The FAIme service was started in November 2017. After 3,5 years it created more than 10.000 customized installation and cloud images. And we still have enough CPU power and disk space for more users. FAIme

Release 0.3.4 of the RPushbullet package arrived on CRAN today. RPushbullet interfaces the neat Pushbullet service for inter-device messaging, communication, and more. It lets you easily send (programmatic) alerts like the one to the left to your browser, phone, tablet, or all at once. This release contains a contributed PR to better reflect an error code, and adds a mkdocs-material-based documentation site (just like a few other packages of mine). See below for more details.

Changes in version 0.3.4 (2021-03-01)

• Return code checking using error code content if it exists (Thomas Shafer in #64).
• Enabled GitHub Actions with encrypted JSON file for API access.
• Added a package documentation website.

Courtesy of my CRANberries, there is also a diffstat report for this release. More details about the package are at the RPushbullet webpage and the RPushbullet GitHub repo. If you like this or other open-source work I do, you can now sponsor me at GitHub.

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

No doubt it was someone's idea of a joke to release Silence of the Lambs on Valentine's Day, thirty years ago today. Although it references Valentines at one point and hints at a deeper relationship between Starling and Lecter, it was clearly too tempting to jeopardise so many date nights. After all, how many couples were going to enjoy their ribeyes medium-rare after watching this? Given the muted success of Manhunter (1986), Silence of the Lambs was our first real introduction to Dr. Lecter. Indeed, many of the best scenes in this film are introductions: Starling's first encounter with Lecter is probably the best introduction in the whole of cinema, but our preceding introduction to the asylum's factotum carries a lot of cultural weight too, if only because the camera's measured pan around the environment before alighting on Barney has been emulated by so many first-person video games since.

We first see Buffalo Bill at the thirty-two minute mark. (Or, more tellingly, he sees us.) Delaying the viewer's introduction to the film's villain is the mark of a secure and confident screenplay, even if it was popularised by the budget-restricted Jaws (1975) which hides the eponymous shark for one hour and 21 minutes.

It is no mistake that the first thing we see of Starling do is, quite literally, pull herself up out of the unknown. With all of the focus on the Starling Lecter repartee, the viewer's first introduction to Starling is as underappreciated as she herself is to the FBI. Indeed, even before Starling tells Lecter her innermost dreams, we learn almost everything we need to about Starling in the first few minutes: we see her training on an obstacle course in the forest, the unused rope telling us that she is here entirely voluntarily. And we can surely guess why; the passing grade for a woman in the FBI is to top of the class, and Starling's not going to let an early February in Virginia get in the way of that. We need to wait a full three minutes before we get our first line of dialogue, and in just eight words ("Crawford wants to see you in his office...") we get our confirmation about the FBI too. With no other information other than he can send a messenger out into the cold, we can intuit that Crawford tends to get what Crawford wants. It's just plain "Crawford" too; everyone knows his actual title, his power, "his" office. The opening minutes also introduce us to the film's use of visual hierarchy. Our Hermes towers above Starling throughout the brief exchange (she must push herself even to stay within the camera's frame). Later, Starling always descends to meet her demons: to the asylum's basement to visit Lecter and down the stairs to meet Buffalo Bill. Conversely, she feels safe enough to reveal her innermost self to Lecter on the fifth floor of the courthouse. (Bong Joon-ho's Parasite (2019) uses elevation in an analogous way, although a little more subtly.)

The messenger turns to watch Starling run off to Crawford. Are his eyes involuntarily following the movement or he is impressed by Starling's gumption? Or, almost two decades after John Berger's male gaze, is he simply checking her out? The film, thankfully, leaves it to us.

Crawford is our next real introduction, and our glimpse into the film's sympathetic treatment of law enforcement. Note that the first thing that the head of the FBI's Behavioral Science Unit does is to lie to Starling about the reason to interview Lecter, despite it being coded as justified within the film's logic. We learn in the book that even Barney deceives Starling, recording her conversations with Lecter and selling her out to the press. (Buffalo Bill always lies to Starling, of course, but I think we can forgive him for that.) Crawford's quasi-compliment of "You grilled me pretty hard on the Bureau's civil rights record in the Hoover years..." then encourages the viewer to conclude that the FBI's has been a paragon of virtue since 1972... All this (as well as her stellar academic record, Crawford's wielding of Starling's fragile femininity at the funeral home and the cool reception she receives from a power-suited Senator Ruth Martin), Starling must be constantly asking herself what it must take for anyone to take her seriously. Indeed, it would be unsurprising if she takes unnecessary risks to make that happen.

The cold open of Hannibal (2001) makes for a worthy comparison. The audience remembers they loved the dialogue between Starling and Lecter, so it is clumsily mentioned. We remember Barney too, so he is shoehorned in as well. Lacking the confidence to introduce new signifiers to its universe, Red Dragon (2002) aside, the hollow, 'clip show' feel of Hannibal is a taste of the zero-calorie sequels to come in the next two decades.

The film is not perfect, and likely never was. Much has been written on the fairly transparent transphobia in Buffalo Bill's desire to wear a suit made out of women's skin, but the film then doubles down on its unflattering portrayal by trying to have it both ways. Starling tells the camera that "there's no correlation between transsexualism and violence," and Lecter (the film's psychoanalytic authority, remember) assures us that Buffalo Bill is "not a real transsexual" anyway. Yet despite those caveats, we are continually shown a TERFy cartoon of a man in a wig tucking his "precious" between his legs and an absurdly phallic gun. And, just we didn't quite get the message, a decent collection of Nazi memorabilia. The film's director repeated the novel's contention that Buffalo Bill is not actually transgender, but someone so damaged that they are seeking some kind of transformation. This, for a brief moment, almost sounds true, and the film's deranged depiction of what it might be like to be transgender combined with its ambivalence feels distinctly disingenuous to me, especially given that on an audience and Oscar-adjusted basis Silence of the Lambs may very well be the most transphobic film to come out of Hollywood. Still, I remain torn on the death of the author, especially when I discover that Jonathan Demme went on to direct Philadelphia (1993), likely the most positive film about homophobia and HIV.

Nevertheless, as an adaption of Thomas Harris' original novel, the movie is almost flawless. The screenplay excises red herrings and tuns down the volume on some secondary characters. Crucially for the format, it amplifies Lecter's genius by not revealing that he knew everything all along and cuts Buffalo Bill's origin story for good measure too good horror, after all, does not achieve its effect on the screen, but in the mind of the viewer. The added benefit of removing material from the original means that the film has time to slowly ratchet up the tension, and can remain patient and respectful of the viewer's intelligence throughout: it is, you could almost say, "Ready when you are, Sgt. Pembury". Otherwise, the film does not deviate too far from the original, taking the most liberty when it interleaves two narratives for the famous 'two doorbells' feint.

Dr. Lecter's upright stance when we meet him reminds me of the third act of Alfred Hitchcock's Notorious (1946), another picture freighted with meaningful stairs. Stanley Kubrick's The Killing (1956) began the now-shopworn trope of concealing a weapon in a flower box.

Two other points of deviation from the novel might be worthy of mention. In the book, a great deal is made of Dr. Lecter's penchant for Bach's Goldberg Variations, inducing a cultural resonance with other cinematic villains who have a taste for high art. It is also stressed in the book that it is the Canadian pianist Glenn Gould's recording too, although this is likely an attempt by Harris to demonstrate his own refined sensibilities Lecter would surely have prefered a more historically-informed performance on the harpsichord. Yet it is glaringly obvious that it isn't Gould playing in the film at all; Gould's hypercanonical 1955 recording is faster and focused, whilst his 1981 release is much slower and contemplative. No doubt tedious issues around rights prevented the use of either recording, but I like to imagine that Gould himself nixed the idea. The second change revolves around the film's most iconic quote. Deep underground, Dr. Lecter tries to spook Starling:

A census taker once tried to test me. I ate his liver with some fava beans and a nice Chianti.

The novel has this as "some fava beans and a big Amarone". No doubt the movie-going audience could not be trusted to know what an Amarone was, just as they were not to capable of recognising a philosopher. Nevertheless, substituting Chianti works better here as it cleverly foreshadows Tuscany (we discover that Lecter is living in Florence in the sequel), and it avoids the un-Lecterian tautology of 'big' Amarone's, I am reliably informed, are big-bodied wines. Like Buffalo Bill's victims. Yet that's not all. "The audience", according to TV Tropes:

... believe Lecter is merely confessing to one of his crimes. What most people would not know is that a common treatment for Lecter's "brand of crazy" is to use drugs of a class known as MAOIs (monoamine oxidase inhibitors). There are several things one must not eat when taking MAOIs, as they can case fatally low blood pressure, and as a physician and psychiatrist himself, Dr. Lecter would be well aware of this. These things include liver, fava beans, and red wine. In short, Lecter was telling Clarice that he was off his medication.

I could write more, but as they say, I'm having an old friend for dinner. The starling may be a common bird, but The Silence of the Lambs is that extremely rara avis indeed the film that's better than the book. Ta ta...

I won't reveal precisely how many books I read in 2020, but it was definitely an improvement on 74 in 2019, 53 in 2018 and 50 in 2017. But not only did I read more in a quantitative sense, the quality seemed higher as well. There were certainly fewer disappointments: given its cultural resonance, I was nonplussed by Nick Hornby's Fever Pitch and whilst Ian Fleming's The Man with the Golden Gun was a little thin (again, given the obvious influence of the Bond franchise) the booked lacked 'thinness' in a way that made it interesting to critique. The weakest novel I read this year was probably J. M. Berger's Optimal, but even this hybrid of Ready Player One late-period Black Mirror wasn't that cringeworthy, all things considered. Alas, graphic novels continue to not quite be my thing, I'm afraid. I perhaps experienced more disappointments in the non-fiction section. Paul Bloom's Against Empathy was frustrating, particularly in that it expended unnecessary energy battling its misleading title and accepted terminology, and it could so easily have been an 20-minute video essay instead). (Elsewhere in the social sciences, David and Goliath will likely be the last Malcolm Gladwell book I voluntarily read.) After so many positive citations, I was also more than a little underwhelmed by Shoshana Zuboff's The Age of Surveillance Capitalism, and after Ryan Holiday's many engaging reboots of Stoic philosophy, his Conspiracy (on Peter Thiel and Hulk Hogan taking on Gawker) was slightly wide of the mark for me. Anyway, here follows a selection of my favourites from 2020, in no particular order:

Fiction Wolf Hall & Bring Up the Bodies & The Mirror and the Light Hilary Mantel During the early weeks of 2020, I re-read the first two parts of Hilary Mantel's Thomas Cromwell trilogy in time for the March release of The Mirror and the Light. I had actually spent the last few years eagerly following any news of the final instalment, feigning outrage whenever Mantel appeared to be spending time on other projects. Wolf Hall turned out to be an even better book than I remembered, and when The Mirror and the Light finally landed at midnight on 5th March, I began in earnest the next morning. Note that date carefully; this was early 2020, and the book swiftly became something of a heavy-handed allegory about the world at the time. That is to say and without claiming that I am Monsieur Cromuel in any meaningful sense it was an uneasy experience to be reading about a man whose confident grasp on his world, friends and life was slipping beyond his control, and at least in Cromwell's case, was heading inexorably towards its denouement. The final instalment in Mantel's trilogy is not perfect, and despite my love of her writing I would concur with the judges who decided against awarding her a third Booker Prize. For instance, there is something of the longueur that readers dislike in the second novel, although this might not be entirely Mantel's fault after all, the rise of the "ugly" Anne of Cleves and laborious trade negotiations for an uninspiring mineral (this is no Herbertian 'spice') will never match the court intrigues of Anne Boleyn, Jane Seymour and that man for all seasons, Thomas More. Still, I am already looking forward to returning to the verbal sparring between King Henry and Cromwell when I read the entire trilogy once again, tentatively planned for 2022.

The Fault in Our Stars John Green I came across John Green's The Fault in Our Stars via a fantastic video by Lindsay Ellis discussing Roland Barthes famous 1967 essay on authorial intent. However, I might have eventually come across The Fault in Our Stars regardless, not because of Green's status as an internet celebrity of sorts but because I'm a complete sucker for this kind of emotionally-manipulative bildungsroman, likely due to reading Philip Pullman's His Dark Materials a few too many times in my teens. Although its title is taken from Shakespeare's Julius Caesar, The Fault in Our Stars is actually more Romeo & Juliet. Hazel, a 16-year-old cancer patient falls in love with Gus, an equally ill teen from her cancer support group. Hazel and Gus share the same acerbic (and distinctly unteenage) wit and a love of books, centred around Hazel's obsession of An Imperial Affliction, a novel by the meta-fictional author Peter Van Houten. Through a kind of American version of Jim'll Fix It, Gus and Hazel go and visit Van Houten in Amsterdam. I'm afraid it's even cheesier than I'm describing it. Yet just as there is a time and a place for Michelin stars and Haribo Starmix, there's surely a place for this kind of well-constructed but altogether maudlin literature. One test for emotionally manipulative works like this is how well it can mask its internal contradictions while Green's story focuses on the universalities of love, fate and the shortness of life (as do almost all of his works, it seems), The Fault in Our Stars manages to hide, for example, that this is an exceedingly favourable treatment of terminal illness that is only possible for the better off. The 2014 film adaptation does somewhat worse in peddling this fantasy (and has a much weaker treatment of the relationship between the teens' parents too, an underappreciated subtlety of the book). The novel, however, is pretty slick stuff, and it is difficult to fault it for what it is. For some comparison, I later read Green's Looking for Alaska and Paper Towns which, as I mention, tug at many of the same strings, but they don't come together nearly as well as The Fault in Our Stars. James Joyce claimed that "sentimentality is unearned emotion", and in this respect, The Fault in Our Stars really does earn it.

The Plague Albert Camus P. D. James' The Children of Men, George Orwell's Nineteen Eighty-Four, Arthur Koestler's Darkness at Noon ... dystopian fiction was already a theme of my reading in 2020, so given world events it was an inevitability that I would end up with Camus's novel about a plague that swept through the Algerian city of Oran. Is The Plague an allegory about the Nazi occupation of France during World War Two? Where are all the female characters? Where are the Arab ones? Since its original publication in 1947, there's been so much written about The Plague that it's hard to say anything new today. Nevertheless, I was taken aback by how well it captured so much of the nuance of 2020. Whilst we were saying just how 'unprecedented' these times were, it was eerie how a novel written in the 1940s could accurately how many of us were feeling well over seventy years on later: the attitudes of the people; the confident declarations from the institutions; the misaligned conversations that led to accidental misunderstandings. The disconnected lovers. The only thing that perhaps did not work for me in The Plague was the 'character' of the church. Although I could appreciate most of the allusion and metaphor, it was difficult for me to relate to the significance of Father Paneloux, particularly regarding his change of view on the doctrinal implications of the virus, and spoiler alert that he finally died of a "doubtful case" of the disease, beyond the idea that Paneloux's beliefs are in themselves "doubtful". Answers on a postcard, perhaps. The Plague even seemed to predict how we, at least speaking of the UK, would react when the waves of the virus waxed and waned as well:

The disease stiffened and carried off three or four patients who were expected to recover. These were the unfortunates of the plague, those whom it killed when hope was high

It somehow captured the nostalgic yearning for high-definition videos of cities and public transport; one character even visits the completely deserted railway station in Oman simply to read the timetables on the wall.

Tinker, Tailor, Soldier, Spy John le Carr There's absolutely none of the Mad Men glamour of James Bond in John le Carr 's icy world of Cold War spies:

Small, podgy, and at best middle-aged, Smiley was by appearance one of London's meek who do not inherit the earth. His legs were short, his gait anything but agile, his dress costly, ill-fitting, and extremely wet.

Almost a direct rebuttal to Ian Fleming's 007, Tinker, Tailor has broken-down cars, bad clothes, women with their own internal and external lives (!), pathetically primitive gadgets, and (contra Mad Men) hangovers that significantly longer than ten minutes. In fact, the main aspect that the mostly excellent 2011 film adaption doesn't really capture is the smoggy and run-down nature of 1970s London this is not your proto-Cool Britannia of Austin Powers or GTA:1969, the city is truly 'gritty' in the sense there is a thin film of dirt and grime on every surface imaginable. Another angle that the film cannot capture well is just how purposefully the novel does not mention the United States. Despite the US obviously being the dominant power, the British vacillate between pretending it doesn't exist or implying its irrelevance to the matter at hand. This is no mistake on Le Carr 's part, as careful readers are rewarded by finding this denial of US hegemony in metaphor throughout --pace Ian Fleming, there is no obvious Felix Leiter to loudly throw money at the problem or a Sheriff Pepper to serve as cartoon racist for the Brits to feel superior about. By contrast, I recall that a clever allusion to "dusty teabags" is subtly mirrored a few paragraphs later with a reference to the installation of a coffee machine in the office, likely symbolic of the omnipresent and unavoidable influence of America. (The officer class convince themselves that coffee is a European import.) Indeed, Le Carr communicates a feeling of being surrounded on all sides by the peeling wallpaper of Empire. Oftentimes, the writing style matches the graceless and inelegance of the world it depicts. The sentences are dense and you find your brain performing a fair amount of mid-flight sentence reconstruction, reparsing clauses, commas and conjunctions to interpret Le Carr 's intended meaning. In fact, in his eulogy-cum-analysis of Le Carr 's writing style, William Boyd, himself a ventrioquilist of Ian Fleming, named this intentional technique 'staccato'. Like the musical term, I suspect the effect of this literary staccato is as much about the impact it makes on a sentence as the imperceptible space it generates after it. Lastly, the large cast in this sprawling novel is completely believable, all the way from the Russian spymaster Karla to minor schoolboy Roach the latter possibly a stand-in for Le Carr himself. I got through the 500-odd pages in just a few days, somehow managing to hold the almost-absurdly complicated plot in my head. This is one of those classic books of the genre that made me wonder why I had not got around to it before.

The Nickel Boys Colson Whitehead According to the judges who awarded it the Pulitzer Prize for Fiction, The Nickel Boys is "a devastating exploration of abuse at a reform school in Jim Crow-era Florida" that serves as a "powerful tale of human perseverance, dignity and redemption". But whilst there is plenty of this perseverance and dignity on display, I found little redemption in this deeply cynical novel. It could almost be read as a follow-up book to Whitehead's popular The Underground Railroad, which itself won the Pulitzer Prize in 2017. Indeed, each book focuses on a young protagonist who might be euphemistically referred to as 'downtrodden'. But The Nickel Boys is not only far darker in tone, it feels much closer and more connected to us today. Perhaps this is unsurprising, given that it is based on the story of the Dozier School in northern Florida which operated for over a century before its long history of institutional abuse and racism was exposed a 2012 investigation. Nevertheless, if you liked the social commentary in The Underground Railroad, then there is much more of that in The Nickel Boys:

Perhaps his life might have veered elsewhere if the US government had opened the country to colored advancement like they opened the army. But it was one thing to allow someone to kill for you and another to let him live next door.

Sardonic aper us of this kind are pretty relentless throughout the book, but it never tips its hand too far into on nihilism, especially when some of the visual metaphors are often first-rate: "An American flag sighed on a pole" is one I can easily recall from memory. In general though, The Nickel Boys is not only more world-weary in tenor than his previous novel, the United States it describes seems almost too beaten down to have the energy conjure up the Swiftian magical realism that prevented The Underground Railroad from being overly lachrymose. Indeed, even we Whitehead transports us a present-day New York City, we can't indulge in another kind of fantasy, the one where America has solved its problems:

The Daily News review described the [Manhattan restaurant] as nouveau Southern, "down-home plates with a twist." What was the twist that it was soul food made by white people?

It might be overly reductionist to connect Whitehead's tonal downshift with the racial justice movements of the past few years, but whatever the reason, we've ended up with a hard-hitting, crushing and frankly excellent book.

True Grit & No Country for Old Men Charles Portis & Cormac McCarthy It's one of the most tedious cliches to claim the book is better than the film, but these two books are of such high quality that even the Coen Brothers at their best cannot transcend them. I'm grouping these books together here though, not because their respective adaptations will exemplify some of the best cinema of the 21st century, but because of their superb treatment of language. Take the use of dialogue. Cormac McCarthy famously does not use any punctuation "I believe in periods, in capitals, in the occasional comma, and that's it" but the conversations in No Country for Old Men together feel familiar and commonplace, despite being relayed through this unconventional technique. In lesser hands, McCarthy's written-out Texan drawl would be the novelistic equivalent of white rap or Jar Jar Binks, but not only is the effect entirely gripping, it helps you to believe you are physically present in the many intimate and domestic conversations that hold this book together. Perhaps the cinematic familiarity helps, as you can almost hear Tommy Lee Jones' voice as Sheriff Bell from the opening page to the last. Charles Portis' True Grit excels in its dialogue too, but in this book it is not so much in how it flows (although that is delightful in its own way) but in how forthright and sardonic Maddie Ross is:

"Earlier tonight I gave some thought to stealing a kiss from you, though you are very young, and sick and unattractive to boot, but now I am of a mind to give you five or six good licks with my belt." "One would be as unpleasant as the other."

Perhaps this should be unsurprising. Maddie, a fourteen-year-old girl from Yell County, Arkansas, can barely fire her father's heavy pistol, so she can only has words to wield as her weapon. Anyway, it's not just me who treasures this book. In her encomium that presages most modern editions, Donna Tartt of The Secret History fame traces the novels origins through Huckleberry Finn, praising its elegance and economy: "The plot of True Grit is uncomplicated and as pure in its way as one of the Canterbury Tales". I've read any Chaucer, but I am inclined to agree. Tartt also recalls that True Grit vanished almost entirely from the public eye after the release of John Wayne's flimsy cinematic vehicle in 1969 this earlier film was, Tartt believes, "good enough, but doesn't do the book justice". As it happens, reading a book with its big screen adaptation as a chaser has been a minor theme of my 2020, including P. D. James' The Children of Men, Kazuo Ishiguro's Never Let Me Go, Patricia Highsmith's Strangers on a Train, James Ellroy's The Black Dahlia, John Green's The Fault in Our Stars, John le Carr 's Tinker, Tailor Soldier, Spy and even a staged production of Charles Dicken's A Christmas Carol streamed from The Old Vic. For an autodidact with no academic background in literature or cinema, I've been finding this an effective and enjoyable means of getting closer to these fine books and films it is precisely where they deviate (or perhaps where they are deficient) that offers a means by which one can see how they were constructed. I've also found that adaptations can also tell you a lot about the culture in which they were made: take the 'straightwashing' in the film version of Strangers on a Train (1951) compared to the original novel, for example. It is certainly true that adaptions rarely (as Tartt put it) "do the book justice", but she might be also right to alight on a legal metaphor, for as the saying goes, to judge a movie in comparison to the book is to do both a disservice.

The Glass Hotel Emily St. John Mandel In The Glass Hotel, Mandel somehow pulls off the impossible; writing a loose roman- -clef on Bernie Madoff, a Ponzi scheme and the ephemeral nature of finance capital that is tranquil and shimmeringly beautiful. Indeed, don't get the wrong idea about the subject matter; this is no over over-caffeinated The Big Short, as The Glass Hotel is less about a Madoff or coked-up financebros but the fragile unreality of the late 2010s, a time which was, as we indeed discovered in 2020, one event away from almost shattering completely. Mandel's prose has that translucent, phantom quality to it where the chapters slip through your fingers when you try to grasp at them, and the plot is like a ghost ship that that slips silently, like the Mary Celeste, onto the Canadian water next to which the eponymous 'Glass Hotel' resides. Indeed, not unlike The Overlook Hotel, the novel so overflows with symbolism so that even the title needs to evoke the idea of impermanence permanently living in a hotel might serve as a house, but it won't provide a home. It's risky to generalise about such things post-2016, but the whole story sits in that the infinitesimally small distance between perception and reality, a self-constructed culture that is not so much 'post truth' but between them. There's something to consider in almost every character too. Take the stand-in for Bernie Madoff: no caricature of Wall Street out of a 1920s political cartoon or Brechtian satire, Jonathan Alkaitis has none of the oleaginous sleaze of a Dominic Strauss-Kahn, the cold sociopathy of a Marcus Halberstam nor the well-exercised sinuses of, say, Jordan Belford. Alkaitis is dare I say it? eminently likeable, and the book is all the better for it. Even the C-level characters have something to say: Enrico, trivially escaping from the regulators (who are pathetically late to the fraud without Mandel ever telling us explicitly), is daydreaming about the girlfriend he abandoned in New York: "He wished he'd realised he loved her before he left". What was in his previous life that prevented him from doing so? Perhaps he was never in love at all, or is love itself just as transient as the imaginary money in all those bank accounts? Maybe he fell in love just as he crossed safely into Mexico? When, precisely, do we fall in love anyway? I went on to read Mandel's Last Night in Montreal, an early work where you can feel her reaching for that other-worldly quality that she so masterfully achieves in The Glass Hotel. Her f ted Station Eleven is on my must-read list for 2021. "What is truth?" asked Pontius Pilate. Not even Mandel cannot give us the answer, but this will certainly do for now.

Running the Light Sam Tallent Although it trades in all of the clich s and stereotypes of the stand-up comedian (the triumvirate of drink, drugs and divorce), Sam Tallent's debut novel depicts an extremely convincing fictional account of a touring road comic. The comedian Doug Stanhope (who himself released a fairly decent No Encore for the Donkey memoir in 2020) hyped Sam's book relentlessly on his podcast during lockdown... and justifiably so. I ripped through Running the Light in a few short hours, the only disappointment being that I can't seem to find videos online of Sam that come anywhere close to match up to his writing style. If you liked the rollercoaster energy of Paul Beatty's The Sellout, the cynicism of George Carlin and the car-crash invertibility of final season Breaking Bad, check this great book out.

Non-fiction Inside Story Martin Amis This was my first introduction to Martin Amis's work after hearing that his "novelised autobiography" contained a fair amount about Christopher Hitchens, an author with whom I had a one of those rather clich d parasocial relationship with in the early days of YouTube. (Hey, it could have been much worse.) Amis calls his book a "novelised autobiography", and just as much has been made of its quasi-fictional nature as the many diversions into didactic writing advice that betwixt each chapter: "Not content with being a novel, this book also wants to tell you how to write novels", complained Tim Adams in The Guardian. I suspect that reviewers who grew up with Martin since his debut book in 1973 rolled their eyes at yet another demonstration of his manifest cleverness, but as my first exposure to Amis's gift of observation, I confess that I was thought it was actually kinda clever. Try, for example, "it remains a maddening truth that both sexual success and sexual failure are steeply self-perpetuating" or "a hospital gym is a contradiction like a young Conservative", etc. Then again, perhaps I was experiencing a form of nostalgia for a pre-Gamergate YouTube, when everything in the world was a lot simpler... or at least things could be solved by articulate gentlemen who honed their art of rhetoric at the Oxford Union. I went on to read Martin's first novel, The Rachel Papers (is it 'arrogance' if you are, indeed, that confident?), as well as his 1997 Night Train. I plan to read more of him in the future.

The Collected Essays, Journalism and Letters: Volume 1 & Volume 2 & Volume 3 & Volume 4 George Orwell These deceptively bulky four volumes contain all of George Orwell's essays, reviews and correspondence, from his teenage letters sent to local newspapers to notes to his literary executor on his deathbed in 1950. Reading this was part of a larger, multi-year project of mine to cover the entirety of his output. By including this here, however, I'm not recommending that you read everything that came out of Orwell's typewriter. The letters to friends and publishers will only be interesting to biographers or hardcore fans (although I would recommend Dorian Lynskey's The Ministry of Truth: A Biography of George Orwell's 1984 first). Furthermore, many of his book reviews will be of little interest today. Still, some insights can be gleaned; if there is any inconsistency in this huge corpus is that his best work is almost 'too' good and too impactful, making his merely-average writing appear like hackwork. There are some gems that don't make the usual essay collections too, and some of Orwell's most astute social commentary came out of series of articles he wrote for the left-leaning newspaper Tribune, related in many ways to the US Jacobin. You can also see some of his most famous ideas start to take shape years if not decades before they appear in his novels in these prototype blog posts. I also read Dennis Glover's novelised account of the writing of Nineteen-Eighty Four called The Last Man in Europe, and I plan to re-read some of Orwell's earlier novels during 2021 too, including A Clergyman's Daughter and his 'antebellum' Coming Up for Air that he wrote just before the Second World War; his most under-rated novel in my estimation. As it happens, and with the exception of the US and Spain, copyright in the works published in his lifetime ends on 1st January 2021. Make of that what you will.

Capitalist Realism & Chavs: The Demonisation of the Working Class Mark Fisher & Owen Jones These two books are not natural companions to one another and there is likely much that Jones and Fisher would vehemently disagree on, but I am pairing these books together here because they represent the best of the 'political' books I read in 2020. Mark Fisher was a dedicated leftist whose first book, Capitalist Realism, marked an important contribution to political philosophy in the UK. However, since his suicide in early 2017, the currency of his writing has markedly risen, and Fisher is now frequently referenced due to his belief that the prevalence of mental health conditions in modern life is a side-effect of various material conditions, rather than a natural or unalterable fact "like weather". (Of course, our 'weather' is being increasingly determined by a combination of politics, economics and petrochemistry than pure randomness.) Still, Fisher wrote on all manner of topics, from the 2012 London Olympics and "weird and eerie" electronic music that yearns for a lost future that will never arrive, possibly prefiguring or influencing the Fallout video game series. Saying that, I suspect Fisher will resonate better with a UK audience more than one across the Atlantic, not necessarily because he was minded to write about the parochial politics and culture of Britain, but because his writing often carries some exasperation at the suppression of class in favour of identity-oriented politics, a viewpoint not entirely prevalent in the United States outside of, say, Tour F. Reed or the late Michael Brooks. (Indeed, Fisher is likely best known in the US as the author of his controversial 2013 essay, Exiting the Vampire Castle, but that does not figure greatly in this book). Regardless, Capitalist Realism is an insightful, damning and deeply unoptimistic book, best enjoyed in the warm sunshine I found it an ironic compliment that I had quoted so many paragraphs that my Kindle's copy protection routines prevented me from clipping any further. Owen Jones needs no introduction to anyone who regularly reads a British newspaper, especially since 2015 where he unofficially served as a proxy and punching bag for expressing frustrations with the then-Labour leader, Jeremy Corbyn. However, as the subtitle of Jones' 2012 book suggests, Chavs attempts to reveal the "demonisation of the working class" in post-financial crisis Britain. Indeed, the timing of the book is central to Jones' analysis, specifically that the stereotype of the "chav" is used by government and the media as a convenient figleaf to avoid meaningful engagement with economic and social problems on an austerity ridden island. (I'm not quite sure what the US equivalent to 'chav' might be. Perhaps Florida Man without the implications of mental health.) Anyway, Jones certainly has a point. From Vicky Pollard to the attacks on Jade Goody, there is an ignorance and prejudice at the heart of the 'chav' backlash, and that would be bad enough even if it was not being co-opted or criminalised for ideological ends. Elsewhere in political science, I also caught Michael Brooks' Against the Web and David Graeber's Bullshit Jobs, although they are not quite methodical enough to recommend here. However, Graeber's award-winning Debt: The First 5000 Years will be read in 2021. Matt Taibbi's Hate Inc: Why Today's Media Makes Us Despise One Another is worth a brief mention here though, but its sprawling nature felt very much like I was reading a set of Substack articles loosely edited together. And, indeed, I was.

The Golden Thread: The Story of Writing Ewan Clayton A recommendation from a dear friend, Ewan Clayton's The Golden Thread is a journey through the long history of the writing from the Dawn of Man to present day. Whether you are a linguist, a graphic designer, a visual artist, a typographer, an archaeologist or 'just' a reader, there is probably something in here for you. I was already dipping my quill into calligraphy this year so I suspect I would have liked this book in any case, but highlights would definitely include the changing role of writing due to the influence of textual forms in the workplace as well as digression on ergonomic desks employed by monks and scribes in the Middle Ages. A lot of books by otherwise-sensible authors overstretch themselves when they write about computers or other technology from the Information Age, at best resulting in bizarre non-sequiturs and dangerously Panglossian viewpoints at worst. But Clayton surprised me by writing extremely cogently and accurate on the role of text in this new and unpredictable era. After finishing it I realised why for a number of years, Clayton was a consultant for the legendary Xerox PARC where he worked in a group focusing on documents and contemporary communications whilst his colleagues were busy inventing the graphical user interface, laser printing, text editors and the computer mouse.

New Dark Age & Radical Technologies: The Design of Everyday Life James Bridle & Adam Greenfield I struggled to describe these two books to friends, so I doubt I will suddenly do a better job here. Allow me to quote from Will Self's review of James Bridle's New Dark Age in the Guardian:

We're accustomed to worrying about AI systems being built that will either "go rogue" and attack us, or succeed us in a bizarre evolution of, um, evolution what we didn't reckon on is the sheer inscrutability of these manufactured minds. And minds is not a misnomer. How else should we think about the neural network Google has built so its translator can model the interrelation of all words in all languages, in a kind of three-dimensional "semantic space"?

New Dark Age also turns its attention to the weird, algorithmically-derived products offered for sale on Amazon as well as the disturbing and abusive videos that are automatically uploaded by bots to YouTube. It should, by rights, be a mess of disparate ideas and concerns, but Bridle has a flair for introducing topics which reveals he comes to computer science from another discipline altogether; indeed, on a four-part series he made for Radio 4, he's primarily referred to as "an artist". Whilst New Dark Age has rather abstract section topics, Adam Greenfield's Radical Technologies is a rather different book altogether. Each chapter dissects one of the so-called 'radical' technologies that condition the choices available to us, asking how do they work, what challenges do they present to us and who ultimately benefits from their adoption. Greenfield takes his scalpel to smartphones, machine learning, cryptocurrencies, artificial intelligence, etc., and I don't think it would be unfair to say that starts and ends with a cynical point of view. He is no reactionary Luddite, though, and this is both informed and extremely well-explained, and it also lacks the lazy, affected and Private Eye-like cynicism of, say, Attack of the 50 Foot Blockchain. The books aren't a natural pair, for Bridle's writing contains quite a bit of air in places, ironically mimics the very 'clouds' he inveighs against. Greenfield's book, by contrast, as little air and much lower pH value. Still, it was more than refreshing to read two technology books that do not limit themselves to platitudinal booleans, be those dangerously naive (e.g. Kevin Kelly's The Inevitable) or relentlessly nihilistic (Shoshana Zuboff's The Age of Surveillance Capitalism). Sure, they are both anti-technology screeds, but they tend to make arguments about systems of power rather than specific companies and avoid being too anti-'Big Tech' through a narrower, Silicon Valley obsessed lens for that (dipping into some other 2020 reading of mine) I might suggest Wendy Liu's Abolish Silicon Valley or Scott Galloway's The Four. Still, both books are superlatively written. In fact, Adam Greenfield has some of the best non-fiction writing around, both in terms of how he can explain complicated concepts (particularly the smart contract mechanism of the Ethereum cryptocurrency) as well as in the extremely finely-crafted sentences I often felt that the writing style almost had no need to be that poetic, and I particularly enjoyed his fictional scenarios at the end of the book.

The Algebra of Happiness & Indistractable: How to Control Your Attention and Choose Your Life Scott Galloway & Nir Eyal A cocktail of insight, informality and abrasiveness makes NYU Professor Scott Galloway uncannily appealing to guys around my age. Although Galloway definitely has his own wisdom and experience, similar to Joe Rogan I suspect that a crucial part of Galloway's appeal is that you feel you are learning right alongside him. Thankfully, 'Prof G' is far less err problematic than Rogan (Galloway is more of a well-meaning, spirited centrist), although he, too, has some pretty awful takes at time. This is a shame, because removed from the whirlwind of social media he can be really quite considered, such as in this long-form interview with Stephanie Ruhle. In fact, it is this kind of sentiment that he captured in his 2019 Algebra of Happiness. When I look over my highlighted sections, it's clear that it's rather schmaltzy out of context ("Things you hate become just inconveniences in the presence of people you love..."), but his one-two punch of cynicism and saccharine ("Ask somebody who purchased a home in 2007 if their 'American Dream' came true...") is weirdly effective, especially when he uses his own family experiences as part of his story:

A better proxy for your life isn't your first home, but your last. Where you draw your last breath is more meaningful, as it's a reflection of your success and, more important, the number of people who care about your well-being. Your first house signals the meaningful your future and possibility. Your last home signals the profound the people who love you. Where you die, and who is around you at the end, is a strong signal of your success or failure in life.

Nir Eyal's Indistractable, however, is a totally different kind of 'self-help' book. The important background story is that Eyal was the author of the widely-read Hooked which turned into a secular Bible of so-called 'addictive design'. (If you've ever been cornered by a techbro wielding a Wikipedia-thin knowledge of B. F. Skinner's behaviourist psychology and how it can get you to click 'Like' more often, it ultimately came from Hooked.) However, Eyal's latest effort is actually an extended mea culpa for his previous sin and he offers both high and low-level palliative advice on how to avoid falling for the tricks he so studiously espoused before. I suppose we should be thankful to capitalism for selling both cause and cure. Speaking of markets, there appears to be a growing appetite for books in this 'anti-distraction' category, and whilst I cannot claim to have done an exhausting study of this nascent field, Indistractable argues its points well without relying on accurate-but-dry "studies show..." or, worse, Gladwellian gotchas. My main criticism, however, would be that Eyal doesn't acknowledge the limits of a self-help approach to this problem; it seems that many of the issues he outlines are an inescapable part of the alienation in modern Western society, and the only way one can really avoid distraction is to move up the income ladder or move out to a 500-acre ranch.

FTP master This month I could increase my activities in NEW again and accepted 132 packages. Unfortunately I also had to reject 12 packages. The overall number of packages that got accepted was 374. Debian LTS This was my seventy-ninth month that I did some work for the Debian LTS initiative, started by Raphael Hertzog at Freexian. This month my all in all workload has been 26h. During that time I did LTS and normal security uploads of:

• [DSA 4823-1] influxdb security update for one CVE
• [DLA 2536-1] libsdl2 security update for nine CVEs

With the buster upload of highlight.js I could finish to fix CVE-2020-26237 in all releases. I also tried to fix one or the other CVE for golang packages, to be exact: golang-github-russellhaering-goxmldsig, golang-github-tidwall-match, golang-github-tidwall-gjson and golang-github-antchfx-xmlquery. The version in unstable is easily done by uploading a new upstream version after checking with ratt that all reverse-build-dependencies are still working. The next step will be to really upload all reverse-build-dependencies that need a new build. As the number of reverse-build-dependencies might be rather large, this needs to be done automatically somehow. The problem I am struggling with at the moment are packages that need to be rebuilt but the version in git already increased Another problem with golang packages are packages that are referenced by a Built-Using: line, but whose sources are not yet available on security-master. If this happens, the uploaded package will be automatically rejected. Unfortunately the rejection-email only contains the first missing package. So in order to reduce the hassle with such uploads, please send me the Built-Using:-line before the upload and I will import everything. In December/January this affected the uploads of influxdb and snapd. Last but not least I did some days of frontdesk duties. Debian ELTS This month was the thirty-first ELTS month. During my allocated time I uploaded:

• ELA-351-1 for sudo
• ELA-352-1 for dbus
• ELA-353-1 for libsdl2

Last but not least I did some days of frontdesk duties. Other stuff This month I uploaded new upstream versions of:

• osmo-hlr
• openbsc
• golang-github-russellhaering-goxmldsig
• golang-github-tidwall-match
• golang-github-briandowns-spinner
• golang-github-tidwall-gjson
• golang-github-antchfx-xmlquery
• golang-github-keltia-archive
• dmarc-cat

I improved packaging of:

• libctl
• golang-github-getlantern-hex
• golang-github-gokyle-fswatch
• golang-github-knqyf263-go-dep-parser
• golang-github-knqyf263-nested
• golang-github-muesli-crunchy
• golang-github-muesli-goprogressbar
• golang-github-xrash-smetrics
• golang-github-otiai10-copy
• golang-github-shurcool-httpgzip
• golang-github-shurcool-httpfs
• golang-github-toqueteos-webbrowser
• golang-gitlab-lupine-go-mimedb
• golang-github-apparentlymart-go-dump
• golang-github-hashicorp-go-slug
• golang-github-knqyf263-go-version
• golang-github-alecthomas-binary
• mpb
• meep
• golang-github-linkedin-goavro

The golang packages here are basically ones with a missing source upload. For whatever reason maintainers tend to forget about this

This is the subject of an interesting thread on the debian-devel mailing list. It started with ".. The current policy of hiding other versions of Debian is limiting the adoption of your OS by people like me.." It seems that this user managed to contact us developers and give us some important information how we can improve the user experience. The following discussion shows that all our users need non-free firmware to get their wireless network cards run. Do we provide such installation images for our users? Sure. We build them regularly, host them on our servers, we also sign the hash sum with our official signing key. But we hide them very well and still call them unofficial. Why? I would like to have a more positive name for those images. Ubuntu has the HWE (Hardware Enablement) kernel. Maybe Debian firmware enablement images? We should better promote the images that fits best for our users. BTW, the URL for all these useful images is https://cdimage.debian.org/cdimage/unofficial/non-free/images-including-firmware/ Since I'm not using the Debian installer or live image often, I thought my own installation tool would already do better. In FAI , I install the package firmware-linux-nonfree if I need some nonfree firmware. But it appears that this package does not depend on any WiFi firmware package. Oops. So, I've filed a bug report #980758 and propose to add another meta package that depends on a list of firmware packages for WiFi cards. I've now added a workaround to the FAIme service. You can now generate fully automated customized installation images including nonfree firmware for the stable and testing release. The stable release images can also use a newer kernel and firmware from backports. All other package are still from stable. Another useful image variant in my opinion. Debian FAIme

Just over 7 months ago, I blogged about extrepo, my answer to the "how do you safely install software on Debian without downloading random scripts off the Internet and running them as root" question. I also held a talk during the recent "MiniDebConf Online" that was held, well, online. The most important part of extrepo is "what can you install through it". If the number of available repositories is too low, there's really no reason to use it. So, I thought, let's look what we have after 7 months... To cut to the chase, there's a bunch of interesting content there, although not all of it has a "main" policy. Each of these can be enabled by installing extrepo, and then running extrepo enable <reponame>, where <reponame> is the name of the repository. Note that the list is not exhaustive, but I intend to show that even though we're nowhere near complete, extrepo is already quite useful in its current state:

Free software

• The debian_official, debian_backports, and debian_experimental repositories contain Debian's official, backports, and experimental repositories, respectively. These shouldn't have to be managed through extrepo, but then again it might be useful for someone, so I decided to just add them anyway. The config here uses the deb.debian.org alias for CDN-backed package mirrors.
• The belgium_eid repository contains the Belgian eID software. Obviously this is added, since I'm upstream for eID, and as such it was a large motivating factor for me to actually write extrepo in the first place.
• elastic: the elasticsearch software.
• Some repositories, such as dovecot, winehq and bareos contain upstream versions of their respective software. These two repositories contain software that is available in Debian, too; but their upstreams package their most recent release independently, and some people might prefer to run those instead.
• The sury, fai, and postgresql repositories, as well as a number of repositories such as openstack_rocky, openstack_train, haproxy-1.5 and haproxy-2.0 (there are more) contain more recent versions of software packaged in Debian already by the same maintainer of that package repository. For the sury repository, that is PHP; for the others, the name should give it away. The difference between these repositories and the ones above is that it is the official Debian maintainer for the same software who maintains the repository, which is not the case for the others.
• The vscodium repository contains the unencumbered version of Microsoft's Visual Studio Code; i.e., the codium version of Visual Studio Code is to code as the chromium browser is to chrome: it is a build of the same softare, but without the non-free bits that make code not entirely Free Software.
• While Debian ships with at least two browsers (Firefox and Chromium), additional browsers are available through extrepo, too. The iridiumbrowser repository contains a Chromium-based browser that focuses on privacy.
• Speaking of privacy, perhaps you might want to try out the torproject repository.
• For those who want to do Cloud Computing on Debian in ways that isn't covered by Openstack, there is a kubernetes repository that contains the Kubernetes stack, the as well as the google_cloud one containing the Google Cloud SDK.

Non-free software While these are available to be installed through extrepo, please note that non-free and contrib repositories are disabled by default. In order to enable these repositories, you must first enable them; this can be accomplished through /etc/extrepo/config.yaml.

• In case you don't care about freedom and want the official build of Visual Studio Code, the vscode repository contains it.
• While we're on the subject of Microsoft, there's also Microsoft Teams available in the msteams repository. And, hey, skype.
• For those who are not satisfied with the free browsers in Debian or any of the free repositories, there's opera and google_chrome.
• The docker-ce repository contains the official build of Docker CE. While this is the free "community edition" that should have free licenses, I could not find a licensing statement anywhere, and therefore I'm not 100% sure whether this repository is actually free software. For that reason, it is currently marked as a non-free one. Merge Requests for rectifying that from someone with more information on the actual licensing situation of Docker CE would be welcome...
• For gamers, there's Valve's steam repository.

Again, the above lists are not meant to be exhaustive. Special thanks go out to Russ Allbery, Kim Alvefur, Vincent Bernat, Nick Black, Arnaud Ferraris, Thorsten Glaser, Thomas Goirand, Juri Grabowski, Paolo Greppi, and Josh Triplett, for helping me build the current list of repositories. Is your favourite repository not listed? Create a configuration based on template.yaml, and file a merge request!

I have been a Puppet user for a couple of years now, first at work, and eventually for my personal servers and computers. Although it can have a steep learning curve, I find Puppet both nimble and very powerful. I also prefer it to Ansible for its speed and the agent-server model it uses. Sadly, Puppet Labs hasn't been the most supportive upstream and tends to move pretty fast. Major versions rarely last for a whole Debian Stable release and the upstream .deb packages are full of vendored libraries.¹ Since 2017, Apollon Oikonomopoulos has been the one doing most of the work on Puppet in Debian. Sadly, he's had less time for that lately and with Puppet 5 being deprecated in January 2021, Thomas Goirand, Utkarsh Gupta and I have been trying to package Puppet 6 in Debian for the last 6 months. With Puppet 6, the old ruby Puppet server using Passenger is not supported anymore and has been replaced by puppetserver, written in Clojure and running on the JVM. That's quite a large change and although puppetserver does reuse some of the Clojure libraries puppetdb (already in Debian) uses, packaging it meant quite a lot of work. Work in the Clojure team As part of my efforts to package puppetserver, I had the pleasure to join the Clojure team and learn a lot about the Clojure ecosystem. As I mentioned earlier, a lot of the Clojure dependencies needed for puppetserver were already in the archive. Unfortunately, when Apollon Oikonomopoulos packaged them, the leiningen build tool hadn't been packaged yet. This meant I had to rebuild a lot of packages, on top of packaging some new ones. Since then, thanks to the efforts of Elana Hashman, leiningen has been packaged and lets us run the upstream testsuites and create .jar artifacts closer to those upstream releases. During my work on puppetserver, I worked on the following packages:

List of packages

• backport9
• bidi-clojure
• clj-digest-clojure
• clj-helper
• clj-time-clojure
• clj-yaml-clojure
• cljx-clojure
• core-async-clojure
• core-cache-clojure
• core-match-clojure
• cpath-clojure
• crypto-equality-clojure
• crypto-random-clojure
• data-csv-clojure
• data-json-clojure
• data-priority-map-clojure
• java-classpath-clojure
• jnr-constants
• jnr-enxio
• jruby
• jruby-utils-clojure
• kitchensink-clojure
• lazymap-clojure
• liberator-clojure
• ordered-clojure
• pathetic-clojure
• potemkin-clojure
• prismatic-plumbing-clojure
• prismatic-schema-clojure
• puppetlabs-http-client-clojure
• puppetlabs-i18n-clojure
• puppetlabs-ring-middleware-clojure
• puppetserver
• raynes-fs-clojure
• riddley-clojure
• ring-basic-authentication-clojure
• ring-clojure
• ring-codec-clojure
• shell-utils-clojure
• ssl-utils-clojure
• test-check-clojure
• tools-analyzer-clojure
• tools-analyzer-jvm-clojure
• tools-cli-clojure
• tools-reader-clojure
• trapperkeeper-authorization-clojure
• trapperkeeper-clojure
• trapperkeeper-filesystem-watcher-clojure
• trapperkeeper-metrics-clojure
• trapperkeeper-scheduler-clojure
• trapperkeeper-webserver-jetty9-clojure
• url-clojure
• useful-clojure
• watchtower-clojure

If you want to learn more about packaging Clojure libraries and applications, I rewrote the Debian Clojure packaging tutorial and added a section about the quirks of using leiningen without a dedicated dh_lein tool. Work left to get puppetserver 6 in the archive Unfortunately, I was not able to finish the puppetserver 6 packaging work. It is thus unlikely it will make it in Debian Bullseye. If the issues described below are fixed, it would be possible to to package puppetserver in bullseye-backports though. So what's left? jruby Although I tried my best (kudos to Utkarsh Gupta and Thomas Goirand for the help), jruby in Debian is still broken. It does build properly, but the testsuite fails with multiple errors:

• ruby-psych is broken (#959571)
• there are some random java failures on a few tests (no clue why)
• tests ran by raklelib/rspec.rake fail to run, maybe because the --pattern command line option isn't compatible with our version of rake? Utkarsh seemed to know why this happens.

jruby testsuite failures aside, I have not been able to use the jruby.deb the package currently builds in jruby-utils-clojure (testsuite failure). I had the same exact failure with the (more broken) jruby version that is currently in the archive, which leads me to think this is a LOAD_PATH issue in jruby-utils-clojure. More on that below. To try to bypass these issues, I tried to vendor jruby into jruby-utils-clojure. At first I understood vendoring meant including upstream pre-built artifacts (jruby-complete.jar) and shipping them directly. After talking with people on the #debian-mentors and #debian-ftp IRC channels, I now understand why this isn't a good idea (and why it's not permitted in Debian). Many thanks to the people who were patient and kind enough to discuss this with me and give me alternatives. As far as I now understand it, vendoring in Debian means "to have an embedded copy of the source code in another package". Code shipped that way still needs to be built from source. This means we need to build jruby ourselves, one way or another. Vendoring jruby in another package thus isn't terribly helpful. If fixing jruby the proper way isn't possible, I would suggest trying to build the package using embedded code copies of the external libraries jruby needs to build, instead of trying to use the Debian libraries.² This should make it easier to replicate what upstream does and to have a final .jar that can be used. jruby-utils-clojure This package is a first-level dependency for puppetserver and is the glue between jruby and puppetserver. It builds fine, but the testsuite fails when using the Debian jruby package. I think the problem is caused by a jruby LOAD_PATH issue. The Debian jruby package plays with the LOAD_PATH a little to try use Debian packages instead of downloading gems from the web, as upstream jruby does. This seems to clash with the gem-home, gem-path, and jruby-load-path variables in the jruby-utils-clojure package. The testsuite plays around with these variables and some Ruby libraries can't be found. I tried to fix this, but failed. Using the upstream jruby-complete.jar instead of the Debian jruby package, the testsuite passes fine. This package could clearly be uploaded to NEW right now by ignoring the testsuite failures (we're just packaging static .clj source files in the proper location in a .jar). puppetserver jruby issues aside, packaging puppetserver itself is 80% done. Using the upstream jruby-complete.jar artifact, the testsuite fails with a weird Clojure error I'm not sure I understand, but I haven't debugged it for very long. Upstream uses git submodules to vendor puppet (agent), hiera (3), facter and puppet-resource-api for the testsuite to run properly. I haven't touched that, but I believe we can either:

• link to the Debian packages
• fix the Debian packages if they don't include the right files (maybe in a new binary package that just ships part of the source code?)

Without the testsuite actually running, it's hard to know what files are needed in those packages. What now Puppet 5 is now deprecated. If you or your organisation cares about Puppet in Debian,³ puppetserver really isn't far away from making it in the archive. Very talented Debian Developers are always eager to work on these issues and can be contracted for very reasonable rates. If you're interested in contracting someone to help iron out the last issues, don't hesitate to reach out via one of the following:

• the debian-puppet mailing list
• the debian-jobs mailing list
• the Debian Consultants index
• fossjobs.net

As for I, I'm happy to say I got a new contract and will go back to teaching Economics for the Winter 2021 session. I might help out with some general Debian packaging work from time to time, but it'll be as a hobby instead of a job. Thanks The work I did during the last 6 weeks would be not have been possible without the support of the Wikimedia Foundation, who were gracious enough to contract me. My particular thanks to Faidon Liambotis, Moritz M hlenhoff and John Bond. Many, many thanks to Rob Browning, Thomas Goirand, Elana Hashman, Utkarsh Gupta and Apollon Oikonomopoulos for their direct and indirect help, without which all of this wouldn't have been possible.

This is a follow-up from the blog post of Russel as seen here: https://etbe.coker.com.au/2020/10/13/first-try-gnocchi-statsd/. There s a bunch of things he wrote which I unfortunately must say is inaccurate, and sometimes even completely wrong. It is my point of view that none of the reported bugs are helpful for anyone that understand Gnocchi and how to set it up. It s however a terrible experience that Russell had, and I do understand why (and why it s not his fault). I m very much open on how to fix this on the packaging level, though some things aren t IMO fixable. Here s the details. 1/ The daemon startups First of all, the most surprising thing is when Russell claimed that there s no startup scripts for the Gnocchi daemons. In fact, they all come with both systemd and sysv-rc support: # ls /lib/systemd/system/gnocchi-api.service
/lib/systemd/system/gnocchi-api.service
# /etc/init.d/gnocchi-api
/etc/init.d/gnocchi-api Russell then tried to start gnocchi-api without the good options that are set in the Debian scripts, and not surprisingly, this failed. Russell attempted to do what was in the upstream doc, which isn t adapted to what we have in Debian (the upstream doc is probably completely outdated, as Gnocchi is unfortunately not very well maintained upstream). The bug #972087 is therefore, IMO not valid. 2/ The database setup By default for all things OpenStack in Debian, there are some debconf helpers using dbconfig-common to help users setup database for their services. This is clearly for beginners, but that doesn t prevent from attempting to understand what you re doing. That is, more specifically for Gnocchi, there are 2 databases: one for Gnocchi itself, and one for the indexer, which not necessarily is using the same backend. The Debian package already setups one database, but one has to do it manually for the indexer one. I m sorry this isn t well enough documented. Now, if some package are supporting sqlite as a backend (since most things in OpenStack are using SQLAlchemy), it looks like Gnocchi doesn t right now. This is IMO a bug upstream, rather than a bug in the package. However, I don t think the Debian packages are to be blame here, as they simply offer a unified interface, and it s up to the users to know what they are doing. SQLite is anyway not a production ready backend. I m not sure if I should close #971996 without any action, or just try to disable the SQLite backend option of this package because it may be confusing. 3/ The metrics UUID Russell then thinks the UUID should be set by default. This is probably right in a single server setup, however, this wouldn t work setting-up a cluster, which is probably what most Gnocchi users will do. In this type of environment, the metrics UUID must be the same on the 3 servers, and setting-up a random (and therefore different) UUID on the 3 servers wouldn t work. So I m also tempted to just close #972092 without any action on my side. 4/ The coordination URL Since Gnocchi is supposed to be setup with more than one server, as in OpenStack, having an HA setup is very common, then a backend for the coordination (ie: sharing the workload) must be set. This is done by setting an URL that tooz understand. The best coordinator being Zookeeper, something like this should be set by hand: coordination_url=zookeeper://192.168.101.2:2181/ Here again, I don t think the Debian package is to be blamed for not providing the automation. I would however accept contributions to fix this and provide the choice using debconf, however, users would still need to understand what s going on, and setup something like Zookeeper (or redis, memcache, or any other backend supported by tooz) to act as coordinator. 5/ The Debconf interface cannot replace a good documentation and there s not so much I can do at my package maintainer level for this. Russell, I m really sorry for the bad user experience you had with Gnocchi. Now that you know a little big more about it, maybe you can have another go? Sure, the OpenStack telemetry system isn t an easy to understand beast, but it s IMO worth trying. And the recent versions can scale horizontally

I ve been investigating the options for tracking system statistics to diagnose performance problems. The idea is to track all sorts of data about the system (network use, disk IO, CPU, etc) and look for correlations at times of performance problems. DataDog is pretty good for this but expensive, it s apparently based on or inspired by the Etsy Statsd. It s claimed that the gnocchi-statsd is the best implementation of the protoco used by the Etsy Statsd, so I decided to install that. I use Debian/Buster for this as that s what I m using for the hardware that runs KVM VMs. Here is what I did:

# it depends on a local MySQL database
apt -y install mariadb-server mariadb-client
# install the basic packages for gnocchi
apt -y install gnocchi-common python3-gnocchiclient gnocchi-statsd uuid

In the Debconf prompts I told it to setup a database and not to manage keystone_authtoken with debconf (because I m not doing a full OpenStack installation). This gave a non-working configuration as it didn t configure the MySQL database for the [indexer] section and the sqlite database that was configured didn t work for unknown reasons. I filed Debian bug #971996 about this [1]. To get this working you need to edit /etc/gnocchi/gnocchi.conf and change the url line in the [indexer] section to something like the following (where the password is taken from the [database] section).

url = mysql+pymysql://gnocchi-common:PASS@localhost:3306/gnocchidb

To get the statsd interface going you have to install the gnocchi-statsd package and edit /etc/gnocchi/gnocchi.conf to put a UUID in the resource_id field (the Debian package uuid is good for this). I filed Debian bug #972092 requesting that the UUID be set by default on install [2]. Here s an official page about how to operate Gnocchi [3]. The main thing I got from this was that the following commands need to be run from the command-line (I ran them as root in a VM for test purposes but would do so with minimum privs for a real deployment).

gnocchi-api
gnocchi-metricd

To communicate with Gnocchi you need the gnocchi-api program running, which uses the uwsgi program to provide the web interface by default. It seems that this was written for a version of uwsgi different than the one in Buster. I filed Debian bug #972087 with a patch to make it work with uwsgi [4]. Note that I didn t get to the stage of an end to end test, I just got it to basically run without error. After getting gnocchi-api running (in a terminal not as a daemon as Debian doesn t seem to have a service file for it), I ran the client program gnocchi and then gave it the status command which failed (presumably due to the metrics daemon not running), but at least indicated that the client and the API could communicate. Then I ran the gnocchi-metricd and got the following error:

2020-10-12 14:59:30,491 [9037] ERROR    gnocchi.cli.metricd: Unexpected error during processing job
Traceback (most recent call last):
  File "/usr/lib/python3/dist-packages/gnocchi/cli/metricd.py", line 87, in run
    self._run_job()
  File "/usr/lib/python3/dist-packages/gnocchi/cli/metricd.py", line 248, in _run_job
    self.coord.update_capabilities(self.GROUP_ID, self.store.statistics)
  File "/usr/lib/python3/dist-packages/tooz/coordination.py", line 592, in update_capabilities
    raise tooz.NotImplemented
tooz.NotImplemented

At this stage I ve had enough of gnocchi. I ll give the Etsy Statsd a go next. Update Thomas has responded to this post [5]. At this stage I m not really interested in giving Gnocchi another go. There s still the issue of the indexer database which should be different from the main database somehow and sqlite (the config file default) doesn t work. I expect that if I was to persist with Gnocchi I would encounter more poorly described error messages from the code which either don t have Google hits when I search for them or have Google hits to unanswered questions from 5+ years ago. The Gnocchi systemd config files are in different packages to the programs, this confused me and I thought that there weren t any systemd service files. I had expected that installing a package with a daemon binary would also get the systemd unit file to match. The cluster features of Gnocchi are probably really good if you need that sort of thing. But if you have a small instance (EG a single VM server) then it s not needed. Also one of the original design ideas of the Etsy Statsd was that UDP was used because data could just be dropped if there was a problem. I think for many situations the same concept could apply to the entire stats service. If the other statsd programs don t do what I need then I may give Gnocchi another go.

• [1] https://bugs.debian.org/cgi-bin/bugreport.cgi?bug=971996
• [2] https://bugs.debian.org/cgi-bin/bugreport.cgi?bug=972092
• [3] https://gnocchi.xyz/operating.html
• [4] https://bugs.debian.org/cgi-bin/bugreport.cgi?bug=972087
• [5] http://thomas.goirand.fr/blog/?p=379