medical Council. You can read my full review from July.

House of Leaves (2000) Mark Z. Danielewski House of Leaves is a remarkably difficult book to explain. Although the plot refers to a fictional documentary about a family whose house is somehow larger on the inside than the outside, this quotidian horror premise doesn't explain the complex meta-commentary that Danielewski adds on top. For instance, the book contains a large number of pseudo-academic footnotes (many of which contain footnotes themselves), with references to scholarly papers, books, films and other articles. Most of these references are obviously fictional, but it's the kind of book where the joke is that some of them are not. The format, structure and typography of the book is highly unconventional too, with extremely unusual page layouts and styles. It's the sort of book and idea that should be a tired gimmick but somehow isn't. This is particularly so when you realise it seems specifically designed to create a fandom around it and to manufacturer its own 'cult' status, something that should be extremely tedious. But not only does this not happen, House of Leaves seems to have survived through two exhausting decades of found footage: The Blair Witch Project and Paranormal Activity are, to an admittedly lesser degree, doing much of the same thing as House of Leaves. House of Leaves might have its origins in Nabokov's Pale Fire or even Derrida's Glas, but it seems to have more in common with the claustrophobic horror of Cube (1997). And like all of these works, House of Leaves book has an extremely strange effect on the reader or viewer, something quite unlike reading a conventional book. It wasn't so much what I got out of the book itself, but how it added a glow to everything else I read, watched or saw at the time. An experience.

Milkman (2018) Anna Burns This quietly dazzling novel from Irish author Anna Burns is full of intellectual whimsy and oddball incident. Incongruously set in 1970s Belfast during The Irish Troubles, Milkman's 18-year-old narrator (known only as middle sister ), is the kind of dreamer who walks down the street with a Victorian-era novel in her hand. It's usually an error for a book that specifically mention other books, if only because inviting comparisons to great novels is grossly ill-advised. But it is a credit to Burns' writing that the references here actually add to the text and don't feel like they are a kind of literary paint by numbers. Our humble narrator has a boyfriend of sorts, but the figure who looms the largest in her life is a creepy milkman an older, married man who's deeply integrated in the paramilitary tribalism. And when gossip about the narrator and the milkman surfaces, the milkman beings to invade her life to a suffocating degree. Yet this milkman is not even a milkman at all. Indeed, it's precisely this kind of oblique irony that runs through this daring but darkly compelling book.

The First Fifteen Lives of Harry August (2014) Claire North Harry August is born, lives a relatively unremarkable life and finally dies a relatively unremarkable death. Not worth writing a novel about, I suppose. But then Harry finds himself born again in the very same circumstances, and as he grows from infancy into childhood again, he starts to remember his previous lives. This loop naturally drives Harry insane at first, but after finding that suicide doesn't stop the quasi-reincarnation, he becomes somewhat acclimatised to his fate. He prospers much better at school the next time around and is ultimately able to make better decisions about his life, especially when he just happens to know how to stay out of trouble during the Second World War. Yet what caught my attention in this 'soft' sci-fi book was not necessarily the book's core idea but rather the way its connotations were so intelligently thought through. Just like in a musical theme and varations, the success of any concept-driven book is far more a product of how the implications of the key idea are played out than how clever the central idea was to begin with. Otherwise, you just have another neat Borges short story: satisfying, to be sure, but in a narrower way. From her relatively simple premise, for example, North has divined that if there was a community of people who could remember their past lives, this would actually allow messages and knowledge to be passed backwards and forwards in time. Ah, of course! Indeed, this very mechanism drives the plot: news comes back from the future that the progress of history is being interfered with, and, because of this, the end of the world is slowly coming. Through the lives that follow, Harry sets out to find out who is passing on technology before its time, and work out how to stop them. With its gently-moralising romp through the salient historical touchpoints of the twentieth century, I sometimes got a whiff of Forrest Gump. But it must be stressed that this book is far less certain of its 'right-on' liberal credentials than Robert Zemeckis' badly-aged film. And whilst we're on the topic of other media, if you liked the underlying conceit behind Stuart Turton's The Seven Deaths of Evelyn Hardcastle yet didn't enjoy the 'variations' of that particular tale, then I'd definitely give The First Fifteen Lives a try. At the very least, 15 is bigger than 7. More seriously, though, The First Fifteen Lives appears to reflect anxieties about technology, particularly around modern technological accelerationism. At no point does it seriously suggest that if we could somehow possess the technology from a decade in the future then our lives would be improved in any meaningful way. Indeed, precisely the opposite is invariably implied. To me, at least, homo sapiens often seems to be merely marking time until we can blow each other up and destroying the climate whilst sleepwalking into some crisis that might precipitate a thermonuclear genocide sometimes seems to be built into our DNA. In an era of cli-fi fiction and our non-fiction newspaper headlines, to label North's insight as 'prescience' might perhaps be overstating it, but perhaps that is the point: this destructive and negative streak is universal to all periods of our violent, insecure species.

The Goldfinch (2013) Donna Tartt After Breaking Bad, the second biggest runaway success of 2014 was probably Donna Tartt's doorstop of a novel, The Goldfinch. Yet upon its release and popular reception, it got a significant number of bad reviews in the literary press with, of course, an equal number of predictable think pieces claiming this was sour grapes on the part of the cognoscenti. Ah, to be in 2014 again, when our arguments were so much more trivial. For the uninitiated, The Goldfinch is a sprawling bildungsroman that centres on Theo Decker, a 13-year-old whose world is turned upside down when a terrorist bomb goes off whilst visiting the Metropolitan Museum of Art, killing his mother among other bystanders. Perhaps more importantly, he makes off with a painting in order to fulfil a promise to a dying old man: Carel Fabritius' 1654 masterpiece The Goldfinch. For the next 14 years (and almost 800 pages), the painting becomes the only connection to his lost mother as he's flung, almost entirely rudderless, around the Western world, encountering an array of eccentric characters. Whatever the critics claimed, Tartt's near-perfect evocation of scenes, from the everyday to the unimaginable, is difficult to summarise. I wouldn't label it 'cinematic' due to her evocation of the interiority of the characters. Take, for example: Even the suggestion that my father had close friends conveyed a misunderstanding of his personality that I didn't know how to respond it's precisely this kind of relatable inner subjectivity that cannot be easily conveyed by film, likely is one of the main reasons why the 2019 film adaptation was such a damp squib. Tartt's writing is definitely not 'impressionistic' either: there are many near-perfect evocations of scenes, even ones we hope we cannot recognise from real life. In particular, some of the drug-taking scenes feel so credibly authentic that I sometimes worried about the author herself. Almost eight months on from first reading this novel, what I remember most was what a joy this was to read. I do worry that it won't stand up to a more critical re-reading (the character named Xandra even sounds like the pharmaceuticals she is taking), but I think I'll always treasure the first days I spent with this often-beautiful novel.

Beyond Black (2005) Hilary Mantel Published about five years before the hyperfamous Wolf Hall (2004), Hilary Mantel's Beyond Black is a deeply disturbing book about spiritualism and the nature of Hell, somewhat incongruously set in modern-day England. Alison Harte is a middle-aged physic medium who works in the various towns of the London orbital motorway. She is accompanied by her stuffy assistant, Colette, and her spirit guide, Morris, who is invisible to everyone but Alison. However, this is no gentle and musk-smelling world of the clairvoyant and mystic, for Alison is plagued by spirits from her past who infiltrate her physical world, becoming stronger and nastier every day. Alison's smiling and rotund persona thus conceals a truly desperate woman: she knows beyond doubt the terrors of the next life, yet must studiously conceal them from her credulous clients. Beyond Black would be worth reading for its dark atmosphere alone, but it offers much more than a chilling and creepy tale. Indeed, it is extraordinarily observant as well as unsettlingly funny about a particular tranche of British middle-class life. Still, the book's unnerving nature that sticks in the mind, and reading it noticeably changed my mood for days afterwards, and not necessarily for the best.

The Wall (2019) John Lanchester The Wall tells the story of a young man called Kavanagh, one of the thousands of Defenders standing guard around a solid fortress that envelopes the British Isles. A national service of sorts, it is Kavanagh's job to stop the so-called Others getting in. Lanchester is frank about what his wall provides to those who stand guard: the Defenders of the Wall are conscripted for two years on the Wall, with no exceptions, giving everyone in society a life plan and a story. But whilst The Wall is ostensibly about a physical wall, it works even better as a story about the walls in our mind. In fact, the book blends together of some of the most important issues of our time: climate change, increasing isolation, Brexit and other widening societal divisions. If you liked P. D. James' The Children of Men you'll undoubtedly recognise much of the same intellectual atmosphere, although the sterility of John Lanchester's dystopia is definitely figurative and textual rather than literal. Despite the final chapters perhaps not living up to the world-building of the opening, The Wall features a taut and engrossing narrative, and it undoubtedly warrants even the most cursory glance at its symbolism. I've yet to read something by Lanchester I haven't enjoyed (even his short essay on cheating in sports, for example) and will be definitely reading more from him in 2022.

The Only Story (2018) Julian Barnes The Only Story is the story of Paul, a 19-year-old boy who falls in love with 42-year-old Susan, a married woman with two daughters who are about Paul's age. The book begins with how Paul meets Susan in happy (albeit complicated) circumstances, but as the story unfolds, the novel becomes significantly more tragic and moving. Whilst the story begins from the first-person perspective, midway through the book it shifts into the second person, and, later, into the third as well. Both of these narrative changes suggested to me an attempt on the part of Paul the narrator (if not Barnes himself), to distance himself emotionally from the events taking place. This effect is a lot more subtle than it sounds, however: far more prominent and devastating is the underlying and deeply moving story about the relationship ends up. Throughout this touching book, Barnes uses his mastery of language and observation to avoid the saccharine and the maudlin, and ends up with a heart-wrenching and emotive narrative. Without a doubt, this is the saddest book I read this year.

I have a Kindle. I ve spent a lot of time saying this sheepishly it s Amazon, it s proprietary, DRM is bad, etc, etc. It was a very thoughtful gift from my parents, taking into account things like my travel schedule, preference for traveling lighter, love of reading, and small apartment. I wanted to share some observations from my experience owning a Kindle. I don t like to read for school on it. I really markup the papers I read for school, underlining things, notes in the margins, flipping back and forth between pages, cross-referencing things. (Note: My greatest grad school investment has probably been getting a solid printer.) The Kindle doesn t work well for this. I don t like buying ebooks. I don t inherently mind buying ebooks in general. I own some. I don t want to pay $15 for a DRMed ebook though. It feels too much like renting a book. I find organizing ebooks tedious, while organizing my physical books joyful. I ve bought ebooks from non-Amazon sites, taken advantage of Tor.com s Book of the Month Club, and some other things. I love borrowing ebooks. Borrowing ebooks from the library is the absolute best. I love it. It s convenient, I have a huge range of books I can read, and between my phone and the Kindle, I can get one or add it to a To Read queue the moment I think about it, rather than forgetting on-and-off for months. It connects me to my parents. Because the Kindle is connected to my parents Amazon account, I get to see what they read. It s like a little social network with just my family. We have similar tastes in books (for some part anyway), and it s cool to also get some recommendations when I m in a rush or on the train and don t have time to actually ask for them. In a lot of ways my Kindle is an extension of the public library system. It allows me to connect with it (and the books I want to read). It feels very scifi to me having a personal device that connects to this seemingly endless public store of cool stuff.

The first time I applied for grad school it was a bit of a lark. I was serious about it, I wanted to go, I had goals, and I am happy to be here now. However, it was a little fun. I took a white paper and crisped it up with the help of some friends who read it and provided comments. I wrote a personal statement, got some letters of recommendation, and generally felt pretty good about the process. It wasn t stressful. The second time I applied to grad school it was a slog. For several weeks I gave up most of my free time to application writing and when I wasn t working on applications I thought about how I ought to be doing something about it. Applications are due while you re coming up on the end of your semester or end of the year push at work or both! There just isn t enough time for everything. I think even applying for grad school qualifies you to attend. Here are some things I learned in the application process. Note, I haven t gotten in anywhere (yet), so we ll see how it pans out. You have to do a lot of research. This changes by field, school, and even individual faculty preference. Some possible mentors / advisors like to talk with prospective students ahead of time. On two of my applications I was explicitly asked who I spoke with in the department. On others I was asked to list faculty (in order of preference even!) that I would be interested in working with. Some schools requested in essays to list faculty. In general, it s considered important to explain why a particular school: what about that school attracts you? What resources do they have that you want to take advantage of? What research that they are doing interests you? Faculty profiles and department websites are useful for this, but far from complete. A co-worker suggested I contact someone who, based on their profile, I shared no research interests with. However, we talked and it turns out we had things in common! In general, colleagues, peers, other academics, and friends were the best resource I had for investigating schools and potential faculty. I also went to some Q&A sessions / office hours run by schools / departments / labs. Some really cool people wrote blog posts and / or Tweets soliciting grad students. These are great. Sometimes the people you want to work with aren t taking grad students. Most schools I looked at did not maintain lists of who is taking on grad students starting in the fall, but I think two did. Sometimes I contacted people and got back Sorry, not taking on anyone this year. Try $OtherProfessor. This was actually really helpful! But, it s a downer to learn you re not going to get to work with one of your academic heroes because the timing is wrong. It s expensive and waivers might not help. Most applications in the US cost about $100 (USD). In some fields it s recommended you apply to 8-10 schools. That s a lot of money. I think everywhere I applied had a waiver you could apply for, but I generally didn t qualify. Some waivers require you to submit days to weeks ahead of the deadline. Others require that you participate in certain professional organizations, student organizations, or live locally to the school. These might be less useful than you were hoping. Everyone says your writing sample matters, but only five people will read it. This is what I was told anyway. I was told that my writing sample (which was 20 pages!) will probably only be read by faculty who are thinking of taking me on as an advisee. Someone else might pick it up and read it out of curiosity. I was told stories about how the right writing sample turned eh, maybe candidates into enthusiastic yeses. Everyone says letters of recommendation matter and it s extremely frustrating. My recommenders are all amazing people I have so much respect and admiration for it s wild. They re people I want to be like in my academic career. They also all got their letters in the day they were due. I had a moment where I genuinely thought I was just not going to go to grad school because of how close the deadline was. I ve been told that a great letter matters a lot, but meh letters don t hold you back as much as it sounds like they will. I ve been told that where a recommender is affiliated matters a lot. My personal statement radically changed based on school / program. Two of the schools I applied to had very specific requirements for their personal statements. Other schools wanted me to mostly talk about my research interests. One school had a 350 word personal statement, but a 1,000 word research statement. I wrote a research statement and a personal statement and then used them as the basis for what I submitted to different schools. Each application ended up with something pretty different, and not just because I talked about why each program was exciting to me in different ways. I also applied to different kinds of programs, and presented myself a differently depending on the program s focus and the faculty. For the more social science heavy programs I emphasized the empirical research I did, while for others I leaned more heavily on my philosophical background and theoretical interests. Oh, also, I was told to not use contractions. Getting rid of them in all my materials was super tedious. Diversity Statements are becoming more common. A few of my schools had diversity statements either required or optional. The purpose of these, I was told, is not to play some sort of marginalization Olympics, but to show that you can talk about diversity (and equity and inclusion, etc) without being offensive. It s just as valid to write about your own disability as the disability of a parent (though, ask their permission first). Triple check what s required. I made spreadsheets about what each school required. For example, some people wanted official transcripts, some unofficial. Some places required essays rather than generic personal statements, and I needed to build in enough time to manage that. Ask your friends to help. I hate asking for help, but applying for grad school made me shameless. I asked anyone I could to read over materials, proofread, or just talk with me about what I was writing. People picked up on things like you used the word technology five times in this one sentence and it looks real weird. Some schools have projects where current grad students will even look over materials!

As a follow on to a previous blog entry of mine, Free and Open, I feel it worthwhile to do my bit to dismantle the pseudo-science and over simplification in the idea that gender is binary at a biological level.

TL;DR: Science simply does not support binary sexes or binary genders. Truth is a bit more complicated.

There is certainty and there are binary answers in mathematics. Things get less definitive in physics, certainly as soon as quantum is broached. Processes become more of an equilibrium between states in chemistry, never wholly one or the other. Yes, there is the oddity of absolute zero but no experiment has yet achieved that fully. It is accurate to describe physics as a development of applied mathematics and to view chemistry as applied physics. Biology, at the biochemical level, is applied chemistry. The sciences build on each other, "on the shoulders of giants", but at each level, some certainty is lost, some amount of uncertainty is expanded and measurements become probabilities, proportions and percentages. Biology is dependent on biochemistry - chemistry is how a biological change results in a different organism. Physics is how that chemical change occurs - temperature, pressure and physical states are inherent to all chemical changes. Outside laboratory constraints, few chemical reactions, especially in organic chemistry, produce one and only one result from two or more known reagents. In biology, everyone is familiar with genetic mutations but a genetic mutation only happens because a biochemical reaction (hydrogen bonding of nucleobases) does not always produce the expected result. Every cell division, every viral infection, there is a finite probability that a change will occur. It might be a small number but it is never zero and can never be dismissed. This is obvious in the current Covid pandemic - genetic mutations result in new variants. Some variants are inviable, some variants produce no net change in the way that the viral particles infect adjacent cells. Sometimes, a mutation happens that changes everything. These mutations are not mistakes - these are simply changes with undetermined outcomes. Genetic changes are the foundation of biodiversity and variety is what allows lifeforms of all kinds to survive changes in environmental factors and/or changes in prevalent diseases. It is precisely the same in humans, particularly in one of the principle spheres of human life that involves replicating genetic material - the creation of gametes for sexual reproduction. Every single time any DNA is copied, there is a finite chance that a different base will be put in place compared to the original. Copying genetic material is therefore non-binary. Given precisely the same initial conditions, the result is not always predictable and the range of how the results vary from one to another increases with every iteration. Let me stress that - at the molecular level, no genetic operation in any biological lifeform has a truly binary result. Repeat that operation sufficiently often and an unexpected result WILL inevitably occur. It is a mathematical certainty that genetic changes will arise by attempting precisely the same genetic operation enough times. Genetic changes are fundamental to how lifeforms survive changing conditions. Life would likely have died out a long time ago on this planet if every genetic operation was perfect. Diversity is life. Similarity leads to extinction. Viral load is interesting at this point. Someone can be infected with a virus, including coronavirus, by encountering a small number of viral particles. Some viruses, it may be a few hundred, some viruses may need a few thousand particles to infect a vulnerable host. But here's the thing, for that host to be at risk of infecting another host, the virus needs the host to produce billions upon billions of copies of the virus by taking over the genetic machinery within a huge number of cells in the host. This, as is accepted with Covid, is before the virus has been copied enough times to produce symptoms in the host. Before those symptoms become serious, billions more copies will be made. The numbers become unimaginable - and that is within a single host, let alone the 265 million (and counting) hosts in the current Covid19 pandemic. It's also no wonder that viral infections cause tiredness, the infection is diverting huge resources to propagating itself - before even considering the activity of the immune system. It is idiocy of the highest order to expect all those copies to be identical. The rise of variants is inevitable - indeed essential - in all spheres of biology. A single viral particle is absolutely no threat of any kind - it must first get inside and then copy the genetic information in a host cell. This is where the complexity lies in the definition of life itself. A virus can be considered a lifeform but it is only able to reproduce using another, more complex, lifeform. In truth, a viral particle does not and cannot mutate. The infected host mutates the virus. The longer it takes that host to clear the infection, the more mutations that host will create and then potentially spread to others. Now apply this to the creation of gametes in humans. With seven billion humans, the amount of copying of genetic material is not as large as the pandemic but it is still easy for everyone to understand that children do not merely combine the DNA of both parents. Changes happen. Human sexual reproduction is not as simple as 1 + 1 = 2. Sometimes, the copying of the genetic material produces an unexpected result. Sexual reproduction itself is non-binary. Sexual reproduction is not easy or simple for lifeforms to adopt - the diversity which results from the non-binary operations are exactly why so many lifeforms invest so much energy in reproducing in this way. Whilst many genetic changes in humans will be benign or beneficial, I d like to take an example of a genetic disorder that results from the non-binary nature of sex. Humans can be born with the XY phenotype - i.e. at a genetic level, the individual has the same combination of chromosomes as another XY individual but there are changes within the genes in those chromosomes. We accept this, some children of blonde parents do not have blonde hair, etc. There are also genetic changes where an XY phenotype is not binary. Some people, who at a genetic level would be almost identical to another person who is genetically male, have a genetic mutation which makes it impossible for the cells of that individual to respond to androgens (testosterone). (See Androgen insensitivity syndrome). Genetically, that individual has an X and a Y chromosome, just like many other individuals. However, due to a change in how the genes on those chromosomes were copied, that individual is biologically incapable of constructing the secondary sexual characteristics of a male. At a genetic level, the individual has the XY phenotype of a male. At the physical level, the individual has all the sexual characteristics of a female and none of the sexual characteristics of a male. The gender of that individual is not binary. Treatment is centred on supporting the individual and minimising some risks from the inactive genes on the Y chromosome. Human sexual reproduction is non-binary. The results of any sexual reproduction in humans will not always produce the binary option of male or female. It is a lie to claim that human gender is binary. The science is in plain view and cannot be ignored. Identifying as non-binary is not a "cop out" - it can be a biological, genetic, scientific fact. Human sexuality and gender are malleable. Where genetic changes result in symptoms, these can be ameliorated by treatment with human sex hormones, like oestrogen and testosterone. There are valid medical uses for anabolic steroids and hormone replacement therapies to help individuals who, at a genetic level, have non-binary gender. These treatments can help align the physical outer signs with the personality and identity of the individual, whether with or without surgery. It is unacceptable to abandon such people to suffer life long discrimination and harassment by imposing a binary definition that has no basis in science. When a human being has an XY phenotype, that human being is not necessarily male. That individual will be on a spectrum from female (left unaffected by sex hormones in the womb, the foetus will be female, even with an X and a Y chromosome), to various degrees of male. So, at a genetic, biological level, it is a scientific fact that human beings do not have binary gender. There is no evidence that this is new to the modern era, there is no scientific basis for thinking that copying of genetic material was somehow perfectly reliable in earlier history, or that such mutations are specific to homo sapiens. Changes in genetic material provide the diversity to fight infections and adapt to changing environmental factors. Species have and will continue to go extinct if this diversity is absent. With that out of the way, it is no longer a stretch to encompass other aspects of human non-binary genders beyond the known genetic syndromes based on changes in the XY phenotype. Science has not uncovered all of the ways that genes affect personality, behaviour, or identity. How other, less studied, genetic changes affect the much more subtle human facets, especially anything to do with consciousness, identity, personality, sexuality and behaviour, is guesswork. All of these facets can and likely are being affected by genetic factors as well as environmental factors in an endless range of permutations. Personality traits are a beautiful and largely unknowable blend of genes and environment. Genetic information has a finite probability of changes at each and every iteration. Environmental factors are more akin to chaos theory. The idea that the results will fit into binary constructs is laughable. Human society puts huge emphasis on societal norms. Individuals who do not fit into those norms suffer discrimination. The norms themselves have evolved over time as a response to various influences on human civilisation but most are not based on science. It is up to all humans in that society to call out discrimination, to call for changes in the accepted norms and support those who are marginalised. It is a precarious balance, one that humans rarely get right, but it must be based on an acceptance that variation is the natural state. Artificial constraints, like binary genders, must be dismantled because human beings and human sexual reproduction are not binary. To those who think, "well it is for 99%", think again about Covid. 99% (or closer to 98%) of infected humans recover without notable after effects. That has still crippled the nations of the globe and humbled all those who tried to deny it. Five million human beings are dead because "most infected people recover". Just because something only affects a proportion of human beings does not invalidate the suffering of those humans and the discrimination that those humans will face. Societal norms are not necessarily correct. Religious and other influences typically obscure and ignore scientific fact and undermine human kindness. The scientific truth of life on this planet is that gender is not binary. The more complex the lifeform, the more factors will affect where on the spectrum any one individual will appear. Just because we do not yet fully understand how genes affect human personality and sexuality, does not invalidate the science that variation is the natural order. My previous blog about diversity is not just about male vs female, one nationality vs another, one ethnicity compared to another. Diversity is diverse. Diversity requires accepting that every facet of humanity is subject to variation. That leads to tension at times, it is inevitable. Tension against societal norms, tension against discrimination, tension around those individuals who would abuse the tolerance of others for their own gratification or from their own ignorance. None of us are perfect, none of us have any of this fully sorted and all of us will make mistakes. Personally, I try to respect those around me. I will use whatever pronouns and other conventions that the person requests, from their perspective and not mine. To do otherwise is to deny the natural order and to deny the science. Celebrate all diversity, it is the very stuff of life.

• Final comments:

The discussions around (typically female) bathroom facilities often miss the point. The concern is not about individuals who describe themselves as non-binary. The concern is about individuals who are fully certain of their own sexuality and who act as sexual predators for their own gratification. These people are acting out a lie for their own ends. The problem people are the predators, so stop blaming the victims who are just as at risk as anyone else who identifies as female. Maybe the best people to spot such predators are those who are non-binary, who have had to pretend to fit into societal norms. Just as travel can be a good antidote to racism, openness and discussion can be a tool to undermine the lies of sexual predators and reassure those who are justifiably fearful. There can never be a biological binary test of gender, there can never be any scientific justification for binary division of facilities. Humanity itself is not binary, even life itself has blurry borders around comas, suspended animation and locked-in syndrome. Legal definitions of human death vary around the world. The only common thread I have ever found is: Be kind to each other. If you find anything above objectionable, then I can only suggest that you reconsider the science and learn to be kind to your fellow humans. None of us are getting out of this alive.

• Useful sources and further reading:

I Think You ll Find It s a Bit More Complicated Than That - Ben Goldacre ISBN 978-0-00-750514-2 https://www.amazon.co.uk/dp/B00HATQA8K/ https://en.wikipedia.org/wiki/Androgen_insensitivity_syndrome https://www.bbc.co.uk/news/world-51235105 https://en.wikipedia.org/wiki/Nucleobase

• About me:

My degree is in pharmaceutical sciences and I practised community and hospital pharmacy for 20 years before moving into programming. I have direct experience of supporting people who were prescribed hormones to transition their physical characteristics to match their personal identity. I had a Christian upbringing but my work showed me that those religious norms were incompatible with being kind to others, so I rejected religion and I now consider myself a secular humanist.

Review: Soul Music, by Terry Pratchett

Series:	Discworld #16
Publisher:	Harper
Copyright:	January 1995
Printing:	November 2013
ISBN:	0-06-223741-1
Format:	Mass market
Pages:	420

Soul Music is the sixteenth Discworld novel and something of a plot sequel to Reaper Man (although more of a sequel to the earlier Mort). I would not start reading the Discworld books here. Susan is a student in the Quirm College for Young Ladies with an uncanny habit of turning invisible. Well, not invisible exactly; rather, people tend to forget that she's there, even when they're in the middle of talking to her. It's disconcerting for the teachers, but convenient when one is uninterested in Literature and would rather read a book.

She listened with half an ear to what the rest of the class was doing. It was a poem about daffodils. Apparently the poet had liked them very much. Susan was quite stoic about this. It was a free country. People could like daffodils if they wanted to. They just should not, in Susan's very definite opinion, be allowed to take up more than a page to say so. She got on with her education. In her opinion, school kept on trying to interfere with it. Around her, the poet's vision was being taken apart with inexpert tools.

Susan's determinedly practical education is interrupted by the Death of Rats, with the help of a talking raven and Binky the horse, and without a lot of help from Susan, who is decidedly uninterested in being the sort of girl who goes on adventures. Adventures have a different opinion, since Susan's grandfather is Death. And Death has wandered off again. Meanwhile, the bard Imp y Celyn, after an enormous row with his father, has gone to Ankh-Morpork. This is not going well; among other things, the Guild of Musicians and their monopoly and membership dues came as a surprise. But he does meet a dwarf and a troll in the waiting room of the Guild, and then buys an unusual music instrument in the sort of mysterious shop that everyone knows has been in that location forever, but which no one has seen before. I'm not sure there is such a thing as a bad Discworld novel, but there is such a thing as an average Discworld novel. At least for me, Soul Music is one of those. There are some humorous bits, a few good jokes, one great character, and some nice bits of philosophy, but I found the plot forgettable and occasionally annoying. Susan is great. Imp is... not, which is made worse by the fact the reader is eventually expected to believe Susan cares enough about Imp to drive the plot. Discworld has always been a mix of parody and Pratchett's own original creation, and I have always liked the original creation substantially more than the parody. Soul Music is a parody of rock music, complete with Cut-Me-Own-Throat Dibbler as an unethical music promoter. The troll Imp meets makes music by beating rocks together, so they decide to call their genre "music with rocks in it." The magical instrument Imp buys has twelve strings and a solid body. Imp y Celyn means "bud of the holly." You know, like Buddy Holly. Get it? Pratchett's reference density is often on the edge of overwhelming the book, but for some reason the parody references in this one felt unusually forced and obvious to me. I did laugh occasionally, but by the end of the story the rock music plot had worn out its welcome. This is not helped by the ending being a mostly incoherent muddle of another parody (admittedly featuring an excellent motorcycle scene). Unlike Moving Pictures, which is a similar parody of Hollywood, Pratchett didn't seem to have much insightful to say about music. Maybe this will be more your thing if you like constant Blues Brothers references. Susan, on the other hand, is wonderful, and for me is the reason to read this book. She is a delightfully atypical protagonist, and her interactions with the teachers and other students at the girl's school are thoroughly enjoyable. I would have happily read a whole book about her, and more broadly about Death and his family and new-found curiosity about the world. The Death of Rats was also fun, although more so in combination with the raven to translate. I wish this part of her story had a more coherent ending, but I'm looking forward to seeing her in future books. Despite my complaints, the parody part of this book wasn't bad. It just wasn't as good as the rest of the book. I wanted a better platform for Susan's introduction than a lot of music and band references. If you really like Pratchett's parodies, your mileage may vary. For me, this book was fun but forgettable. Followed, in publication order, by Interesting Times. The next Death book is Hogfather. Rating: 7 out of 10

My eldest daughter and I visited a LEGO shop recently and I wanted to buy her a gift. The catch was that we were going to be flying on an airplane the next day, so I wanted to find something with the lowest risk of losing parts on the plane. We settled on Ariel, Belle, Cinderella and Tiana's Storybook Adventures which had a number of things going for it: It was reasonably priced at under 20, for the size of the set; it included four human minifigs (albeit in a sub-minifig size, some kind of munchkin size, but that did not seem to matter) and an assortment of animal accompaniments; but mostly, it folded up into a self-contained mock fairytail "book", and opened up into an enclosed "tray" play area, minimising the risk of losses on the flight. Lego have done a few of these styles of sets, all Disney princess themed, and it looks like they have a few more on their product roadmap. The newer ones incorporate a locking mechanism with a cute Lego key. I love the concept and think it should be extended to other themes/properties. I can imagine a Lego Star Wars-themed version with a little Death Star trench in the middle, or even an original IP like Classic Space, or Medieval. I really liked the Book device which reminded me of hollow books as a child. The cover and spine pieces are bespoke Lego bricks made for purpose, but I thought you could create something similar with generic parts. Holly and I had a go at the concept with what bricks we had to hand. It's definitely viable (and you could do a lot better with a wider selection of bricks / more skilled builders) and it will be fun to pick something to try and build on the spine.

For SeaGL 2021 I m making some tea sandwiches. I know nothing about tea sandwiches, but read a Wikipedia article. If you want to make them along with me, I recommend getting the ingredients ahead of time. Smoked Not-salmon Sandwiches I guess you could make these with smoked salmon, though I think it s cleverer this way. Ingredients

• carrots
• marinade (I used soy sauce, sesame oil, and a sheet of nori. If you don t have a smoke infuser, I recommend also adding liquid smoke, but I like that flavor. I also think it d be good with horseradish, but that s a different conversation.)
• Cream cheese (vegan or otherwise) room temperature
• Dill + other herbs
• Bread

Procedure

• THE DAY BEFORE: Boil the carrot(s) for a few minutes, until just barely soft. Pour out the hot water and in some cold water. This will help it to cool down quickly. Also, when something boils (or cooks in general) it continues to cook for a bit after you take it off the heat. This will stop that.
• Slice the carrots thinly
• Put the carrots into a jar with the marinade ingredients. Seal and stick in the fridge.
• THE DAY OF: Take the cream cheese out before hand so it gets soft.
• Take out some carrots and pat dry.
• If you re using a smoke infuser, smoke infuse the carrots. We ll see how this goes. I am very skeptical it will work.
• Finely chop herbs and add to the soft cream cheese. Mix it up. Yum.
• Take two slices of bread. Spread a thin layer of cream cheese on either side. This will help everything stay together.
• Put a layer of carrots on a piece of bread. Put the other piece on top. Viola!

Apple and Brie Sandwiches This sounded good to me. Let s see how it goes. Ingredients

• Bread
• Apple
• Brief
• Butter (soft, optional)

Procedure

• Slice the apple thinly
• Slice the brie thinly
• Take a piece of bread and stack on it: brie, apple, brie.
• Top with another slice of bread.
• Optional: Butter the OUTSIDE of the sandwich. Put it in a pan, griddle, or panini press. Grill it a bit. I think the cheese should soften, but the apple will stay pretty crunchy.
• Slice elegantly.

Colson Whitehead's latest novel, Harlem Shuffle, was always going to be widely reviewed, if only because his last two books won Pulitzer prizes. Still, after enjoying both The Underground Railroad and The Nickel Boys, I was certainly going to read his next book, regardless of what the critics were saying indeed, it was actually quite agreeable to float above the manufactured energy of the book's launch. Saying that, I was encouraged to listen to an interview with the author by Ezra Klein. Now I had heard Whitehead speak once before when he accepted the Orwell Prize in 2020, and once again he came across as a pretty down-to-earth guy. Or if I were to emulate the detached and cynical tone Whitehead embodied in The Nickel Boys, after winning so many literary prizes in the past few years, he has clearly rehearsed how to respond to the cliched questions authors must be asked in every interview. With the obligatory throat-clearing of 'so, how did you get into writing?', for instance, Whitehead replies with his part of the catechism that 'It seemed like being a writer could be a cool job. You could work from home and not talk to people.' The response is the right combination of cute and self-effacing... and with its slight tone-deafness towards enforced isolation, it was no doubt honed before Covid-19. Harlem Shuffle tells three separate stories about Ray Carney, a furniture salesman and 'fence' for stolen goods in New York in the 1960s. Carney doesn't consider himself a genuine criminal though, and there's a certain logic to his relativistic morality. After all, everyone in New York City is on the take in some way, and if some 'lightly used items' in Carney's shop happened to have had 'previous owners', well, that's not quite his problem. 'Nothing solid in the city but the bedrock,' as one character dryly observes. Yet as Ezra pounces on in his NYT interview mentioned abov, the focus on the Harlem underworld means there are very few women in the book, and Whitehead's circular response ah well, it's a book about the criminals at that time! was a little unsatisfying. Not only did it feel uncharacteristically slippery of someone justly lauded for his unflinching power of observation (after all, it was the author who decided what to write about in the first place), it foreclosed on the opportunity to delve into why the heist and caper genres (from The Killing, The Feather Thief, Ocean's 11, etc.) have historically been a 'male' mode of storytelling. Perhaps knowing this to be the case, the conversation quickly steered towards Ray Carney's wife, Elizabeth, the only woman in the book who could be said possesses some plausible interiority. The following off-hand remark from Whitehead caught my attention:

My wife is convinced that [Elizabeth] knows everything about Carney's criminal life, and is sort of giving him a pass. And I'm not sure if that's true. I have to have to figure out exactly what she knows and when she knows it and how she feels about it.

I was quite taken by this, although not simply due to its effect on the story it self. As in, it immediately conjured up a charming picture of Whitehead's domestic arrangements: not only does Whitehead's wife feel free to disagree with what one of Whitehead's 'own' characters knows or believes, but that Colson has no problem whatsoever sharing that disagreement with the public at large. (It feels somehow natural that Whitehead's wife believes her counterpart knows more than she lets on, whilst Whitehead himself imbues the protagonist's wife with a kind of neo-Victorian innocence.) I'm minded to agree with Whitehead's partner myself, if only due to the passages where Elizabeth is studiously ignoring Carney's otherwise unexplained freak-outs. But all of these meta-thoughts simply underline just how emancipatory the Death of the Author can be. This product of academic literary criticism (the term was coined by Roland Barthes' 1967 essay of the same name) holds that the original author's intentions, ideas or biographical background carry no especial weight in determining how others should interpret their work. It is usually understood as meaning that a writer's own views are no more valid or 'correct' than the views held by someone else. (As an aside, I've found that most readers who encounter this concept for the first time have been reading books in this way since they were young. But the opposite is invariably true with cinephiles, who often have a bizarre obsession with researching or deciphering the 'true' interpretation of a film.) And with all that in mind, can you think of a more wry example of how freeing (and fun) nature of the Death of the Author than an author's own partner dissenting with their (Pulitzer Prize-winning) husband on the position of a lynchpin character?

The 1964 Harlem riot began after James Powell, a 15-year-old African American, was shot and killed by Thomas Gilligan, an NYPD police officer in front of 10s of witnesses. Gilligan was subsequently cleared by a grand jury.

As it turns out, the reviews for Harlem Shuffle have been almost universally positive, and after reading it in the two days after its release, I would certainly agree it is an above-average book. But it didn't quite take hold of me in the way that The Underground Railroad or The Nickel Boys did, especially the later chapters of The Nickel Boys that were set in contemporary New York and could thus make some (admittedly fairly explicit) connections from the 1960s to the present day that kind of connection is not there in Harlem Shuffle, or at least I did not pick up on it during my reading. I can see why one might take exception to that, though. For instance, it is certainly true that the week-long Harlem Riot forms a significant part of the plot, and some events in particular are entirely contingent on the ramifications of this momentous event. But it's difficult to argue the riot's impact are truly integral to the story, so not only is this uprising against police brutality almost regarded as a background event, any contemporary allusion to the murder of George Floyd is subsequently watered down. It's nowhere near the historical rubbernecking of Forrest Gump (1994), of course, but that's not a battle you should ever be fighting. Indeed, whilst a certain smoothness of affect is to be priced into the Whitehead reading experience, my initial overall reaction to Harlem Shuffle was fairly flat, despite all the action and intrigue on the page. The book perhaps belies its origins as a work conceived during quarantine after all, the book is essentially comprised of three loosely connected novellas, almost as if the unreality and mental turbulence of lockdown prevented the author from performing the psychological 'deep work' of producing a novel-length text with his usual depth of craft. A few other elements chimed with this being a 'lockdown novel' as well, particularly the book's preoccupation with the sheer physicality of the city compared to the usual complex interplay between its architecture and its inhabitants. This felt like it had been directly absorbed into the book from the author walking around his deserted city, and thus being able to take in details for the first time:

The doorways were entrances into different cities no, different entrances into one vast, secret city. Ever close, adjacent to all you know, just underneath. If you know where to look.

And I can't fail to mention that you can almost touch Whitehead's sublimated hunger to eat out again as well:

Stickups were chops they cook fast and hot, you re in and out. A stakeout was ribs fire down low, slow, taking your time. [ ] Sometimes when Carney jumped into the Hudson when he was a kid, some of that stuff got into his mouth. The Big Apple Diner served it up and called it coffee.

More seriously, however, the relatively thin personalities of minor characters then reminded me of the simulacrum of Zoom-based relationships, and the essentially unsatisfactory endings to the novellas felt reminiscent of lockdown pseudo-events that simply fizzle out without a bang. One of the stories ties up loose ends with: 'These things were usually enough to terminate a mob war, and they appeared to end the hostilities in this case as well.' They did? Well, okay, I guess.

The corner of 125th Street and Morningside Avenue in 2019, the purported location of Carney's fictional furniture store. Signage plays a prominent role in Harlem Shuffle, possibly due to the author's quarantine walks.

Still, it would be unfair to characterise myself as 'disappointed' with the novel, and none of this piece should be taken as really deep criticism. The book certainly was entertaining enough, and pretty funny in places as well:

Carney didn t have an etiquette book in front of him, but he was sure it was bad manners to sit on a man s safe. [ ] The manager of the laundromat was a scrawny man in a saggy undershirt painted with sweat stains. Launderer, heal thyself.

Yet I can't shake the feeling that every book you write is a book that you don't, and so we might need to hold out a little longer for Whitehead's 'George Floyd novel'. (Although it is for others to say how much of this sentiment is the expectations of a White Reader for The Black Author to ventriloquise the pain of 'their' community.) Some room for personal critique is surely permitted. I dearly missed the junk food energy of the dry and acerbic observations that run through Whitehead's previous work. At one point he had a good line on the model tokenisation that lurks behind 'The First Negro to...' labels, but the callbacks to this idea ceased without any payoff. Similar things happened with the not-so-subtle critiques of the American Dream:

Entrepreneur? Pepper said the last part like manure. That s just a hustler who pays taxes. [ ] One thing I ve learned in my job is that life is cheap, and when things start getting expensive, it gets cheaper still.

Ultimately, though, I think I just wanted more. I wanted a deeper exploration of how the real power in New York is not wielded by individual street hoodlums or even the cops but in the form of real estate, essentially serving as a synecdoche for Capital as a whole. (A recent take of this can be felt in Jed Rothstein's 2021 documentary, WeWork: Or the Making and Breaking of a $47 Billion Unicorn and it is perhaps pertinent to remember that the US President at the time this novel was written was affecting to be a real estate tycoon.). Indeed, just like the concluding scenes of J. J. Connolly's Layer Cake, although you can certainly pull off a cool heist against the Man, power ultimately resides in those who control the means of production... and a homespun furniture salesman on the corner of 125 & Morningside just ain't that. There are some nods to kind of analysis in the conclusion of the final story ('Their heist unwound as if it had never happened, and Van Wyck kept throwing up buildings.'), but, again, I would have simply liked more. And when I attempted then file this book away into the broader media landscape, given the current cultural visibility of 1960s pop culture (e.g. One Night in Miami (2020), Judas and the Black Messiah (2021), Summer of Soul (2021), etc.), Harlem Shuffle also seemed like a missed opportunity to critically analyse our (highly-qualified) longing for the civil rights era. I can certainly understand why we might look fondly on the cultural products from a period when politics was less alienated, when society was less atomised, and when it was still possible to imagine meaningful change, but in this dimension at least, Harlem Shuffle seems to merely contribute to this nostalgic escapism.

On Saturday 28 August 2021, the annual Debian Developers and Contributors Conference came to a close. DebConf21 has been held online for the second time, due to the coronavirus (COVID-19) disease pandemic. All of the sessions have been streamed, with a variety of ways of participating: via IRC messaging, online collaborative text documents, and video conferencing meeting rooms. With 740 registered attendees from more than 15 different countries and a total of over 70 event talks, discussion sessions, Birds of a Feather (BoF) gatherings and other activities, DebConf21 was a large success. The setup made for former online events involving Jitsi, OBS, Voctomix, SReview, nginx, Etherpad, a web-based frontend for voctomix has been improved and used for DebConf21 successfully. All components of the video infrastructure are free software, and configured through the Video Team's public ansible repository. The DebConf21 schedule included a wide variety of events, grouped in several tracks:

• Introduction to Free Software and Debian,
• Packaging, policy, and Debian infrastructure,
• Systems administration, automation and orchestration,
• Cloud and containers,
• Security,
• Community, diversity, local outreach and social context,
• Internationalization, Localization and Accessibility,
• Embedded and Kernel,
• Debian Blends and Debian derived distributions,
• Debian in Arts and Science
• and other.

The talks have been streamed using two rooms, and several of these activities have been held in different languages: Telugu, Portuguese, Malayalam, Kannada, Hindi, Marathi and English, allowing a more diverse audience to enjoy and participate. Between talks, the video stream has been showing the usual sponsors on the loop, but also some additional clips including photos from previous DebConfs, fun facts about Debian and short shout-out videos sent by attendees to communicate with their Debian friends. The Debian publicity team did the usual live coverage to encourage participation with micronews announcing the different events. The DebConf team also provided several mobile options to follow the schedule. For those who were not able to participate, most of the talks and sessions are already available through the Debian meetings archive website, and the remaining ones will appear in the following days. The DebConf21 website will remain active for archival purposes and will continue to offer links to the presentations and videos of talks and events. Next year, DebConf22 is planned to be held in Prizren, Kosovo, in July 2022. DebConf is committed to a safe and welcome environment for all participants. During the conference, several teams (Front Desk, Welcome team and Community team) have been available to help so participants get their best experience in the conference, and find solutions to any issue that may arise. See the web page about the Code of Conduct in DebConf21 website for more details on this. Debian thanks the commitment of numerous sponsors to support DebConf21, particularly our Platinum Sponsors: Lenovo, Infomaniak, Roche, Amazon Web Services (AWS) and Google. About Debian The Debian Project was founded in 1993 by Ian Murdock to be a truly free community project. Since then the project has grown to be one of the largest and most influential open source projects. Thousands of volunteers from all over the world work together to create and maintain Debian software. Available in 70 languages, and supporting a huge range of computer types, Debian calls itself the universal operating system. About DebConf DebConf is the Debian Project's developer conference. In addition to a full schedule of technical, social and policy talks, DebConf provides an opportunity for developers, contributors and other interested people to meet in person and work together more closely. It has taken place annually since 2000 in locations as varied as Scotland, Argentina, and Bosnia and Herzegovina. More information about DebConf is available from https://debconf.org/. About Lenovo As a global technology leader manufacturing a wide portfolio of connected products, including smartphones, tablets, PCs and workstations as well as AR/VR devices, smart home/office and data center solutions, Lenovo understands how critical open systems and platforms are to a connected world. About Infomaniak Infomaniak is Switzerland's largest web-hosting company, also offering backup and storage services, solutions for event organizers, live-streaming and video on demand services. It wholly owns its datacenters and all elements critical to the functioning of the services and products provided by the company (both software and hardware). About Roche Roche is a major international pharmaceutical provider and research company dedicated to personalized healthcare. More than 100.000 employees worldwide work towards solving some of the greatest challenges for humanity using science and technology. Roche is strongly involved in publicly funded collaborative research projects with other industrial and academic partners and have supported DebConf since 2017. About Amazon Web Services (AWS) Amazon Web Services (AWS) is one of the world's most comprehensive and broadly adopted cloud platform, offering over 175 fully featured services from data centers globally (in 77 Availability Zones within 24 geographic regions). AWS customers include the fastest-growing startups, largest enterprises and leading government agencies. About Google Google is one of the largest technology companies in the world, providing a wide range of Internet-related services and products such as online advertising technologies, search, cloud computing, software, and hardware. Google has been supporting Debian by sponsoring DebConf for more than ten years, and is also a Debian partner sponsoring parts of Salsa's continuous integration infrastructure within Google Cloud Platform. Contact Information For further information, please visit the DebConf21 web page at https://debconf21.debconf.org/ or send mail to press@debian.org.

DebConf21 is taking place online, from 24 August to 28 August 2021. It is the 22nd Debian conference, and organizers and participants are working hard together at creating interesting and fruitful events. We would like to warmly welcome the 19 sponsors of DebConf21, and introduce them to you. We have five Platinum sponsors. Our first Platinum sponsor is Lenovo. As a global technology leader manufacturing a wide portfolio of connected products, including smartphones, tablets, PCs and workstations as well as AR/VR devices, smart home/office and data center solutions, Lenovo understands how critical open systems and platforms are to a connected world. Our next Platinum sponsor is Infomaniak. Infomaniak is Switzerland's largest web-hosting company, also offering backup and storage services, solutions for event organizers, live-streaming and video on demand services. It wholly owns its datacenters and all elements critical to the functioning of the services and products provided by the company (both software and hardware). Roche is our third Platinum sponsor. Roche is a major international pharmaceutical provider and research company dedicated to personalized healthcare. More than 100,000 employees worldwide work towards solving some of the greatest challenges for humanity using science and technology. Roche is strongly involved in publicly funded collaborative research projects with other industrial and academic partners and has supported DebConf since 2017. Amazon Web Services (AWS) is our fourth Platinum sponsor. Amazon Web Services is one of the world's most comprehensive and broadly adopted cloud platform, offering over 175 fully featured services from data centers globally (in 77 Availability Zones within 24 geographic regions). AWS customers include the fastest-growing startups, largest enterprises and leading government agencies. Google is our fifth Platinum sponsor. Google is one of the largest technology companies in the world, providing a wide range of Internet-related services and products such as online advertising technologies, search, cloud computing, software, and hardware. Google has been supporting Debian by sponsoring DebConf for more than ten years, and is also a Debian partner sponsoring parts of Salsa's continuous integration infrastructure within Google Cloud Platform. Our Gold sponsor is the Matanel Foundation. The Matanel Foundation operates in Israel, as its first concern is to preserve the cohesion of a society and a nation plagued by divisions. The Matanel Foundation also works in Europe, in Africa and in South America. Our Silver sponsors are: arm: the World s Best SoC Design Portfolio, Arm powered solutions have been supporting innovation for more than 30 years and are deployed in over 160 billion chips to date, Hudson-Trading, a company researching and developing automated trading algorithms using advanced mathematical techniques, Ubuntu the Operating System delivered by Canonical, Globo, the largest media conglomerate in Brazil, founded in Rio de Janeiro in 1925 and distributing high-quality content across multiple platforms, Two Sigma, rigorous inquiry, data analysis, and invention to help solve the toughest challenges across financial services and GitLab, an open source end-to-end software development platform with built-in version control, issue tracking, code review, CI/CD, and more. Bronze sponsors: Univention, Gandi.net, daskeyboard, InterFace AG and credativ. And finally, our Supporter level sponsor, ISG.EE. Thanks to all our sponsors for their support! Their contributions make it possible for a large number of Debian contributors from all over the globe to work together, help and learn from each other in DebConf21. Participating in DebConf21 online The 22nd Debian Conference is being held online, due to COVID-19, from August 24 to 28, 2021. Talks, discussions, panels and other activities run from 12:00 to 02:00 UTC. Visit the DebConf21 website at https://debconf21.debconf.org to learn about the complete schedule, watch the live streaming and join the different communication channels for participating in the conference.

We are very pleased to announce that Lenovo, Infomaniak, Roche, Amazon Web Services (AWS) and Google, have committed to supporting DebConf21 as Platinum sponsors. As a global technology leader manufacturing a wide portfolio of connected products, including smartphones, tablets, PCs and workstations as well as AR/VR devices, smart home/office and data center solutions, Lenovo understands how critical open systems and platforms are to a connected world. Infomaniak is Switzerland's largest web-hosting company, also offering backup and storage services, solutions for event organizers, live-streaming and video on demand services. It wholly owns its datacenters and all elements critical to the functioning of the services and products provided by the company (both software and hardware). Roche Roche is a major international pharmaceutical provider and research company dedicated to personalized healthcare. More than 100.000 employees worldwide work towards solving some of the greatest challenges for humanity using science and technology. Roche is strongly involved in publicly funded collaborative research projects with other industrial and academic partners and have supported DebConf since 2017. Amazon Web Services (AWS) is one of the world's most comprehensive and broadly adopted cloud platform, offering over 175 fully featured services from data centers globally (in 77 Availability Zones within 24 geographic regions). AWS customers include the fastest-growing startups, largest enterprises and leading government agencies. Google is one of the largest technology companies in the world, providing a wide range of Internet-related services and products such as online advertising technologies, search, cloud computing, software, and hardware. Google has been supporting Debian by sponsoring DebConf for more than ten years, and is also a Debian partner sponsoring parts of Salsa's continuous integration infrastructure within Google Cloud Platform. With these commitments as Platinum Sponsors, Lenovo, Infomaniak, Roche, Amazon Web Services and Google are contributing to make possible our annual conference, and directly supporting the progress of Debian and Free Software, helping to strengthen the community that continues to collaborate on Debian projects throughout the rest of the year. Thank you very much for your support of DebConf21! Participating in DebConf21 online The 22nd Debian Conference is being held Online, due to COVID-19, from August 22nd to 28th, 2021. There are 8 days of activities, running from 10:00 to 01:00 UTC. Visit the DebConf21 website at https://debconf21.debconf.org to learn about the complete schedule, watch the live streaming and join the different communication channels for participating in the conference.

Review: Black Sun, by Rebecca Roanhorse

Series:	Between Earth and Sky #1
Publisher:	Saga Press
Copyright:	October 2020
ISBN:	1-5344-3769-X
Format:	Kindle
Pages:	454

Serapio has been crafted and trained to be the vessel for a god. He grew up in Obregi land, far from his ancestral home, but he will return to Tova at the appropriate time and carry the hopes of the Carrion Crow clan with him. Xiala is a ship captain, a woman, and a Teek. That means she's a target. Teek have magic, which makes them uncanny and dangerous. They're also said to carry that magic in their bones, which makes them valuable in ways that are not pleasant for the Teek. Running afoul of the moral codes of Cuecola is therefore even more dangerous to her than it would be to others, which is why she accepts a bargain to run errands for a local lord for twelve years, paid at the end of that time with ownership of a ship and crew. The first task: ferry a strange man to the city of Tova. Meanwhile, in Tova, the priestess Naranpa has clawed her way to the top of the Sky Made hierarchy from an inauspicious beginning in the poor district of Coyote's Maw. She's ruthlessly separated herself from her despised beginnings and focused her attention on calming Tova in advance of the convergence, a rare astronomical alignment at the same time as the winter solstice. But Carrion Crow holds a deep-seated grudge at their slaughter by the priesthood during the Night of Knives, and Naranpa's position atop the religious order that partly rules Tova's fractious politics is more precarious than she thinks. I am delighted that more fantasy is drawing on mythologies and histories other than the genre default of western European. It's long overdue for numerous reasons and a trend to be rewarded. But do authors writing fantasy in English who reach for Mesoamerican cultures have to gleefully embrace the excuse to add more torture? I'm developing an aversion to this setting (which I do not want to do!) because every book seems to feature human sacrifice, dismemberment, or some other horror show. Roanhorse at least does not fill the book with that (there's lingering child abuse but nothing as sickening as the first chapter), but that makes the authorial choice to make the torture one's first impression of this book even odder. Our introduction to Serapio is a scene that I would have preferred to have never read, and I don't think it even adds much to the plot. Huge warnings for people who don't want to read about a mother torturing her son, or about eyes in that context. Once past that introduction, Black Sun settles into a two-thread fantasy, one following Xiala and Serapio's sea voyage and the other following Naranpa and the political machinations in Tova. Both the magic systems and the political systems are different enough to be refreshing, and there are a few bits of world-building I enjoyed (a city built on top of rocks separated by deep canyons and connected with bridges, giant intelligent riding crows, everything about the Teek). My problem was that I didn't care what happened to any of the characters. Naranpa spends most of the book dithering and whining despite a backstory that should have promised more dynamic and decisive responses. The other character from Tova introduced somewhat later in the book is clearly "character whose story will appear in the next volume"; here, he's just station-keeping and representing the status quo. And while it's realistic given the plot that Serapio is an abused sociopath, that didn't mean I enjoyed reading his viewpoint or his childhood abuse. Xiala is the best character in the book by far and I was warming to the careful work she has to do to win over an unknown crew, but apparently Roanhorse was not interested in that. Instead, the focus of Xiala's characterization turns to a bad-boy romance that did absolutely nothing for me. This will be a matter of personal taste; I know this is a plot feature for many readers. But it had me rolling my eyes and turning the pages to get to something more interesting (which, sadly, was not forthcoming). It also plays heavily on magical disabled person cliches, like the blind man being the best fighter anyone has met. I did not enjoy this book very much, but there were some neat bits of world-building and I could see why other people might disagree. What pushed me into actively recommending against it (at least for now) is the publishing structure. This is the first book of a trilogy, so one can expect the major plot to not be resolved by the end of the book. But part of the contract with the reader when publishing a book series is that each volume should reach some sense of closure and catharsis. There will be cliffhangers and unanswered questions, but there should also be enough plot lines that are satisfactorily resolved to warrant publishing a book as a separate novel. There is none of that here. This is the first half (or third) of a novel. It introduces a bunch of plot lines, pulls them together, describes an intermediate crisis, and then simply stops. Not a single plot line is resolved. This is made worse by the fact this series (presumably, as I have only seen the first book) has a U-shaped plot: everything gets worse and worse until some point of crisis, and then presumably the protagonists will get their shit together and things will start to improve. I have soured on U-shaped plots since the first half of the story often feels like a tedious grind (eat your vegetables and then you can have dessert), but it's made much worse by cutting the book off at the bottom of the U. You get a volume, like Black Sun, that's all setup and horror and collapse, with no payoff or optimism. After two tries, I have concluded that Roanhorse is not for me. This is clearly a me problem rather than a Roanhorse problem, given how many other people love both Black Sun and her Sixth World series, but this is the second book of hers where I mildly enjoyed the world building but didn't care about any of the characters. Ah well, tastes will differ. Even if you get along with Roanhorse, though, I recommend against starting this book until the second half of it is published (currently scheduled for 2022). As it stands, it's a wholly unsatisfying reading experience. Followed by the not-yet-published Fevered Star. Rating: 4 out of 10

Review: The Last Battle, by C.S. Lewis

Illustrator:	Pauline Baynes
Series:	Chronicles of Narnia #7
Publisher:	Collier Books
Copyright:	1956
Printing:	1978
ISBN:	0-02-044210-6
Format:	Mass market
Pages:	184

The Last Battle is the seventh and final book of the Chronicles of Narnia in every reading order. It ties together (and spoils) every previous Narnia book, so you do indeed want to read it last (or skip it entirely, but I'll get into that). In the far west of Narnia, beyond the Lantern Waste and near the great waterfall that marks Narnia's western boundary, live a talking ape named Shift and a talking donkey named Puzzle. Shift is a narcissistic asshole who has been gaslighting and manipulating Puzzle for years, convincing the poor donkey that he's stupid and useless for anything other than being Shift's servant. At the start of the book, a lion skin washes over the waterfall and into the Cauldron Pool. Shift, seeing a great opportunity, convinces Puzzle to retrieve it. The king of Narnia at this time is Tirian. I would tell you more about Tirian except, despite being the protagonist, that's about all the characterization he gets. He's the king, he's broad-shouldered and strong, he behaves in a correct kingly fashion by preferring hunting lodges and simple camps to the capital at Cair Paravel, and his close companion is a unicorn named Jewel. Other than that, he's another character like Rilian from The Silver Chair who feels like he was taken from a medieval Arthurian story. (Thankfully, unlike Rilian, he doesn't talk like he's in a medieval Arthurian story.) Tirian finds out about Shift's scheme when a dryad appears at Tirian's camp, calling for justice for the trees of Lantern Waste who are being felled. Tirian rushes to investigate and stop this monstrous act, only to find the beasts of Narnia cutting down trees and hauling them away for Calormene overseers. When challenged on why they would do such a thing, they reply that it's at Aslan's orders. The Last Battle is largely the reason why I decided to do this re-read and review series. It is, let me be clear, a bad book. The plot is absurd, insulting to the characters, and in places actively offensive. It is also, unlike the rest of the Narnia series, dark and depressing for nearly all of the book. The theology suffers from problems faced by modern literature that tries to use the Book of Revelation and related Christian mythology as a basis. And it is, most famously, the site of one of the most notorious authorial betrayals of a character in fiction. And yet, The Last Battle, probably more than any other single book, taught me to be a better human being. It contains two very specific pieces of theology that I would now critique in multiple ways but which were exactly the pieces of theology that I needed to hear when I first understood them. This book steered me away from a closed, judgmental, and condemnatory mindset at exactly the age when I needed something to do that. For that, I will always have a warm spot in my heart for it. I'm going to start with the bad parts, though, because that's how the book starts. MAJOR SPOILERS BELOW. First, and most seriously, this is a second-order idiot plot. Shift shows up with a donkey wearing a lion skin (badly), only lets anyone see him via firelight, claims he's Aslan, and starts ordering the talking animals of Narnia to completely betray their laws and moral principles and reverse every long-standing political position of the country... and everyone just nods and goes along with this. This is the most blatant example of a long-standing problem in this series: Lewis does not respect his animal characters. They are the best feature of his world, and he treats them as barely more intelligent than their non-speaking equivalents and in need of humans to tell them what to do. Furthermore, despite the assertion of the narrator, Shift is not even close to clever. His deception has all the subtlety of a five-year-old who doesn't want to go to bed, and he offers the Narnians absolutely nothing in exchange for betraying their principles. I can forgive Puzzle for going along with the scheme since Puzzle has been so emotionally abused that he doesn't know what else to do, but no one else has any excuse, especially Shift's neighbors. Given his behavior in the book, everyone within a ten mile radius would be so sick of his whining, bullying, and lying within a month that they'd never believe anything he said again. Rishda and Ginger, a Calormene captain and a sociopathic cat who later take over Shift's scheme, do qualify as clever, but there's no realistic way Shift's plot would have gotten far enough for them to get involved. The things that Shift gets the Narnians to do are awful. This is by far the most depressing book in the series, even more than the worst parts of The Silver Chair. I'm sure I'm not the only one who struggled to read through the first part of this book, and raced through it on re-reads because everything is so hard to watch. The destruction is wanton and purposeless, and the frequent warnings from both characters and narration that these are the last days of Narnia add to the despair. Lewis takes all the beautiful things that he built over six books and smashes them before your eyes. It's a lot to take, given that previous books would have treated the felling of a single tree as an unspeakable catastrophe. I think some of these problems are due to the difficulty of using Christian eschatology in a modern novel. An antichrist is obligatory, but the animals of Narnia have no reason to follow an antichrist given their direct experience with Aslan, particularly not the aloof one that Shift tries to give them. Lewis forces the plot by making everyone act stupidly and out of character. Similarly, Christian eschatology says everything must become as awful as possible right before the return of Christ, hence the difficult-to-read sections of Narnia's destruction, but there's no in-book reason for the Narnians' complicity in that destruction. One can argue about whether this is good theology, but it's certainly bad storytelling. I can see the outlines of the moral points Lewis is trying to make about greed and rapacity, abuse of the natural world, dubious alliances, cynicism, and ill-chosen prophets, but because there is no explicable reason for Tirian's quiet kingdom to suddenly turn to murderous resource exploitation, none of those moral points land with any force. The best moral apocalypse shows the reader how, were they living through it, they would be complicit in the devastation as well. Lewis does none of that work, so the reader is just left angry and confused. The book also has several smaller poor authorial choices, such as the blackface incident. Tirian, Jill, and Eustace need to infiltrate Shift's camp, and use blackface to disguise themselves as Calormenes. That alone uncomfortably reveals how much skin tone determines nationality in this world, but Lewis makes it far worse by having Tirian comment that he "feel[s] a true man again" after removing the blackface and switching to Narnian clothes. All of this drags on and on, unlike Lewis's normally tighter pacing, to the point that I remembered this book being twice the length of any other Narnia book. It's not; it's about the same length as the rest, but it's such a grind that it feels interminable. The sum total of the bright points of the first two-thirds of the book are the arrival of Jill and Eustace, Jill's one moment of true heroism, and the loyalty of a single Dwarf. The rest is all horror and betrayal and doomed battles and abject stupidity. I do, though, have to describe Jill's moment of glory, since I complained about her and Eustace throughout The Silver Chair. Eustace is still useless, but Jill learned forestcraft during her previous adventures (not that we saw much sign of this previously) and slips through the forest like a ghost to steal Puzzle and his lion costume out from the under the nose of the villains. Even better, she finds Puzzle and the lion costume hilarious, which is the one moment in the book where one of the characters seems to understand how absurd and ridiculous this all is. I loved Jill so much in that moment that it makes up for all of the pointless bickering of The Silver Chair. She doesn't get to do much else in this book, but I wish the Jill who shows up in The Last Battle had gotten her own book. The end of this book, and the only reason why it's worth reading, happens once the heroes are forced into the stable that Shift and his co-conspirators have been using as the stage for their fake Aslan. Its door (for no well-explained reason) has become a door to Aslan's Country and leads to a reunion with all the protagonists of the series. It also becomes the frame of Aslan's final destruction of Narnia and judging of its inhabitants, which I suspect would be confusing if you didn't already know something about Christian eschatology. But before that, this happens, which is sufficiently and deservedly notorious that I think it needs to be quoted in full.

"Sir," said Tirian, when he had greeted all these. "If I have read the chronicle aright, there should be another. Has not your Majesty two sisters? Where is Queen Susan?" "My sister Susan," answered Peter shortly and gravely, "is no longer a friend of Narnia." "Yes," said Eustace, "and whenever you've tried to get her to come and talk about Narnia or do anything about Narnia, she says 'What wonderful memories you have! Fancy your still thinking about all those funny games we used to play when we were children.'" "Oh Susan!" said Jill. "She's interested in nothing nowadays except nylons and lipstick and invitations. She always was a jolly sight too keen on being grown-up." "Grown-up indeed," said the Lady Polly. "I wish she would grow up. She wasted all her school time wanting to be the age she is now, and she'll waste all the rest of her life trying to stay that age. Her whole idea is to race on to the silliest time of one's life as quick as she can and then stop there as long as she can."

There are so many obvious and dire problems with this passage, and so many others have written about it at length, that I will only add a few points. First, I find it interesting that neither Lucy nor Edmund says a thing. (I would like to think that Edmund knows better.) The real criticism comes from three characters who never interacted with Susan in the series: the two characters introduced after she was no longer allowed to return to Narnia, and a character from the story that predated hers. (And Eustace certainly has some gall to criticize someone else for treating Narnia as a childish game.) It also doesn't say anything good about Lewis that he puts his rather sexist attack on Susan into the mouths of two other female characters. Polly's criticism is a somewhat generic attack on puberty that could arguably apply to either sex (although "silliness" is usually reserved for women), but Jill makes the attack explicitly gendered. It's the attack of a girl who wants to be one of the boys on a girl who embraces things that are coded feminine, and there's a whole lot of politics around the construction of gender happening here that Lewis is blindly reinforcing and not grappling with at all. Plus, this is only barely supported by single sentences in The Voyage of the Dawn Treader and The Horse and His Boy and directly contradicts the earlier books. We're expected to believe that Susan the archer, the best swimmer, the most sensible and thoughtful of the four kids has abruptly changed her whole personality. Lewis could have made me believe Susan had soured on Narnia after the attempted kidnapping (and, although left unstated, presumably eventual attempted rape) in The Horse and His Boy, if one ignores the fact that incident supposedly happens before Prince Caspian where there is no sign of such a reaction. But not for those reasons, and not in that way. Thankfully, after this, the book gets better, starting with the Dwarfs, which is one of the two passages that had a profound influence on me. Except for one Dwarf who allied with Tirian, the Dwarfs reacted to the exposure of Shift's lies by disbelieving both Tirian and Shift, calling a pox on both their houses, and deciding to make their own side. During the last fight in front of the stable, they started killing whichever side looked like they were winning. (Although this is horrific in the story, I think this is accurate social commentary on a certain type of cynicism, even if I suspect Lewis may have been aiming it at atheists.) Eventually, they're thrown through the stable door by the Calormenes. However, rather than seeing the land of beauty and plenty that everyone else sees, they are firmly convinced they're in a dark, musty stable surrounded by refuse and dirty straw. This is, quite explicitly, not something imposed on them. Lucy rebukes Eustace for wishing Tash had killed them, and tries to make friends with them. Aslan tries to show them how wrong their perceptions are, to no avail. Their unwillingness to admit they were wrong is so strong that they make themselves believe that everything is worse than it actually is.

"You see," said Aslan. "They will not let us help them. They have chosen cunning instead of belief. Their prison is only in their own minds, yet they are in that prison; and so afraid of being taken in that they cannot be taken out."

I grew up with the US evangelical version of Hell as a place of eternal torment, which in turn was used to justify religious atrocities in the name of saving people from Hell. But there is no Hell of that type in this book. There is a shadow into which many evil characters simply disappear, and there's this passage. Reading this was the first time I understood the alternative idea of Hell as the absence of God instead of active divine punishment. Lewis doesn't use the word "Hell," but it's obvious from context that the Dwarfs are in Hell. But it's not something Aslan does to them and no one wants them there; they could leave any time they wanted, but they're too unwilling to be wrong. You may have to be raised in conservative Christianity to understand how profoundly this rethinking of Hell (which Lewis tackles at greater length in The Great Divorce) undermines the system of guilt and fear that's used as motivation and control. It took me several re-readings and a lot of thinking about this passage, but this is where I stopped believing in a vengeful God who will eternally torture nonbelievers, and thus stopped believing in all of the other theology that goes with it. The second passage that changed me is Emeth's story. Emeth is a devout Calormene, a follower of Tash, who volunteered to enter the stable when Shift and his co-conspirators were claiming Aslan/Tash was inside. Some time after going through, he encounters Aslan, and this is part of his telling of that story (and yes, Lewis still has Calormenes telling stories as if they were British translators of the Arabian Nights):

[...] Lord, is it then true, as the Ape said, that thou and Tash are one? The Lion growled so that the earth shook (but his wrath was not against me) and said, It is false. Not because he and I are one, but because we are opposites, I take to me the services which thou hast done to him. For I and he are of such different kinds that no service which is vile can be done to me, and none which is not vile can be done to him. Therefore if any man swear by Tash and keep his oath for the oath's sake, it is by me that he has truly sworn, though he know it not, and it is I who reward him. And if any man do a cruelty in my name, then, though he says the name Aslan, it is Tash whom he serves and by Tash his deed is accepted. Dost thou understand, Child? I said, Lord, thou knowest how much I understand. But I said also (for the truth constrained me), Yet I have been seeking Tash all my days. Beloved, said the Glorious One, unless thy desire had been for me, thou wouldst not have sought so long and so truly. For all find what they truly seek.

So, first, don't ever say this to anyone. It's horribly condescending and, since it's normally said by white Christians to other people, usually explicitly colonialist. Telling someone that their god is evil but since they seem to be a good person they're truly worshiping your god is only barely better than saying yours is the only true religion. But it is better, and as someone who, at the time, was wholly steeped in the belief that only Christians were saved and every follower of another religion was following Satan and was damned to Hell, this passage blew my mind. This was the first place I encountered the idea that someone who followed a different religion could be saved, or that God could transcend religion, and it came with exactly the context and justification that I needed given how close-minded I was at the time. Today, I would say that the Christian side of this analysis needs far more humility, and fobbing off all the evil done in the name of the Christian God by saying "oh, those people were really following Satan" is a total moral copout. But, nonetheless, Lewis opened a door for me that I was able to step through and move beyond to a less judgmental, dismissive, and hostile view of others. There's not much else in the book after this. It's mostly Lewis's charmingly Platonic view of the afterlife, in which the characters go inward and upward to truer and more complete versions of both Narnia and England and are reunited (very briefly) with every character of the series. Lewis knows not to try too hard to describe the indescribable, but it remains one of my favorite visions of an afterlife because it makes so explicit that this world is neither static or the last, but only the beginning of a new adventure. This final section of The Last Battle is deeply flawed, rather arrogant, a little bizarre, and involves more lectures on theology than precise description, but I still love it. By itself, it's not a bad ending for the series, although I don't think it has half the beauty or wonder of the end of The Voyage of the Dawn Treader. It's a shame about the rest of the book, and it's a worse shame that Lewis chose to sacrifice Susan on the altar of his prejudices. Those problems made it very hard to read this book again and make it impossible to recommend. Thankfully, you can read the series without it, and perhaps most readers would be better off imagining their own ending (or lack of ending) to Narnia than the one Lewis chose to give it. But the one redeeming quality The Last Battle will always have for me is that, despite all of its flaws, it was exactly the book that I needed to read when I read it. Rating: 4 out of 10

I feel like I haven t had a lot to say about open source or, in general, tech for a while. From another perspective, I have a whole lot of heady things to say about open source and technology and writing about it seems like a questionable use of time when I have so much other writing and reading and job hunting to do. I will briefly share the two ideas I am obsessed with at the moment, and then try to write more about them later. The Defensible-Charitable-Beneficent Trichotamy I will just jokingly ha ha no but seriously maybe jk suggest calling this the de Blanc-West Theory, considering it s heavily based on ideas from Ben West. Actions fall into one of the following categories: Defensible: When an action is defensible, it is permissible, acceptable, or okay. We might not like it, but you can explain why you had to do it and we can t really object. This could also be considered the bare minimum. Charitable: A charitable action is better than a defensible action in that it produces more good, and it goes above and beyond the minimum. Beneficent: This is a genuinely good action that produces good. It is admirable. I love J.J. Thomson example of Henry Fonda for this. For a full explanation see section three at this web site. For a summary: imagine that you re sick and the only thing that can cure you is Henry Fonda s cool touch on your fevered brow. It is Defensible for Henry Fonda to do nothing he doesn t owe you anything in particular. It is Charitable for, say if Henry Fonda happened to be in the room, to walk across it and touch your forehead. It is Beneficent for Henry Fonda to re-corporealize back into this life and travel to your bedside to sooth your strange illness. P.S. Henry Fonda died in 1982. I don t think these ideas are particularly new, but it s important to think about what we re doing with technology and its design: are our decisions defensible, charitable, or beneficent? Which should they be? Why? The Offsetting Harm-Ameliorating Harm-Doing Good Trichotamy
I ve been doing some research and writing around carbon credits. I owe a lot of thanks to Philip Withnall and Adam Lerner for talking with me through these ideas. Extrapolating from action and policy recommendations, I suggest the following trichotamy: Offsetting harm is attempting to look at the damage you ve done and try to make up for it in some capacity. In the context of, e.g., air travel, this would be purchasing carbon credits. Ameliorating harm is about addressing the particular harm you ve done. Instead of carbon credits, you would be supporting carbon capture technologies or perhaps giving to or otherwise supporting groups and ecosystems that are being harmed by your air travel. Doing Good is Doing Good. This would be like not traveling by air and choosing to still help the harm being caused by carbon emissions. These ideas are also likely not particularly new, but thinking about technology in this context is also useful, especially as we consider technology in the context of climate change.

Focus This month I didn't have any particular focus. I just worked on issues in my info bubble.

Changes

• flower: fix load test
• kms-jsonrpc: version agnostic cmake dir
• kms-cmake-utils: version agnostic cmake dir
• kurento-module-creator: version agnostic cmake dir
• wayback-machine-downloader: fix crash, fix URI.open usage
• colord: drop abandoned domain
• ptp-gadget: gitignore, fix make dist, drop tar.bz2, document option
• duck: indicators phrases
• check-all-the-things: many TODO items, lists
• Debian usertags QA: refactor, automove ftcbfs, fix noise, support comments
• Debian website: drop freenode
• Debian package uploads: purple-discord experimental/backports
• Debian wiki pages: Bind9, Brave, DebConf/21/Volunteering, DebianKernel/GitBisect, DebianServiceForDD, Derivatives/Census/HandyLinux, Hardware/Wanted, InterWikiMap, MemberBenefits, NewInBullseye, Packaging/debspawn, PaulWise, PortsDocs/New (1 2), QemuUserEmulation, Scanner, Teams/Dpkg/Spec/InstallBootstrap, UnifiedCommunications/DebianDevelopers/UserGuide, Wayland, ZNC_IRC_bouncer
• Bootstrappable Builds wiki pages: Projects List
• FOSSjobs wiki pages: Resources
• Wikipedia: Message-ID

Issues

• Crashes in evolution
• Cross-build failure in ppp
• Migration needed for apparmor-profiles-extra
• Dependency changes for sane-backends, parl-desktop, education-common, hollywood
• Broken URLs in colord
• Features in ognibuild, Debian firefox-esr, diffoscope, fossjobs, evolution
• Warnings in kalgebra
• Usability in ognibuild
• Documentation needed in purple-lurch
• Outdated forks in Kurento jsoncpp
• Typos in abilint
• Security issue in a module of a programming language (sent privately)
• Unhandled message type in purple-discord

Review

• Spam: reported 3 Debian bug reports and 135 Debian mailing list posts
• Debian wiki: RecentChanges for the month
• Debian BTS usertags: changes for the month
• Debian screenshots:
  • approved php-horde endless-sky claws-mail memtester
  • rejected python-gdal/weboob-qt (unrelated software)

Administration

• Debian: restart bacula director
• Debian wiki: approve accounts

Communication

• This month I left freenode, an IRC network I had been on for at least 16 years, for reasons that you probably all read about. I think the biggest lesson I take from this situation and ones happening around the same time is that proper governance in peer production projects is absolutely critical.
• Respond to queries from Debian users and contributors on the mailing lists and IRC

Sponsors The purple-discord/flower work was sponsored by my employers. All other work was done on a volunteer basis.

I had been meaning to write on the above topic for almost a couple of months now but just kept procrastinating about it. That push came to a shove when Sucheta Dalal and Debasis Basu shared their understanding, wisdom, and all in the new book called Absolute Power Inside story of the National Stock Exchange s amazing success, leading to hubris, regulatory capture and algo scam . Now while I will go into the details of the new book as currently, I have not bought it but even if I had bought it and shared some of the revelations from it, it wouldn t have done justice to either the book or what is sharing before knowing some of the background before it.

Before I jump ahead, I would suggest people to read my sort of introductory blog post on banking history so they know where I m coming from. I m going to deviate a bit from Banking as this is about trade and capital markets, although Banking would come in later on. And I will also be sharing some cultural insights along with history so people are aware of why things happened the way they did. Calicut, Calcutta, Kolkata, one-time major depot around the world Now, one cannot start any topic about trade without talking about Kolkata. While today, it seems like a bastion of communism, at one time it was one of the major trade depots around the world. Both William Dalrymple and the Chinese have many times mentioned Kolkata as being one of the major centers of trade. This was between the 13th and the late 19th century. A cursory look throws up this article which talks about Kolkata or Calicut as it was known as a major trade depot. There are of course many, many articles and even books which do tell about how Kolkata was a major trade depot. Now between the 13th and 19th century, a lot of changes happened which made Kolkata poorer and shifted trade to Mumbai/Bombay which in those times was nothing but just a port city like many others.

The Rise of the Zamindar Around the 15th century when Babur Invaded Hindustan, he realized that Hindustan is too big a country to be governed alone. And Hindustan was much broader than independent India today. So he created the title of Zamindars. Interestingly, if you look at the Mughal period, they were much more in tune with Hindustani practices than the British who came later. They used the caste divisions and hierarchy wisely making sure that the status quo was maintained as far as castes/creed were concerned. While in-fighting with various rulers continued, it was more or less about land and power other than anything else. When the Britishers came they co-opted the same arrangement with a minor adjustment. While in the before system, the zamindars didn t have powers to be landowners. The Britishers gave them land ownerships. A huge percentage of thess zamindars especially in Bengal were from my own caste Banias or Baniyas. The problem and the solution for the Britishers had been this was a large land to control and exploit and the number of British officers and nobles were very less. So they gave virtually a lot of powers to the Banias. The only thing the British insisted on were very high rents from the newly minted Zamindars. The Zamindar in turn used the powers of personal fiefdom to give loans at very high interest rates when the poor were unable to pay the interest rate, they would take the land while at the same time slavery was forced on both men and women, many a time rapes and affairs. While there have been many records shedding light on it, don t think it could be any more powerful as enacted and shared by Shabana Azmi in Ankur:the Seedling. Another prominent grouping was formed around the same time was the Bhadralok. Now as shared Bhadralok while having all the amenities of belonging to the community, turned a blind eye to the excesses being done by the Zamindars. How much they played a hand in the decimation of Bengal has been a matter of debate, but they did have a hand, that much is not contested.

The Rise of Stock Exchanges Sadly and interestingly, many people believe and continue to believe that stock exchanges is recent phenomena. The first stock exchange though was the Calcutta Stock Exchange rather than the Bombay Stock Exchange. How valuable was Calcutta to the Britishers in its early years can be gauged from the fact that at one time it was made the capital of India in 1772 . In fact, after the Grand Trunk Road (on which there had been even Train names in both countries) x number of books have been written of the trade between Calcutta and Peshawar (Now in Pakistan). And it was not just limited to trade but also cultural give-and-take between the two centers. Even today, if you look at YT (Youtube) and look up some interviews of old people, you find many interesting anecdotes of people sharing both culture and trade.

The problem of the 60 s and rise of BSE
After India became independent and the Constitutional debates happened, the new elites understood that there cannot be two power centers that could govern India. On one hand, were the politicians who had come to power on the back of the popular vote, the other was the Zamindars, who more often than not had abused their powers which resulted in widespread poverty. The Britishers are to blame, but so do the middlemen as they became willing enablers to the same system of oppression. Hence, you had the 1951 amendment to the Constitution and the 1956 Zamindari Abolition Act. In fact, you can find much more of an in-depth article both about Zamindars and their final abolition here. Now once Zamindari was gone, there was nothing to replace it with. The Zamindars ousted of their old roles turned and tried to become Industrialists. The problem was that the poor and the downtrodden had already had experiences with the Zamindars. Also, some Industrialists from North and West also came to Bengal but they had no understanding of either the language or the cultural understanding of what had happened in Bengal. And notice that I have not talked about both the famines and the floods that wrecked Bengal since time immemorial and some of the ones which got etched on soul of Bengal and has marks even today The psyche of the Bengali and the Bhadralok has gone through enormous shifts. I have met quite a few and do see the guilt they feel. If one wonders as to how socialist parties are able to hold power in Bengal, look no further than Tarikh which tells and shares with you that even today how many Bengalis still feel somewhat lost.

The Rise of BSE Now, while Kolkata Stock Exchange had been going down, for multiple reasons other than listed above. From the 1950s onwards Jawaharlal Nehru had this idea of 5-year plans, borrowed from socialist countries such as Russia, China etc. His vision and ambition for the newly minted Indian state were huge, while at the same time he understood we were poor. The loot by East India Company and the Britishers and on top of that the division of wealth with Pakistan even though the majority of Muslims chose and remained with India. Travel on Indian Railways was a risky affair. My grandfather had shared numerous tales where he used to fill money in socks and put the socks on in boots when going between either Delhi Kolkata or Pune Kolkata. Also, as the Capital became Delhi, it unofficially was for many years, the transparency from Kolkata-based firms became less. So many Kolkata firms either mismanaged and shut down while Maharashtra, my own state, saw a huge boon in Industrialization as well as farming. From the 1960s to the 1990s there were many booms and busts in the stock exchanges but most were manageable.

While the 60s began on a good note as Goa was finally freed from the Portuguese army and influence, the 1962 war with the Chinese made many a soul question where we went wrong. Jawaharlal Nehru went all over the world to ask for help but had to return home empty-handed. Bollywood showed a world of bell-bottoms and cars and whatnot, while the majority were still trying to figure out how to put two square meals on the table. India suffered one of the worst famines in those times. People had to ration food. Families made do with either one meal or just roti (flatbread) rather than rice. In Bengal, things were much more severe. There were huge milk shortages, so Bengalis were told to cut down on sweets. This enraged the Bangalis as nothing else could. Note If one wants to read how bad Indians felt at that time, all one has to read is V.S. Naipaul s An Area of darkness . This was also the time when quite a few Indians took their first step out of India. While Air India had just started, the fares were prohibitive. Those who were not well off, either worked on ships or went via passenger or cargo ships to Dubai/Qatar middle-east. Some went to Russia and some even to States. While today s migr s want to settle in the west forever and have their children and grandchildren grow up in the West, in the 1960s and 70s the idea was far different. The main purpose for a vast majority was to get jobs and whatnot, save maximum money and send it back to India as a remittance. The idea was to make enough money in 3-5-10 years, come back to India, and then lead a comfortable life. Sadly, there has hardly been any academic work done in India, at least to my knowledge to document the sacrifices done by Indians in search of jobs, life, purpose, etc. in the 1960s and 1970s. The 1970s was also when alternative cinema started its journey with people like Smita Patil, Naseeruddin Shah who portrayed people s struggles on-screen. Most of them didn t have commercial success because the movies and the stories were bleak. While the acting was superb, most Indians loved to be captured by fights, car-chases, and whatnot rather than the deary existence which they had. And the alt cinema forced them to look into the mirror, which was frowned upon both by the masses and the classes. So cinema which could have been a wake-up call for a lot of Indians failed. One of the most notable works of that decade, at least to me, was Manthan. 1961 was also marked by the launch of Economic Times and Financial Express which tells that there was some appetite for financial news and understanding. The 1970s was also a very turbulent time in the corporate sector and stock exchanges. Again, the companies which were listed were run by the very well-off and many of them had been abroad. At the same time, you had fly-by-night operators. One of the happenings which started in this decade is you had corporate wars and hostile takeovers, quite a few of them of which could well have a Web series or two of their own. This was also a decade marked by huge labor unrest, which again changed the face of Bombay/Mumbai. From the 1950s till the 1970s, Bombay was known for its mills. So large migrant communities from all over India came to Bombay to become the next Bollywood star and if that didn t happen, they would get jobs in the mills. Bombay/Mumbai has/had this unique feature that somehow you will make money to make ends meet. Of course, with the pandemic, even that has gone for a toss. Labor unrest was a defining character of that decade. Three movies, Kaala Patthar, Kalyug, and Ankush give a broad outlook of what happened in that decade. One thing which is present and omnipresent then and now is how time and time again we lost our demographic dividend. Again there was an exodus of young people who ventured out to seek fortunes elsewhere. The 1970s and 80s were also famous for the license Raj which they bought in. Just like the Soviets, there were waiting periods for everything. A telephone line meant waiting for things anywhere from 4 to 8 years. In 1987, when we applied and got a phone within 2-3 months, most of my relatives both from my mother and father s side could not believe we paid 0 to get a telephone line. We did pay the telephone guy INR 10/- which was a somewhat princely sum when he was installing it, even then they could not believe it as in Northern India, you couldn t get a phone line even if your number had come. You had to pay anywhere from INR 500/1000 or more to get a line. This was BSNL and to reiterate there were no alternatives at that time.

The 1990s and the Harshad Mehta Scam The 90s was when I was a teenager. You do all the stupid things for love, lust, whatever. That is also the time you are introduced really to the world of money. During my time, there were only three choices, Sciences, Commerce, and Arts. If History were your favorite subject then you would take Arts and if it was not, and you were not studious, then you would up commerce. This is how careers were chosen. So I enrolled in Commerce. Due to my grandfather and family on my mother s side interested in stocks both as a saving and compounding tool, I was able to see Pune Stock Exchange in action one day. The only thing I remember that day is people shouting loudly with various chits. I had no idea that deals of maybe thousands or even lakhs. The Pune Stock Exchange had been newly minted. I also participated in a couple of mock stock exchanges and came to understand that one has to be aggressive in order to win. You had to be really loud to be heard over others, you could not afford to be shy. Also, spread your risks. Sadly, nothing about the stock markets was there in the syllabus. 1991 was also when we saw the Iraq war, the balance of payments crisis in India, and didn t know that the Harshad Mehta scam was around the corner. Most of the scams in India have been caught because the person who was doing it was flashy. And this was the reason that even he was caught as Ms. Sucheta Dalal, a young beat reporter from Indian Express who had been covering Indian stock market. Many of her articles were thought-provoking. Now, a brief understanding is required to know before we actually get to the scam. Because of the 1991 balance of payments crisis, IMF rescued India on the condition that India throws its market open. In the 1980s itself, Rajeev Gandhi had wanted to partially make India open but both politicians and Industrialists advised him not to do the same, we are/were not ready. On 21st May 1991, Rajeev Gandhi was assassinated by the LTTE. A month later, due to the sympathy vote, the Narsimha Rao Govt. took power. While for most new Governments there is usually a honeymoon period lasting 6 months or so till they get settled in their roles before people start asking tough questions. It was not to be for this Govt. Immediately, The problem had been building for a few years. Although, in many ways, our economy was better than it is today. The only thing India didn t do well at that time was managing foreign exchange. As only a few Indians had both the money and the opportunity to go abroad and need for electronics was limited. One of the biggest imports of the time then and still today is Energy, Oil. While today it is Oil/Gas and electronics, at that time it was only OIl. The Oil import bill was ballooning while exports were more or less stagnant and mostly comprised of raw materials rather than finished products. Even today, it is largely this, one of the biggest Industrialists in India Ambani exports gas/oil while Adani exports coal. Anyways, the deficit was large enough to trigger a payment crisis. And Narsimha Rao had to throw open the Indian market almost overnight. Some changes became quickly apparent, while others took a long time to come.

Satellite Television and Entry of Foreign Banks Almost overnight, from 1 channel we became multi-channel. Star TV (Rupert Murdoch) bought us Bold and Beautiful, while CNN broadcasted the Iraq War. It was unbelievable for us that we were getting reports of what had happened 24-48 hours earlier. Fortunately or unfortunately, I was still very much a teenager to understand the import of what was happening. Even in my college, except for one or two-person, it wasn t a topic for debate or talk or even the economy. We were basically somehow cocooned in our own little world. But this was not the case for the rest of India and especially banks. The entry of foreign banks was a rude shock to Indian banks. The foreign banks were bringing both technology and sophistication in their offerings, and Indian Banks needed and wanted fast money to show hefty profits. Demand for credit wasn t much, at least nowhere the level it today is. At the same time, default on credit was nowhere high as today is. But that will require its own space and article. To quench the thirst for hefty profits by banks, Enter Harshad Mehta. At that point in time, banks were not permitted at all to invest in the securities/share market. They could only buy Government securities or bonds which had a coupon rate of say 8-10% which was nowhere enough to satisfy the need for hefty profits as desired by Indian banks. On top of it, that cash was blocked for a long time. Most of these Government bonds had anywhere between 10-20 year maturity date and some even longer. Now, one loophole in that was that the banks themselves could not buy these securities. They had to approach a registered broker of the share market who will do these transactions on their behalf. Here is where Mr. Mehta played his game. He shared both legal and illegal ways in which both the bank and he would prosper. While banking at one time was thought to be conservative and somewhat cautious, either because they were too afraid that Western private banks will take that pie or whatever their reasons might be, they agreed to his antics. To play the game, Harshad Mehta needed lots of cash, which the banks provided him in the guise of buying securities that were never bought, but the amounts were transferred to his account. He actively traded stocks, at the same time made a group, and also made the rumor mill work to his benefit. The share market is largely a reactionary market. It operates on patience, news, and rumor-mill. The effect of his shenanigans was that the price of a stock that was trending at say INR 200 reached the stratospheric height of INR 9000/- without any change in the fundamentals or outlook of the stock. His thirst didn t remain restricted to stocks but also ventured into the unglamorous world of Govt. securities where he started trading even in them in large quantities. In order to attract new clients, he coveted a fancy lifestyle. The fancy lifestyle was what caught the eye of Sucheta Dalal, and she started investigating the deals he was doing. Being a reporter, she had the advantage of getting many doors to open and get information that otherwise would be under lock and key. On 23rd April 1992, Sucheta Dalal broke the scam.

The Impact The impact was almost like a shock to the markets. Even today, it can be counted as one of the biggest scams in the Indian market if you adjust it for inflation. I haven t revealed much of the scam and what happened, simply because Sucheta Dalal and Debasis Basu wrote The Scam for that purpose. How do I shorten a story and experience which has been roughly written in 300 odd pages in one or two paragraphs, it is simply impossible. The impact though was severe. The Indian stock market became a bear market for two years. Sucheta Dalal was kicked out/made to resign out of Indian Express. The thing is simple, all newspapers survive on readership and advertisements with advertisements. Companies who were having a golden run, whether justified or not, on the bourses/Stock Exchange. For many companies, having a good number on the stock exchange was better than the company fundamentals. There was supposed to be a speedy fast-track court setup for Financial crimes, but it worked only for the Harshad Mehta case and still took over 5 years. It led to the creation of NSE (National Stock Exchange). It also led to the creation of SEBI, perhaps one of the most powerful regulators, giving it a wide range of powers and remit but on the ground more often that proved to be no more than a glorified postman. And the few times it used, it used on the wrong people and people had to go to courts to get justice. But then this is not about SEBI nor is this blog post about NSE. I have anyways shared about Absolute power above, so will not repeat the link here. The Anecdotal impact was widespread. Our own family broker took the extreme step. For my grandfather on the mother s side, he was like the second son. The news of his suicide devastated my grandfather quite a bit, which we realized much later when he was diagnosed with Alzheimer s. Our family stockbroker had been punting, taking lots of cash from the market at very high rates, betting on stocks wildly as the stock market was reaching for the stars when the market crashed, he was insolvent. How the family survived is a tale in itself. They had just got married just a few years ago and had a cute boy and girl soon after. While today, both are grown-up, at that time what the wife faced only she knows. There were also quite a few shareholders who also took the extreme step. The stock markets in those days were largely based on trust and even today is unless you are into day-trading. So there was always some money left on the table for the share/stockbroker which would be squared off in the next deal/transaction where again you will leave something. My grandfather once thought of going over and meeting them, and we went to the lane where their house is, seeing the line of people who had come for recovery of loans, we turned back with a heavy heart. There was another taboo that kinda got broken that day. The taboo was that the stock market is open to scams. From 1992 to 2021 has been a cycle of scams. Even now, today, the stock market is at unnatural highs. We know for sure that a lot of hot money is rolling around, a lot of American pension funds etc. Till it will work, it will work, some news something and that money will be moved out. Who will be left handing the can, the Indian investors? A Few days back, Ambani writes about Adani. Now while the facts shared are correct, is Adani the only one, the only company to have a small free float in the market. There probably are more than 1/4th or 1/3rd of well-respected companies who may have a similar configuration, the only problem is it is difficult to know who the proxies are. Now if I were to reflect and compare this either with the 1960s or even the 1990s I don t find much difference apart from the fact that the proxy is sitting in Mauritius. At the same time, today you can speculate on almost anything. Whether it is stocks, commodities, derivatives, foreign exchange, cricket matches etc. the list is endless. Since 2014, the rise in speculation rather than investment has been dramatic, almost stratospheric. Sadly, there are no studies or even attempts made to document this. How much official and unofficial speculation is there in the market nobody knows. Money markets have become both fluid and non-transparent. In theory, you have all sorts of regulators, but it is still very much like the Wild West. One thing to note that even Income tax had to change and bring it provisions to account for speculative income.So, starting from being totally illegitimate, it has become kind of legal and is part of Income Tax. And if speculation is not wrong, why not make Indian cricket officially a speculative event, that will be honest and GOI will get part of the proceeds.

Conclusion I wish there was some positive conclusion I could drive, but sadly there is not. Just today read two articles about the ongoing environmental issues in Himachal Pradesh. As I had shared even earlier, the last time I visited those places in 2011, and even at that time I was devastated to see the kind of construction going on. Jogiwara Road which they showed used to be flat single ground/first floor dwellings, most of which were restaurants and whatnot. I had seen the water issues both in Himachal and UT (Uttarakhand) back then and this is when they made huge dams. In U.S. they are removing dams and here we want more dams

Review: The Magician's Nephew, by C.S. Lewis

Illustrator:	Pauline Baynes
Series:	Chronicles of Narnia #6
Publisher:	Collier Books
Copyright:	1955
Printing:	1978
ISBN:	0-02-044230-0
Format:	Mass market
Pages:	186

The Magician's Nephew is the sixth book of the Chronicles of Narnia in the original publication order, but it's a prequel, set fifty years before The Lion, the Witch and the Wardrobe. It's therefore put first in the new reading order. I have always loved world-building and continuities and, as a comics book reader (Marvel primarily), developed a deep enjoyment of filling in the pieces and reconstructing histories from later stories. It's no wonder that I love reading The Magician's Nephew after The Lion, the Witch and the Wardrobe. The experience of fleshing out backstory with detail and specifics makes me happy. If that's also you, I recommend the order in which I'm reading these books. Reading this one first is defensible, though. One of the strongest arguments for doing so is that it's a much stronger, tighter, and better-told story than The Lion, the Witch and the Wardrobe, and therefore might start the series off on a better foot for you. It stands alone well; you don't need to know any of the later events to enjoy this, although you will miss the significance of a few things like the lamp post and you don't get the full introduction to Aslan. The Magician's Nephew is the story of Polly Plummer, her new neighbor Digory Kirke, and his Uncle Andrew, who fancies himself a magician. At the start of the book, Digory's mother is bed-ridden and dying and Digory is miserable, which is the impetus for a friendship with Polly. The two decide to explore the crawl space of the row houses in which they live, seeing if they can get into the empty house past Digory's. They don't calculate the distances correctly and end up in Uncle Andrew's workroom, where Digory was forbidden to go. Uncle Andrew sees this as a golden opportunity to use them for an experiment in travel to other worlds. MAJOR SPOILERS BELOW. The Magician's Nephew, like the best of the Narnia books, does not drag its feet getting started. It takes a mere 30 pages to introduce all of the characters, establish a friendship, introduce us to a villain, and get both of the kids into another world. When Lewis is at his best, he has an economy of storytelling and a grasp of pacing that I wish was more common. It's also stuffed to the brim with ideas, one of the best of which is the Wood Between the Worlds. Uncle Andrew has crafted pairs of magic rings, yellow and green, and tricks Polly into touching one of the yellow ones, causing her to vanish from our world. He then uses her plight to coerce Digory into going after her, carrying two green rings that he thinks will bring people back into our world, and not incidentally also observing that world and returning to tell Uncle Andrew what it's like. But the world is more complicated than he thinks it is, and the place where the children find themselves is an eerie and incredibly peaceful wood, full of grass and trees but apparently no other living thing, and sprinkled with pools of water. This was my first encounter with the idea of a world that connects other worlds, and it remains the most memorable one for me. I love everything about the Wood: the simplicity of it, the calm that seems in part to be a defense against intrusion, the hidden danger that one might lose one's way and confuse the ponds for each other, and even the way that it tends to make one lose track of why one is there or what one is trying to accomplish. That quiet forest filled with pools is still an image I use for infinite creativity and potential. It's quiet and nonthreatening, but not entirely inviting either; it's magnificently neutral, letting each person bring what they wish to it. One of the minor plot points of this book is that Uncle Andrew is wrong about the rings because he's wrong about the worlds. There aren't just two worlds; there are an infinite number, with the Wood as a nexus, and our reality is neither the center nor one of an important pair. The rings are directional, but relative to the Wood, not our world. The kids, who are forced to experiment and who have open minds, figure this out quickly, but Uncle Andrew never shifts his perspective. This isn't important to the story, but I've always thought it was a nice touch of world-building. Where this story is heading, of course, is the creation of Narnia and the beginning of all of the stories told in the rest of the series. But before that, the kids's first trip out of the Wood is to one of the best worlds of children's fantasy: Charn. If the Wood is my mental image of a world nexus, Charn will forever be my image of a dying world: black sky, swollen red sun, and endless abandoned and crumbling buildings as far as the eye can see, full of tired silences and eerie noises. And, of course, the hall of statues, with one of the most memorable descriptions of history and empire I've ever read (if you ignore the racialized description):

All of the faces they could see were certainly nice. Both the men and women looked kind and wise, and they seemed to come of a handsome race. But after the children had gone a few steps down the room they came to faces that looked a little different. These were very solemn faces. You felt you would have to mind your P's and Q's, if you ever met living people who looked like that. When they had gone a little farther, they found themselves among faces they didn't like: this was about the middle of the room. The faces here looked very strong and proud and happy, but they looked cruel. A little further on, they looked crueller. Further on again, they were still cruel but they no longer looked happy. They were even despairing faces: as if the people they belonged to had done dreadful things and also suffered dreadful things.

The last statue is of a fierce, proud woman that Digory finds strikingly beautiful. (Lewis notes in an aside that Polly always said she never found anything specially beautiful about her. Here, as in The Silver Chair, the girl is the sensible one and things would have gone better if the boy had listened to her, a theme that I find immensely frustrating because Susan was the sensible one in the first two books of the series but then Lewis threw that away.) There is a bell in the middle of this hall, and the pillar that holds that bell has an inscription on it that I think every kid who grew up on Narnia knows by heart.

Make your choice, adventurous Stranger;
Strike the bell and bide the danger,
Or wonder, till it drives you mad,
What would have followed if you had.

Polly has no intention of striking the bell, but Digory fights her and does it anyway, waking Jadis from where she sat as the final statue in the hall and setting off one of the greatest reimaginings of a villain in children's literature. Jadis will, of course, become the White Witch who holds Narnia in endless winter some thousand Narnian years later. But the White Witch was a mediocre villain at best, the sort of obvious and cruel villain common in short fairy tales where the author isn't interested in doing much characterization. She exists to be evil, do bad things, and be defeated. She has a few good moments in conflict with Aslan, but that's about it. Jadis in this book is another matter entirely: proud, brilliant, dangerous, and creative. The death of everything on Charn was Jadis's doing: an intentional spell, used to claim a victory of sorts from the jaws of defeat by her sister in a civil war. (I find it fascinating that Lewis puts aside his normally sexist roles here.) Despite the best attempts of the kids to lose her both in Charn and in the Wood (which is inimical to her, in another nice bit of world-building), she manages to get back to England with them. The result is a remarkably good bit of villain characterization. Jadis is totally out of her element, used to a world-spanning empire run with magic and (from what hints we get) vaguely medieval technology. Her plan to take over their local country and eventually the world should be absurd and is played somewhat for laughs. Her magic, which is her great weapon, doesn't even work in England. But Jadis learns at a speed that the reader can watch. She's observant, she pays attention to things that don't fit her expectations, she changes plans, and she moves with predatory speed. Within a few hours in London she's stolen jewels and a horse and carriage, and the local police seem entirely overmatched. There's no way that one person without magic should be a real danger to England around the turn of the 20th century, but by the time the kids manage to pull her back into the Wood, you're not entirely sure England would have been safe. A chaotic confrontation, plus the ability of the rings to work their magic through transitive human contact, ends up with the kids, Uncle Andrew, Jadis, a taxicab driver and his horse all transported through the Wood to a new world. In this case, literally a new world: Narnia at the point of its creation. Here again, Lewis translates Christian myth, in this case the Genesis creation story, into a more vivid and in many ways more beautiful story than the original. Aslan singing the world into existence is an incredible image, as is the newly-created world so bursting with life that even things that normally could not grow will do so. (Which, of course, is why there is a lamp post burning in the middle of the western forest of Narnia for the Pevensie kids to find later.) I think my favorite part is the creation of the stars, but the whole sequence is great. There's also an insightful bit of human psychology. Uncle Andrew can't believe that a lion is singing, so he convinces himself that Aslan is not singing, and thus prevents himself from making any sense of the talking animals later.

Now the trouble about trying to make yourself stupider than you really are is that you very often succeed.

As with a lot in Lewis, he probably meant this as a statement about faith, but it generalizes well beyond the religious context. What disappointed me about the creation story, though, is the animals. I didn't notice this as a kid, but this re-read has sensitized me to how Lewis consistently treats the talking animals as less than humans even though he celebrates them. That happens here too: the newly-created, newly-awakened animals are curious and excited but kind of dim. Some of this is an attempt to show that they're young and are just starting to learn, but it also seems to be an excuse for Aslan to set up a human king and queen over them instead of teaching them directly how to deal with the threat of Jadis who the children inadvertently introduced into the world. The other thing I dislike about The Magician's Nephew is that the climax is unnecessarily cruel. Once Digory realizes the properties of the newly-created world, he hopes to find a way to use that to heal his mother. Aslan points out that he is responsible for Jadis entering the world and instead sends him on a mission to obtain a fruit that, when planted, will ward Narnia against her for many years. The same fruit would heal his mother, and he has to choose Narnia over her. (It's a fairly explicit parallel to the Garden of Eden, except in this case Digory passes.) Aslan, in the end, gives Digory the fruit of the tree that grows, which is still sufficient to heal his mother, but this sequence made me angry when re-reading it. Aslan knew all along that what Digory is doing will let him heal his mother as well, but hides this from him to make it more of a test. It's cruel and mean; Aslan could have promised to heal Digory's mother and then seen if he would help Narnia without getting anything in return other than atoning for his error, but I suppose that was too transactional for Lewis's theology or something. Meh. But, despite that, the only reason why this is not the best Narnia book is because The Voyage of the Dawn Treader is the only Narnia book that also nails the ending. The Magician's Nephew, up through Charn, Jadis's rampage through London, and the initial creation of Narnia, is fully as good, perhaps better. It sags a bit at the end, partly because it tries to hard to make the Narnian animals humorous and partly because of the unnecessary emotional torture of Digory. But this still holds up as the second-best Narnia book, and one I thoroughly enjoyed re-reading. If anything, Jadis and Charn are even better than I remembered. Followed by the last book of the series, the somewhat notorious The Last Battle. Rating: 9 out of 10