Russ Allbery: Review: Going Postal
Series: | Discworld #33 |
Publisher: | Harper |
Copyright: | October 2004 |
Printing: | November 2014 |
ISBN: | 0-06-233497-2 |
Format: | Mass market |
Pages: | 471 |
Series: | Discworld #33 |
Publisher: | Harper |
Copyright: | October 2004 |
Printing: | November 2014 |
ISBN: | 0-06-233497-2 |
Format: | Mass market |
Pages: | 471 |
Package | bullseye/v11 | bookworm/v12 |
---|---|---|
ansible | 2.10.7 | 2.14.3 |
apache | 2.4.56 | 2.4.57 |
apt | 2.2.4 | 2.6.1 |
bash | 5.1 | 5.2.15 |
ceph | 14.2.21 | 16.2.11 |
docker | 20.10.5 | 20.10.24 |
dovecot | 2.3.13 | 2.3.19 |
dpkg | 1.20.12 | 1.21.22 |
emacs | 27.1 | 28.2 |
gcc | 10.2.1 | 12.2.0 |
git | 2.30.2 | 2.39.2 |
golang | 1.15 | 1.19 |
libc | 2.31 | 2.36 |
linux kernel | 5.10 | 6.1 |
llvm | 11.0 | 14.0 |
lxc | 4.0.6 | 5.0.2 |
mariadb | 10.5 | 10.11 |
nginx | 1.18.0 | 1.22.1 |
nodejs | 12.22 | 18.13 |
openjdk | 11.0.18 + 17.0.6 | 17.0.6 |
openssh | 8.4p1 | 9.2p1 |
openssl | 1.1.1n | 3.0.8-1 |
perl | 5.32.1 | 5.36.0 |
php | 7.4+76 | 8.2+93 |
podman | 3.0.1 | 4.3.1 |
postfix | 3.5.18 | 3.7.5 |
postgres | 13 | 15 |
puppet | 5.5.22 | 7.23.0 |
python2 | 2.7.18 | (gone!) |
python3 | 3.9.2 | 3.11.2 |
qemu/kvm | 5.2 | 7.2 |
ruby | 2.7+2 | 3.1 |
rust | 1.48.0 | 1.63.0 |
samba | 4.13.13 | 4.17.8 |
systemd | 247.3 | 252.6 |
unattended-upgrades | 2.8 | 2.9.1 |
util-linux | 2.36.1 | 2.38.1 |
vagrant | 2.2.14 | 2.3.4 |
vim | 8.2.2434 | 9.0.1378 |
zsh | 5.8 | 5.9 |
--fsync
: fsync every written file--old-dirs
: works like dirs when talking to old rsync--old-args
: disable the modern arg-protection idiom--secluded-args, -s
: use the protocol to safely send the args (replaces protect-args option)--trust-sender
: trust the remote sender s file listBarbie No, seriously! If anyone can make a good film about a doll franchise, it's probably Greta Gerwig. Not only was Little Women (2019) more than admirable, the same could be definitely said for Lady Bird (2017). More importantly, I can't help feel she was the real 'Driver' behind Frances Ha (2012), one of the better modern takes on Claudia Weill's revelatory Girlfriends (1978). Still, whenever I remember that Barbie will be a film about a billion-dollar toy and media franchise with a nettlesome history, I recall I rubbished the "Facebook film" that turned into The Social Network (2010). Anyway, the trailer for Barbie is worth watching, if only because it seems like a parody of itself.
Blitz It's difficult to overstate just how important the aerial bombing of London during World War II is crucial to understanding the British psyche, despite it being a constructed phenomenon from the outset. Without wishing to underplay the deaths of over 40,000 civilian deaths, Angus Calder pointed out in the 1990s that the modern mythology surrounding the event "did not evolve spontaneously; it was a propaganda construct directed as much at [then neutral] American opinion as at British." It will therefore be interesting to see how British Grenadian Trinidadian director Steve McQueen addresses a topic so essential to the British self-conception. (Remember the controversy in right-wing circles about the sole Indian soldier in Christopher Nolan's Dunkirk (2017)?) McQueen is perhaps best known for his 12 Years a Slave (2013), but he recently directed a six-part film anthology for the BBC which addressed the realities of post-Empire immigration to Britain, and this leads me to suspect he sees the Blitz and its surrounding mythology with a more critical perspective. But any attempt to complicate the story of World War II will be vigorously opposed in a way that will make the recent hullabaloo surrounding The Crown seem tame. All this is to say that the discourse surrounding this release may be as interesting as the film itself.
Dune, Part II Coming out of the cinema after the first part of Denis Vileneve's adaptation of Dune (2021), I was struck by the conception that it was less of a fresh adaptation of the 1965 novel by Frank Herbert than an attempt to rehabilitate David Lynch's 1984 version and in a broader sense, it was also an attempt to reestablish the primacy of cinema over streaming TV and the myriad of other distractions in our lives. I must admit I'm not a huge fan of the original novel, finding within it a certain prurience regarding hereditary military regimes and writing about them with a certain sense of glee that belies a secret admiration for them... not to mention an eyebrow-raising allegory for the Middle East. Still, Dune, Part II is going to be a fantastic spectacle.
Ferrari It'll be curious to see how this differs substantially from the recent Ford v Ferrari (2019), but given that Michael Mann's Heat (1995) so effectively re-energised the gangster/heist genre, I'm more than willing to kick the tires of this about the founder of the eponymous car manufacturer. I'm in the minority for preferring Mann's Thief (1981) over Heat, in part because the former deals in more abstract themes, so I'd have perhaps prefered to look forward to a more conceptual film from Mann over a story about one specific guy.
How Do You Live There are a few directors one can look forward to watching almost without qualification, and Hayao Miyazaki (My Neighbor Totoro, Kiki's Delivery Service, Princess Mononoke Howl's Moving Castle, etc.) is one of them. And this is especially so given that The Wind Rises (2013) was meant to be the last collaboration between Miyazaki and Studio Ghibli. Let's hope he is able to come out of retirement in another ten years.
Indiana Jones and the Dial of Destiny Given I had a strong dislike of Indiana Jones and the Kingdom of the Crystal Skull (2008), I seriously doubt I will enjoy anything this film has to show me, but with 1981's Raiders of the Lost Ark remaining one of my most treasured films (read my brief homage), I still feel a strong sense of obligation towards the Indiana Jones name, despite it feeling like the copper is being pulled out of the walls of this franchise today.
Kafka I only know Polish filmmaker Agnieszka Holland through her Spoor (2017), an adaptation of Olga Tokarczuk's 2009 eco-crime novel Drive Your Plow Over the Bones of the Dead. I wasn't an unqualified fan of Spoor (nor the book on which it is based), but I am interested in Holland's take on the life of Czech author Franz Kafka, an author enmeshed with twentieth-century art and philosophy, especially that of central Europe. Holland has mentioned she intends to tell the story "as a kind of collage," and I can hope that it is an adventurous take on the over-furrowed biopic genre. Or perhaps Gregor Samsa will awake from uneasy dreams to find himself transformed in his bed into a huge verminous biopic.
The Killer It'll be interesting to see what path David Fincher is taking today, especially after his puzzling and strangely cold Mank (2020) portraying the writing process behind Orson Welles' Citizen Kane (1941). The Killer is said to be a straight-to-Netflix thriller based on the graphic novel about a hired assassin, which makes me think of Fincher's Zodiac (2007), and, of course, Se7en (1995). I'm not as entranced by Fincher as I used to be, but any film with Michael Fassbender and Tilda Swinton (with a score by Trent Reznor) is always going to get my attention.
Killers of the Flower Moon In Killers of the Flower Moon, Martin Scorsese directs an adaptation of a book about the FBI's investigation into a conspiracy to murder Osage tribe members in the early years of the twentieth century in order to deprive them of their oil-rich land. (The only thing more quintessentially American than apple pie is a conspiracy combined with a genocide.) Separate from learning more about this disquieting chapter of American history, I'd love to discover what attracted Scorsese to this particular story: he's one of the few top-level directors who have the ability to lucidly articulate their intentions and motivations.
Napoleon It often strikes me that, despite all of his achievements and fame, it's somehow still possible to claim that Ridley Scott is relatively underrated compared to other directors working at the top level today. Besides that, though, I'm especially interested in this film, not least of all because I just read Tolstoy's War and Peace (read my recent review) and am working my way through the mind-boggling 431-minute Soviet TV adaptation, but also because several auteur filmmakers (including Stanley Kubrick) have tried to make a Napoleon epic and failed.
Oppenheimer In a way, a biopic about the scientist responsible for the atomic bomb and the Manhattan Project seems almost perfect material for Christopher Nolan. He can certainly rely on stars to queue up to be in his movies (Robert Downey Jr., Matt Damon, Kenneth Branagh, etc.), but whilst I'm certain it will be entertaining on many fronts, I fear it will fall into the well-established Nolan mould of yet another single man struggling with obsession, deception and guilt who is trying in vain to balance order and chaos in the world.
The Way of the Wind Marked by philosophical and spiritual overtones, all of Terrence Malick's films are perfumed with themes of transcendence, nature and the inevitable conflict between instinct and reason. My particular favourite is his stunning Days of Heaven (1978), but The Thin Red Line (1998) and A Hidden Life (2019) also touched me ways difficult to relate, and are one of the few films about the Second World War that don't touch off my sensitivity about them (see my remarks about Blitz above). It is therefore somewhat Malickian that his next film will be a biblical drama about the life of Jesus. Given Malick's filmography, I suspect this will be far more subdued than William Wyler's 1959 Ben-Hur and significantly more equivocal in its conviction compared to Paolo Pasolini's ardently progressive The Gospel According to St. Matthew (1964). However, little beyond that can be guessed, and the film may not even appear until 2024 or even 2025.
Zone of Interest I was mesmerised by Jonathan Glazer's Under the Skin (2013), and there is much to admire in his borderline 'revisionist gangster' film Sexy Beast (2000), so I will definitely be on the lookout for this one. The only thing making me hesitate is that Zone of Interest is based on a book by Martin Amis about a romance set inside the Auschwitz concentration camp. I haven't read the book, but Amis has something of a history in his grappling with the history of the twentieth century, and he seems to do it in a way that never sits right with me. But if Paul Verhoeven's Starship Troopers (1997) proves anything at all, it's all in the adaption.
Afropean: Notes from Black Europe (2019) Johny Pitts Johny Pitts is a photographer and writer who lives in the north of England who set out to explore "black Europe from the street up" those districts within European cities that, although they were once 'white spaces' in the past, they are now occupied by Black people. Unhappy with the framing of the Black experience back home in post-industrial Sheffield, Pitts decided to become a nomad and goes abroad to seek out the sense of belonging he cannot find in post-Brexit Britain, and Afropean details his journey through Paris, Brussels, Lisbon, Berlin, Stockholm and Moscow. However, Pitts isn't just avoiding the polarisation and structural racism embedded in contemporary British life. Rather, he is seeking a kind of super-national community that transcends the reductive and limiting nationalisms of all European countries, most of which have based their national story on a self-serving mix of nostalgia and postcolonial fairy tales. Indeed, the term 'Afropean' is the key to understanding the goal of this captivating memoir. Pitts writes at the beginning of this book that the word wasn't driven only as a response to the crude nativisms of Nigel Farage and Marine Le Pen, but that it:
encouraged me to think of myself as whole and unhyphenated. [ ] Here was a space where blackness was taking part in shaping European identity at large. It suggested the possibility of living in and with more than one idea: Africa and Europe, or, by extension, the Global South and the West, without being mixed-this, half-that or black-other. That being black in Europe didn t necessarily mean being an immigrant.In search of this whole new theory of home, Pitts travels to the infamous banlieue of Clichy-sous-Bois just to the East of Paris, thence to Matong in Brussels, as well as a quick and abortive trip into Moscow and other parallel communities throughout the continent. In these disparate environs, Pitts strikes up countless conversations with regular folk in order to hear their quotidian stories of living, and ultimately to move away from the idea that Black history is defined exclusively by slavery. Indeed, to Pitts, the idea of race is one that ultimately restricts one's humanity; the concept "is often forced to embody and speak for certain ideas, despite the fact it can't ever hold in both hands the full spectrum of a human life and the cultural nuances it creates." It's difficult to do justice to the effectiveness of the conversations Pitts has throughout his travels, but his shrewd attention to demeanour, language, raiment and expression vividly brings alive the people he talks to. Of related interest to fellow Brits as well are the many astute observations and comparisons with Black and working-class British life. The tone shifts quite often throughout this book. There might be an amusing aside one minute, such as the portrait of an African American tourist in Paris to whom "the whole city was a film set, with even its homeless people appearing to him as something oddly picturesque." But the register abruptly changes when he visits Clichy-sous-Bois on an anniversary of important to the area, and an element of genuine danger is introduced when Johny briefly visits Moscow and barely gets out alive. What's especially remarkable about this book is there is a freshness to Pitt s treatment of many well-worn subjects. This can be seen in his account of Belgium under the reign of Leopold II, the history of Portuguese colonialism (actually mostly unknown to me), as well in the way Pitts' own attitude to contemporary anti-fascist movements changes throughout an Antifa march. This chapter was an especial delight, and not only because it underlined just how much of Johny's trip was an inner journey of an author willing have his mind changed. Although Johny travels alone throughout his journey, in the second half of the book, Pitts becomes increasingly accompanied by a number of Black intellectuals by the selective citing of Frantz Fanon and James Baldwin and Caryl Phillips. (Nevertheless, Jonny has also brought his camera for the journey as well, adding a personal touch to this already highly-intimate book.) I suspect that his increasing exercise of Black intellectual writing in the latter half of the book may be because Pitts' hopes about 'Afropean' existence ever becoming a reality are continually dashed and undercut. The unity among potential Afropeans appears more-and-more unrealisable as the narrative unfolds, the various reasons of which Johny explores both prosaically and poetically. Indeed, by the end of the book, it's unclear whether Johny has managed to find what he left the shores of England to find. But his mix of history, sociology and observation of other cultures right on my doorstep was something of a revelation to me.
Orwell's Roses (2021) Rebecca Solnit Orwell s Roses is an alternative journey through the life and afterlife of George Orwell, reimaging his life primarily through the lens of his attentiveness to nature. Yet this framing of the book as an 'alternative' history is only revisionist if we compare it to the usual view of Orwell as a bastion of 'free speech' and English 'common sense' the roses of the title of this book were very much planted by Orwell in his Hertfordshire garden in 1936, and his yearning of nature one was one of the many constants throughout his life. Indeed, Orwell wrote about wildlife and outdoor life whenever he could get away with it, taking pleasure in a blackbird's song and waxing nostalgically about the English countryside in his 1939 novel Coming Up for Air (reviewed yesterday). Solnit has a particular ability to evince unexpected connections between Orwell and the things he was writing about: Joseph Stalin's obsession with forcing lemons to grow in ludicrously cold climates; Orwell s slave-owning ancestors in Jamaica; Jamaica Kincaid's critique of colonialism in the flower garden; and the exploitative rose industry in Colombia that supplies the American market. Solnit introduces all of these new correspondences in a voice that feels like a breath of fresh air after decades of stodgy Orwellania, and without lapsing into a kind of verbal soft-focus. Indeed, the book displays a marked indifference towards the usual (male-centric) Orwell fandom. Her book draws to a close with a rereading of the 'dystopian' Nineteen Eighty-Four that completes her touching portrait of a more optimistic and hopeful Orwell, as well as a reflection on beauty and a manifesto for experiencing joy as an act of resistance.
The Disaster Artist (2013) Greg Sestero & Tom Bissell For those not already in the know, The Room was a 2003 film by director-producer-writer-actor Tommy Wiseau, an inscrutable Polish immigr with an impenetrable background, an idiosyncratic choice of wardrobe and a mysterious large source of income. The film, which centres on a melodramatic love triangle, has since been described by several commentators and publications as one of the worst films ever made. Tommy's production completely bombed at the so-called 'box office' (the release was actually funded entirely by Wiseau personally), but the film slowly became a favourite at cult cinema screenings. Given Tommy's prominent and central role in the film, there was always an inherent cruelty involved in indulging in the spectacle of The Room the audience was laughing because the film was astonishingly bad, of course, but Wiseau infused his film with sincere earnestness that in a heartless twist of irony may be precisely why it is so terrible to begin with. Indeed, it should be stressed that The Room is not simply a 'bad' film, and therefore not worth paying any attention to: it is uncannily bad in a way that makes it eerily compelling to watch. It unintentionally subverts all the rules of filmmaking in a way that captivates the attention. Take this representative example: This thirty-six-second scene showcases almost every problem in The Room: the acting, the lighting, the sound design, the pacing, the dialogue and that this unnecessary scene (which does not advance the plot) even exists in the first place. One problem that the above clip doesn't capture, however, is Tommy's vulnerable ego. (He would later make the potentially conflicting claims that The Room was both an ironic cult success and that he is okay with people interpreting it sincerely). Indeed, the filmmaker's central role as Johnny (along with his Willy-Wonka meets Dracula persona) doesn't strike viewers as yet another vanity project, it actually asks more questions than it answers. Why did Tommy even make this film? What is driving him psychologically? And why and how? is he so spellbinding? On the surface, then, 2013's The Disaster Artist is a book about the making of one the strangest films ever made, written by The Room's co-star Greg Sestero and journalist Tom Bissell. Naturally, you learn some jaw-dropping facts about the production and inspiration of the film, the seed of which was planted when Greg and Tommy went to see an early screening of The Talented Mr Ripley (1999). It turns out that Greg's character in The Room is based on Tommy's idiosyncratic misinterpretation of its plot, extending even to the character's name Mark who, in textbook Tommy style, was taken directly (or at least Tommy believed) from one of Ripley's movie stars: "Mark Damon" [sic]. Almost as absorbing as The Room itself, The Disaster Artist is partly a memoir about Thomas P. Wiseau and his cinematic masterpiece. But it could also be described as a biography about a dysfunctional male relationship and, almost certainly entirely unconsciously, a text about the limitations of hetronormativity. It is this latter element that struck me the most whilst reading this book: if you take a step back for a moment, there is something uniquely sad about Tommy's inability to connect with others, and then, when Wiseau poured his soul into his film people just laughed. Despite the stories about his atrocious behaviour both on and off the film set, there's something deeply tragic about the whole affair. Jean-Luc Godard, who passed away earlier this year, once observed that every fictional film is a documentary of its actors. The Disaster Artist shows that this well-worn aphorism doesn't begin to cover it.
Mona (2021) Pola Oloixarac Mona is the story of a young woman who has just been nominated for the 'most important literary award in Europe'. Mona sees the nomination as a chance to escape her substance abuse on a Californian campus and so speedily decamps to the small village in the depths of Sweden where the nominees must convene for a week before the overall winner is announced. Mona didn't disappear merely to avoid pharmacological misadventures, though, but also to avoid the growing realisation that she is being treated as something of an anthropological curiosity at her university: a female writer of colour treasured for her flourish of exotic diversity that reflects well upon her department. But Mona is now stuck in the company of her literary competitors who all have now gathered from around the world in order to do what writers do: harbour private resentments, exchange empty flattery, embody the selfsame racialised stereotypes that Mona left the United States to avoid, stab rivals in the back, drink too much, and, of course, go to bed together. But as I read Mona, I slowly started to realise that something else is going on. Why does Mona keep finding traces of violence on her body, the origins of which she cannot or refuses to remember? There is something eerily defensive about her behaviour and sardonic demeanour in general as well. A genre-bending and mind-expanding novel unfolded itself, and, without getting into spoiler territory, Mona concludes with such a surprising ending that, according to Adam Thirlwell:
Perhaps we need to rethink what is meant by a gimmick. If a gimmick is anything that we want to reject as extra or excessive or ill-fitting, then it may be important to ask what inhibitions or arbitrary conventions have made it seem like excess, and to revel in the exorbitant fictional constructions it produces. [...]Mona is a savage satire of the literary world, but it's also a very disturbing exploration of trauma and violence. The success of the book comes in equal measure from the author's commitment to both ideas, but also from the way the psychological damage component creeps up on you. And, as implied above, the last ten pages are quite literally out of this world.
My Brilliant Friend (2011)
The Story of a New Name (2012)
Those Who Leave and Those Who Stay (2013)
The Story of the Lost Child (2014)
Elena Ferrante
Elena Ferrante's Neopolitan Quartet follows two girls, both brilliant in their own way. Our protagonist-narrator is Elena, a studious girl from the lower rungs of the middle class of Naples who is inspired to be more by her childhood friend, Lila. Lila is, in turn, far more restricted by her poverty and class, but can transcend it at times through her fiery nature, which also brands her as somewhat unique within their inward-looking community. The four books follow the two girls from the perspective of Elena as they grow up together in post-war Italy, where they drift in-and-out of each other's lives due to the vicissitudes of change and the consequences of choice. All the time this is unfolding, however, the narrative is very always slightly charged by the background knowledge revealed on the very first page that Lila will, many years later, disappear from Elena's life.
Whilst the quartet has the formal properties of a bildungsroman, its subject and conception are almost entirely different. In particular, the books are driven far more by character and incident than spectacular adventures in picturesque Italy. In fact, quite the opposite takes place: these are four books where ordinary-seeming occurrences take on an unexpected radiance against a background of poverty, ignorance, violence and other threats, often bringing to mind the films of the Italian neorealism movement. Brilliantly rendered from beginning to end, Ferrante has a seemingly studious eye for interpreting interactions and the psychology of adolescence and friendship. Some utterances indeed, perhaps even some glances are dissected at length over multiple pages, something that Vittorio De Sica's classic Bicycle Thieves (1948) could never do.
Potential readers should not take any notice of the saccharine cover illustrations on most editions of the books. The quartet could even win an award for the most misleading artwork, potentially rivalling even Vladimir Nabokov's Lolita. I wouldn't be at all surprised if it is revealed that the drippy illustrations and syrupy blurbs ("a rich, intense and generous-hearted story ") turn out to be part of a larger metatextual game that Ferrante is playing with her readers. This idiosyncratic view of mine is partially supported by the fact that each of the four books has been given a misleading title, the true ambiguity of which often only becomes clear as each of the four books comes into sharper focus.
Readers of the quartet often fall into debating which is the best of the four. I've heard from more than one reader that one has 'too much Italian politics' and another doesn't have enough 'classic' Lina moments. The first book then possesses the twin advantages of both establishing the environs and finishing with a breathtaking ending that is both satisfying and a cliffhanger as well but does this make it 'the best'? I prefer to liken the quartet more like the different seasons of The Wire (2002-2008) where, personal favourites and preferences aside, although each season is undoubtedly unique, it would take a certain kind of narrow-minded view of art to make the claim that, say, series one of The Wire is 'the best' or that the season that focuses on the Baltimore docks 'is boring'. Not to sound like a neo-Wagnerian, but each of them adds to final result in its own. That is to say, both The Wire and the Neopolitan Quartet achieve the rare feat of making the magisterial simultaneously intimate.
Out There: Stories (2022) Kate Folk Out There is a riveting collection of disturbing short stories by first-time author Kate Fork. The title story first appeared in the New Yorker in early 2020 imagines a near-future setting where a group of uncannily handsome artificial men called 'blots' have arrived on the San Francisco dating scene with the secret mission of sleeping with women, before stealing their personal data from their laptops and phones and then (quite literally) evaporating into thin air. Folk's satirical style is not at all didactic, so it rarely feels like she is making her points in a pedantic manner. But it's clear that the narrator of Out There is recounting her frustration with online dating. in a way that will resonate with anyone who s spent time with dating apps or indeed the contemporary hyper-centralised platform-based internet in general. Part social satire, part ghost story and part comic tales, the blurring of the lines between these factors is only one of the things that makes these stories so compelling. But whilst Folk constructs crazy scenarios and intentionally strange worlds, she also manages to also populate them with characters that feel real and genuinely sympathetic. Indeed, I challenge you not to feel some empathy for the 'blot' in the companion story Big Sur which concludes the collection, and it complicates any primary-coloured view of the dating world of consisting entirely of predatory men. And all of this is leavened with a few stories that are just plain surreal. I don't know what the deal is with Dating a Somnambulist (available online on Hobart Pulp), but I know that I like it.
Solaris (1961) Stanislaw Lem When Kelvin arrives at the planet Solaris to study the strange ocean that covers its surface, instead of finding an entirely physical scientific phenomenon, he soon discovers a previously unconscious memory embodied in the physical manifestation of a long-dead lover. The other scientists on the space station slowly reveal that they are also plagued with their own repressed corporeal memories. Many theories are put forward as to why all this is occuring, including the idea that Solaris is a massive brain that creates these incarnate memories. Yet if that is the case, the planet's purpose in doing so is entirely unknown, forcing the scientists to shift focus and wonder whether they can truly understand the universe without first understanding what lies within their own minds and in their desires. This would be an interesting outline for any good science fiction book, but one of the great strengths of Solaris is not only that it withholds from the reader why the planet is doing anything it does, but the book is so forcefully didactic in its dislike of the hubris, destructiveness and colonial thinking that can accompany scientific exploration. In one of its most vitriolic passages, Lem's own anger might be reaching out to the reader:
We are humanitarian and chivalrous; we don t want to enslave other races, we simply want to bequeath them our values and take over their heritage in exchange. We think of ourselves as the Knights of the Holy Contact. This is another lie. We are only seeking Man. We have no need of other worlds. We need mirrors. We don t know what to do with other worlds. A single world, our own, suffices us; but we can t accept it for what it is. We are searching for an ideal image of our own world: we go in quest of a planet, of a civilisation superior to our own, but developed on the basis of a prototype of our primaeval past. At the same time, there is something inside us that we don t like to face up to, from which we try to protect ourselves, but which nevertheless remains since we don t leave Earth in a state of primal innocence. We arrive here as we are in reality, and when the page is turned, and that reality is revealed to us that part of our reality that we would prefer to pass over in silence then we don t like it anymore.An overwhelming preoccupation with this idea infuses Solaris, and it turns out to be a common theme in a lot of Lem's work of this period, such as in his 1959 'anti-police procedural' The Investigation. Perhaps it not a dislike of exploration in general or the modern scientific method in particular, but rather a savage critique of the arrogance and self-assuredness that accompanies most forms of scientific positivism, or at least pursuits that cloak themselves under the guise of being a laudatory 'scientific' pursuit:
Man has gone out to explore other worlds and other civilizations without having explored his own labyrinth of dark passages and secret chambers and without finding what lies behind doorways that he himself has sealed.I doubt I need to cite specific instances of contemporary scientific pursuits that might meet Lem's punishing eye today, and the fact that his critique works both in 2022 and 1961 perhaps tells us more about the human condition than we'd care to know. Another striking thing about Solaris isn't just the specific Star Trek and Stargate SG-1 episodes that I retrospectively realised were purloined from the book, but that almost the entire register of Star Trek: The Next Generation in particular seems to be rehearsed here. That is to say, TNG presents itself as hard and fact-based 'sci-fi' on the surface, but, at its core, there are often human, existential and sometimes quite enormously emotionally devastating human themes being discussed such as memory, loss and grief. To take one example from many, the painful memories that the planet Solaris physically materialises in effect asks us to seriously consider what it actually is taking place when we 'love' another person: is it merely another 'mirror' of ourselves? (And, if that is the case, is that... bad?) It would be ahistorical to claim that all popular science fiction today can be found rehearsed in Solaris, but perhaps it isn't too much of a stretch:
[Solaris] renders unnecessary any more alien stories. Nothing further can be said on this topic ...] Possibly, it can be said that when one feels the urge for such a thing, one should simply reread Solaris and learn its lessons again. Kim Stanley Robinson [...]I could go on praising this book for quite some time; perhaps by discussing the extreme framing devices used within the book at one point, the book diverges into a lengthy bibliography of fictional books-within-the-book, each encapsulating a different theory about what the mechanics and/or function of Solaris is, thereby demonstrating that 'Solaris studies' as it is called within the world of the book has been going on for years with no tangible results, which actually leads to extreme embarrassment and then a deliberate and willful blindness to the 'Solaris problem' on the part of the book's scientific community. But I'll leave it all here before this review gets too long... Highly recommended, and a likely reread in 2023.
Brokeback Mountain (1997) Annie Proulx Brokeback Mountain began as a short story by American author Annie Proulx which appeared in the New Yorker in 1997, although it is now more famous for the 2005 film adaptation directed by Taiwanese filmmaker Ang Lee. Both versions follow two young men who are hired for the summer to look after sheep at a range under the 'Brokeback' mountain in Wyoming. Unexpectedly, however, they form an intense emotional and sexual attachment, yet life intervenes and demands they part ways at the end of the summer. Over the next twenty years, though, as their individual lives play out with marriages, children and jobs, they continue reuniting for brief albeit secret liaisons on camping trips in remote settings. There's no feigned shyness or self-importance in Brokeback Mountain, just a close, compassionate and brutally honest observation of a doomed relationship and a bone-deep feeling for the hardscrabble life in the post-War West. To my mind, very few books have captured so acutely the desolation of a frustrated and repressed passion, as well as the particular flavour of undirected anger that can accompany this kind of yearning. That the original novella does all this in such a beautiful way (and without the crutch of the Wyoming landscape to look at ) is a tribute to Proulx's skills as a writer. Indeed, even without the devasting emotional undertones, Proulx's descriptions of the mountains and scree of the West is likely worth the read alone.
Luster (2020) Raven Leilani Edie is a young Black woman living in New York whose life seems to be spiralling out of control. She isn't good at making friends, her career is going nowhere, and she has no close family to speak of as well. She is, thus, your typical NYC millennial today, albeit seen through a lens of Blackness that complicates any reductive view of her privilege or minority status. A representative paragraph might communicate the simmering tone:
Before I start work, I browse through some photos of friends who are doing better than me, then an article on a black teenager who was killed on 115th for holding a weapon later identified as a showerhead, then an article on a black woman who was killed on the Grand Concourse for holding a weapon later identified as a cell phone, then I drown myself in the comments section and do some online shopping, by which I mean I put four dresses in my cart as a strictly theoretical exercise and then let the page expire.She starts a sort-of affair with an older white man who has an affluent lifestyle in nearby New Jersey. Eric or so he claims has agreed upon an 'open relationship' with his wife, but Edie is far too inappropriate and disinhibited to respect any boundaries that Eric sets for her, and so Edie soon becomes deeply entangled in Eric's family life. It soon turns out that Eric and his wife have a twelve-year-old adopted daughter, Akila, who is also wait for it Black. Akila has been with Eric's family for two years now and they aren t exactly coping well together. They don t even know how to help her to manage her own hair, let alone deal with structural racism. Yet despite how dark the book's general demeanour is, there are faint glimmers of redemption here and there. Realistic almost to the end, Edie might finally realise what s important in her life, but it would be a stretch to say that she achieves them by the final page. Although the book is full of acerbic remarks on almost any topic (Dogs: "We made them needy and physically unfit. They used to be wolves, now they are pugs with asthma."), it is the comments on contemporary race relations that are most critically insightful. Indeed, unsentimental, incisive and funny, Luster had much of what I like in Colson Whitehead's books at times, but I can't remember a book so frantically fast-paced as this since the Booker-prize winning The Sellout by Paul Beatty or Sam Tallent's Running the Light.
Heart of Darkness (1899) Joseph Conrad Heart of Darkness tells the story of Charles Marlow, a sailor who accepts an assignment from a Belgian trading company as a ferry-boat captain in the African interior, and the novella is widely regarded as a critique of European colonial rule in Africa. Loosely remade by Francis Ford Coppola as Apocalypse Now (1979), I started this book with the distinct possibility that this superb film adaptation would, for a rare treat, be 'better than the book'. However, Conrad demolished this idea of mine within two chapters, yet also elevated the film to a new level as well. This was chiefly due to how observant Conrad was of the universals that make up human nature. Some of his insight pertains to the barbarism of the colonialists, of course, but Conrad applies his shrewd acuity to the at the smaller level as well. Some of these quotes are justly famous: Ah! but it was something to have at least a choice of nightmares, for example, as well as the reference to a fastidiously turned-out colonial administrator who, with unimaginable horrors occurring mere yards from his tent, we learn he was devoted to his books, which were in applepie order . (It seems to me to be deliberately unclear whether his devotion arises from gross inhumanity, utter denial or some combination of the two.) Oh, and there's a favourite moment of mine when a character remarks that It was very fine for a time, but after a bit I did get tired of resting. Tired of resting! Yes, it's difficult to now say something original about a many-layered classic such as this, especially one that has analysed from so many angles already; from a literary perspective at first, of course, but much later from a critical postcolonial perspective, such as in Chinua Achebe's noted 1975 lecture, An Image of Africa. Indeed, the history of criticism in the twentieth century of Heart of Darkness must surely parallel the social and political developments in the Western world. (On a highly related note, the much-cited non-fiction book King Leopold's Ghost is on my reading list for 2022.) I will therefore limit myself to saying that the boat physically falling apart as it journeys deeper into the Congo may be intended to represent that our idea of 'Western civilisation' ceases to function, both morally as well as physically, in this remote environment. And, whilst I'm probably not the first to notice the potential ambiguity, when Marlow lies to Kurtz's 'Intended [wife]' in the closing section in order to save her from being exposed to the truth about Kurtz (surely a metaphor about the ignorance of the West whilst also possibly incorporating some comment on gender?), the Intended replies: I knew it. For me, though, it is not beyond doubt that what the Intended 'knows' is that she knew that Marlow would lie to her: in other words, that the alleged ignorance of everyday folk in the colonial homeland is studied and deliberate. Compact and fairly easy-to-read, it is clear that Heart of Darkness rewards even the most rudimentary analysis.
Rebecca (1938) Daphne du Maurier Daphne du Maurier creates in Rebecca a credible and suffocating atmosphere in the shape of Manderley, a grand English mansion owned by aristocratic widower Maxim de Winter. Our unnamed narrator (a young woman seemingly na ve in the ways of the world) meets Max in Monte Carlo, and she soon becomes the second Mrs. de Winter. The tale takes a turn to the 'gothic', though, when it becomes apparent that the unemotional Max, as well as potentially Manderley itself, appears to be haunted by the memory of his late first wife, the titular Rebecca. Still, Rebecca is less of a story about supernatural ghosts than one about the things that can haunt our minds. For Max, this might be something around guilt; for our narrator, the class-centered fear that she will never fit in. Besides, Rebecca doesn't need an actual ghost when you have Manderley's overbearing housekeeper, Mrs Danvers, surely one of the creepiest characters in all of fiction. Either way, the conflict of a kind between the fears of the protagonists means that they never really connect with each other. The most obvious criticism of Rebecca is that the main character is unreasonably weak and cannot quite think or function on her own. (Isn't it curious that the trait of the male 'everyman' is a kind of physical clumsiness yet the female equivalent is shorthanded by being slightly slow?) But the na vete of Rebecca's narrator makes her easier to relate to in a way, and it also makes the reader far more capable of empathising with her embarrassment. This is demonstrated best whilst she, in one of the best evocations of this particular anxiety I have yet come across, is gingerly creeping around Manderlay and trying to avoid running into the butler. A surprise of sorts comes in the latter stages of the book, and this particular twist brings us into contact with a female character who is anything but 'credulous'. This revelation might even change your idea of who the main character of this book really is too. (Speaking of amateur literary criticism, I have many fan theories about Rebecca, including that Maxim de Winter's estate manager, Frank Crawley, is actually having an affair with Max, and also that Maxim may have a lot more involvement in Mrs Danvers final act that he lets on.) An easily accessible novel (with a great-but-not-perfect 1940 adaptation by Alfred Hitchcock, Rebecca is a real indulgence.
A Clockwork Orange (1962) Anthony Burgess One of Stanley Kubrick's most prominent tricks was to use different visual languages in order to prevent the audience from immediately grasping the underlying story. In his 1975 Barry Lyndon, for instance, the intentionally sluggish pacing and elusive characters require significant digestion to fathom and appreciate, and the luminous and quasi-Renaissance splendour of the cinematography does its part to constantly distract the viewer from the film's greater meaning. This is very much the case in Kubrick's A Clockwork Orange as well whilst it ostensibly appears to be about a Saturnalia of violence, the 'greater meaning' of A Clockwork Orange pertains to the Christian conception of free will; admittedly, a much drier idea to bother making a film around. This is all made much clearer when reading Anthony Burgess' 1962 original novel. Alex became a 'true Christian' through the experimental rehabilitation process, and even offers to literally turn the other cheek at one point. But as Alex had no choice to do so (and can no longer choose to commit violence), he is incapable of making a free moral choice. Thus, is he really a Man? Yet whilst the book's central concern is our conception of free will in modern societies, it also appears to be a repudiation of two conservative principles. Firstly, A Clockwork Orange demolishes the idea that 'high art' leads to morally virtuous citizens. After all, if you can do a bit of the old ultra-violence whilst listening to the glorious 9th by old Ludvig van, then so much for the oft-repeated claims that culture makes you better as a person. (This, at least, I already knew from personal experience.) The other repudiation in A Clockwork Orange is in regard to the pervasive idea that the countryside is a refuge from crime and sin. By contrast, we see the gang commit their most horrific violence in rural areas, and, later, Alex is taken to the countryside by his former droogs for a savage beating. Although this doesn't seem to quite fit the novel, this was actually an important point for Burgess to include: otherwise his book could easily be read as a commentary on the corrupting influence of urban spaces, rather than of modernity itself. The language of this book cannot escape comment here. Alex narrates most of the book in a language called Nadsat, a fractured slang constructed by Burgess based on Russian and Cockney rhyming slang. (The language is strange for only a few pages, I promise. And note that 'Alex' is a very common Russian name.) Using Nadsat has the effect of making the book feel distinctly alien, but it also prevents it from prematurely aging too. Indeed, it comes as bit of a shock to realise that A Clockwork Orange was published 1962, the same year as The Beatles' released their first single, Love Me Do. I could probably say a whole lot more about this thoroughly engrossing book and its movie adaptation (eg. the meta-textual line in Kubrick's version: It's funny how the colours of the real world only seem really real when you watch them on a screen... appears verbatim in the textual original), but I'll leave it there. The book of A Clockwork Orange is not only worth the investment in the language, but is, again, somehow better than the film.
The Great Gatsby (1925) F. Scott Fitzgerald I'm actually being a little deceitful by including this book here: I cannot really say that The Great Gatsby was a 'favourite' read of the year, but its literary merit is so undeniable (and my respect for Fitzgerald's achievement is deep enough) that the experience was one of those pleasures you feel at seeing anything done well. Here you have a book so rich in symbolic meaning that you could easily confuse the experience with drinking Coke syrup undiluted. And a text that has made the difficulty and complexity of reading character a prominent theme of the novel, as well as a technical concern of the book itself. Yet at all times you have in your mind that The Great Gatsby is first and foremost a book about a man writing a book, and, therefore, about the construction of stories and myths. What is the myth being constructed in Gatsby? The usual answer today is that the book is really about the moral virtues of America. Or, rather, the lack thereof. Indeed, as James Boice wrote in 2016:
Could Wilson have killed Gatsby any other way? Could he have ran him over, or poisoned him, or attacked him with a knife? Not at all this an American story, the quintessential one, so Gatsby could have only died the quintessential American death.The quintessential American death is, of course, being killed with a gun. Whatever your own analysis, The Great Gatsby is not only magnificently written, but it is captivating to the point where references intrude many months later. For instance, when reading something about Disney's 'princess culture', I was reminded of when Daisy says of her daughter: I hope she'll be a fool that's the best thing of a girl can be in this world, a beautiful little fool . Or the billboard with the eyes of 'Doctor T. J. Eckleburg'. Or the fact that the books in Gatsby's library have never been read (so what is 'Owl Eyes' doing there during the party?!). And the only plain room in Gatsby's great house is his bedroom... Okay, fine, I must have been deluding myself: I love this novel.
ps faxno user,stat,cmd
There are a number of processes from the host kernel we don t care about:
USER STAT CMD
0 S [kthreadd]
0 I< \_ [rcu_gp]
0 I< \_ [rcu_par_gp]
0 I< \_ [kworker/0:0H-events_highpri]
0 I< \_ [mm_percpu_wq]
0 S \_ [rcu_tasks_rude_]
0 S \_ [rcu_tasks_trace]
0 S \_ [ksoftirqd/0]
0 I \_ [rcu_sched]
0 S \_ [migration/0]
0 S \_ [cpuhp/0]
0 S \_ [cpuhp/1]
0 S \_ [migration/1]
0 S \_ [ksoftirqd/1]
0 I< \_ [kworker/1:0H-kblockd]
0 S \_ [cpuhp/2]
0 S \_ [migration/2]
0 S \_ [ksoftirqd/2]
0 I< \_ [kworker/2:0H-events_highpri]
0 S \_ [cpuhp/3]
0 S \_ [migration/3]
0 S \_ [ksoftirqd/3]
0 I< \_ [kworker/3:0H-kblockd]
0 S \_ [kdevtmpfs]
0 I< \_ [netns]
0 S \_ [kauditd]
0 S \_ [khungtaskd]
0 S \_ [oom_reaper]
0 I< \_ [writeback]
0 S \_ [kcompactd0]
0 SN \_ [ksmd]
0 SN \_ [khugepaged]
0 I< \_ [kintegrityd]
0 I< \_ [kblockd]
0 I< \_ [blkcg_punt_bio]
0 I< \_ [edac-poller]
0 I< \_ [devfreq_wq]
0 I< \_ [kworker/0:1H-kblockd]
0 S \_ [kswapd0]
0 I< \_ [kthrotld]
0 I< \_ [acpi_thermal_pm]
0 I< \_ [ipv6_addrconf]
0 I< \_ [kstrp]
0 I< \_ [zswap-shrink]
0 I< \_ [kworker/u9:0-hci0]
0 I< \_ [kworker/2:1H-kblockd]
0 I< \_ [ata_sff]
0 I< \_ [sdhci]
0 S \_ [irq/39-mmc0]
0 I< \_ [sdhci]
0 S \_ [irq/42-mmc1]
0 S \_ [scsi_eh_0]
0 I< \_ [scsi_tmf_0]
0 S \_ [scsi_eh_1]
0 I< \_ [scsi_tmf_1]
0 I< \_ [kworker/1:1H-kblockd]
0 I< \_ [kworker/3:1H-kblockd]
0 S \_ [jbd2/sda5-8]
0 I< \_ [ext4-rsv-conver]
0 S \_ [watchdogd]
0 S \_ [scsi_eh_2]
0 I< \_ [scsi_tmf_2]
0 S \_ [usb-storage]
0 I< \_ [cfg80211]
0 S \_ [irq/130-mei_me]
0 I< \_ [cryptd]
0 I< \_ [uas]
0 S \_ [irq/131-iwlwifi]
0 S \_ [card0-crtc0]
0 S \_ [card0-crtc1]
0 S \_ [card0-crtc2]
0 I< \_ [kworker/u9:2-hci0]
0 I \_ [kworker/3:0-events]
0 I \_ [kworker/2:0-events]
0 I \_ [kworker/1:0-events_power_efficient]
0 I \_ [kworker/3:2-events]
0 I \_ [kworker/1:1]
0 I \_ [kworker/u8:1-events_unbound]
0 I \_ [kworker/0:2-events]
0 I \_ [kworker/2:2]
0 I \_ [kworker/u8:0-events_unbound]
0 I \_ [kworker/0:1-events]
0 I \_ [kworker/0:0-events]
containerd
. We also see kubelet
, the Kubernetes node agent.
USER STAT CMD
0 Ss /sbin/init
0 Ss /lib/systemd/systemd-journald
0 Ss /lib/systemd/systemd-udevd
101 Ssl /lib/systemd/systemd-timesyncd
0 Ssl /sbin/dhclient -4 -v -i -pf /run/dhclient.enx00e04c6851de.pid -lf /var/lib/dhcp/dhclient.enx00e04c6851de.leases -I -df /var/lib/dhcp/dhclient6.enx00e04c6851de.leases enx00e04c6851de
0 Ss /usr/sbin/cron -f
104 Ss /usr/bin/dbus-daemon --system --address=systemd: --nofork --nopidfile --systemd-activation --syslog-only
0 Ssl /usr/sbin/dockerd -H fd://
0 Ssl /usr/sbin/rsyslogd -n -iNONE
0 Ss /usr/sbin/smartd -n
0 Ss /lib/systemd/systemd-logind
0 Ssl /usr/bin/containerd
0 Ss+ /sbin/agetty -o -p -- \u --noclear tty1 linux
0 Ss sshd: /usr/sbin/sshd -D [listener] 0 of 10-100 startups
0 Ss \_ sshd: root@pts/1
0 Ss \_ -bash
0 R+ \_ ps faxno user,stat,cmd
0 Ss \_ sshd: noodles [priv]
1000 S \_ sshd: noodles@pts/0
1000 Ss+ \_ -bash
0 Ss /lib/systemd/systemd --user
0 S \_ (sd-pam)
1000 Ss /lib/systemd/systemd --user
1000 S \_ (sd-pam)
0 Ssl /usr/bin/kubelet --bootstrap-kubeconfig=/etc/kubernetes/bootstrap-kubelet.conf --kubeconfig=/etc/kubernetes/kubelet.conf --config=/var/lib/kubelet/config.yaml --network-plugin=cni --pod-infra-container-image=k8s.gcr.io/pause:3.4.1
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id fd95c597ff3171ff110b7bf440229e76c5108d5d93be75ffeab54869df734413 -address /run/containerd/containerd.sock
0 Ss \_ /pause
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id c2ff2c50f0bc052feda2281741c4f37df7905e3b819294ec645148ae13c3fe1b -address /run/containerd/containerd.sock
0 Ss \_ /pause
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 589c1545d9e0cdf8ea391745c54c8f4db49f5f437b1a2e448e7744b2c12f8856 -address /run/containerd/containerd.sock
0 Ss \_ /pause
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 6f417fd8a8c573a2b8f792af08cdcd7ce663457f0f7218c8d55afa3732e6ee94 -address /run/containerd/containerd.sock
0 Ss \_ /pause
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id afa9798c9f663b21df8f38d9634469e6b4db0984124547cd472a7789c61ef752 -address /run/containerd/containerd.sock
0 Ssl \_ kube-scheduler --authentication-kubeconfig=/etc/kubernetes/scheduler.conf --authorization-kubeconfig=/etc/kubernetes/scheduler.conf --bind-address=127.0.0.1 --kubeconfig=/etc/kubernetes/scheduler.conf --leader-elect=true --port=0
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 4b3708b62f4d427690f5979848c59fce522dab6c62a9c53b806ffbaef3f88e62 -address /run/containerd/containerd.sock
0 Ssl \_ kube-controller-manager --authentication-kubeconfig=/etc/kubernetes/controller-manager.conf --authorization-kubeconfig=/etc/kubernetes/controller-manager.conf --bind-address=127.0.0.1 --client-ca-file=/etc/kubernetes/pki/ca.crt --cluster-name=kubernetes --cluster-signing-cert-file=/etc/kubernetes/pki/ca.crt --cluster-signing-key-file=/etc/kubernetes/pki/ca.key --controllers=*,bootstrapsigner,tokencleaner --kubeconfig=/etc/kubernetes/controller-manager.conf --leader-elect=true --port=0 --requestheader-client-ca-file=/etc/kubernetes/pki/front-proxy-ca.crt --root-ca-file=/etc/kubernetes/pki/ca.crt --service-account-private-key-file=/etc/kubernetes/pki/sa.key --use-service-account-credentials=true
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 89f35bf7a825eb97db7035d29aa475a3a1c8aaccda0860a46388a3a923cd10bc -address /run/containerd/containerd.sock
0 Ssl \_ kube-apiserver --advertise-address=192.168.53.147 --allow-privileged=true --authorization-mode=Node,RBAC --client-ca-file=/etc/kubernetes/pki/ca.crt --enable-admission-plugins=NodeRestriction --enable-bootstrap-token-auth=true --etcd-cafile=/etc/kubernetes/pki/etcd/ca.crt --etcd-certfile=/etc/kubernetes/pki/apiserver-etcd-client.crt --etcd-keyfile=/etc/kubernetes/pki/apiserver-etcd-client.key --etcd-servers=https://127.0.0.1:2379 --insecure-port=0 --kubelet-client-certificate=/etc/kubernetes/pki/apiserver-kubelet-client.crt --kubelet-client-key=/etc/kubernetes/pki/apiserver-kubelet-client.key --kubelet-preferred-address-types=InternalIP,ExternalIP,Hostname --proxy-client-cert-file=/etc/kubernetes/pki/front-proxy-client.crt --proxy-client-key-file=/etc/kubernetes/pki/front-proxy-client.key --requestheader-allowed-names=front-proxy-client --requestheader-client-ca-file=/etc/kubernetes/pki/front-proxy-ca.crt --requestheader-extra-headers-prefix=X-Remote-Extra- --requestheader-group-headers=X-Remote-Group --requestheader-username-headers=X-Remote-User --secure-port=6443 --service-account-issuer=https://kubernetes.default.svc.cluster.local --service-account-key-file=/etc/kubernetes/pki/sa.pub --service-account-signing-key-file=/etc/kubernetes/pki/sa.key --service-cluster-ip-range=10.96.0.0/12 --tls-cert-file=/etc/kubernetes/pki/apiserver.crt --tls-private-key-file=/etc/kubernetes/pki/apiserver.key
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 2dabff6e4f59c96d931d95781d28314065b46d0e6f07f8c65dc52aa465f69456 -address /run/containerd/containerd.sock
0 Ssl \_ etcd --advertise-client-urls=https://192.168.53.147:2379 --cert-file=/etc/kubernetes/pki/etcd/server.crt --client-cert-auth=true --data-dir=/var/lib/etcd --initial-advertise-peer-urls=https://192.168.53.147:2380 --initial-cluster=udon=https://192.168.53.147:2380 --key-file=/etc/kubernetes/pki/etcd/server.key --listen-client-urls=https://127.0.0.1:2379,https://192.168.53.147:2379 --listen-metrics-urls=http://127.0.0.1:2381 --listen-peer-urls=https://192.168.53.147:2380 --name=udon --peer-cert-file=/etc/kubernetes/pki/etcd/peer.crt --peer-client-cert-auth=true --peer-key-file=/etc/kubernetes/pki/etcd/peer.key --peer-trusted-ca-file=/etc/kubernetes/pki/etcd/ca.crt --snapshot-count=10000 --trusted-ca-file=/etc/kubernetes/pki/etcd/ca.crt
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 73fae81715b670255b66419a7959798b287be7bbb41e96f8b711fa529aa02f0d -address /run/containerd/containerd.sock
0 Ss \_ /pause
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 26d92a720c560caaa5f8a0217bc98e486b1c032af6c7c5d75df508021d462878 -address /run/containerd/containerd.sock
0 Ssl \_ /usr/local/bin/kube-proxy --config=/var/lib/kube-proxy/config.conf --hostname-override=udon
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 7104f65b5d92a56a2df93514ed0a78cfd1090ca47b6ce4e0badc43be6c6c538e -address /run/containerd/containerd.sock
0 Ss \_ /pause
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 48d735f7f44e3944851563f03f32c60811f81409e7378641404035dffd8c1eb4 -address /run/containerd/containerd.sock
0 Ssl \_ /usr/bin/weave-npc
0 S< \_ /usr/sbin/ulogd -v
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 36b418e69ae7076fe5a44d16cef223d8908016474cb65910f2fd54cca470566b -address /run/containerd/containerd.sock
0 Ss \_ /bin/sh /home/weave/launch.sh
0 Sl \_ /home/weave/weaver --port=6783 --datapath=datapath --name=12:82:8f:ed:c7:bf --http-addr=127.0.0.1:6784 --metrics-addr=0.0.0.0:6782 --docker-api= --no-dns --db-prefix=/weavedb/weave-net --ipalloc-range=192.168.0.0/24 --nickname=udon --ipalloc-init consensus=0 --conn-limit=200 --expect-npc --no-masq-local
0 Sl \_ /home/weave/kube-utils -run-reclaim-daemon -node-name=udon -peer-name=12:82:8f:ed:c7:bf -log-level=debug
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 534c0a698478599277482d97a137fab8ef4d62db8a8a5cf011b4bead28246f70 -address /run/containerd/containerd.sock
0 Ss \_ /pause
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 9ffd6b668ddfbf3c64c6783bc6f4f6cc9e92bfb16c83fb214c2cbb4044993bf0 -address /run/containerd/containerd.sock
0 Ss \_ /pause
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 4a30785f91873a7e6a191e86928a789760a054e4fa6dcd7048a059b42cf19edf -address /run/containerd/containerd.sock
0 Ssl \_ /coredns -conf /etc/coredns/Corefile
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 649a507d45831aca1de5231b49afc8ff37d90add813e7ecd451d12eedd785b0c -address /run/containerd/containerd.sock
0 Ssl \_ /coredns -conf /etc/coredns/Corefile
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 62b369de8d8cece4d33ec9fda4d23a9718379a8df8b30173d68f20bff830fed2 -address /run/containerd/containerd.sock
0 Ss \_ /pause
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 7cbb177bee18dbdeed21fb90e74378e2081436ad5bf116b36ad5077fe382df30 -address /run/containerd/containerd.sock
0 Ss \_ /bin/bash /usr/local/bin/run.sh
0 S \_ nginx: master process nginx -g daemon off;
65534 S \_ nginx: worker process
0 Ss /lib/systemd/systemd --user
0 S \_ (sd-pam)
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id 6669168db70db4e6c741e8a047942af06dd745fae4d594291d1d6e1077b05082 -address /run/containerd/containerd.sock
0 Ss \_ /pause
0 Sl /usr/bin/containerd-shim-runc-v2 -namespace moby -id d5fa78fa31f11a4c5fb9fd2e853a00f0e60e414a7bce2e0d8fcd1f6ab2b30074 -address /run/containerd/containerd.sock
101 Ss \_ /usr/bin/dumb-init -- /nginx-ingress-controller --publish-service=ingress-nginx/ingress-nginx-controller --election-id=ingress-controller-leader --ingress-class=nginx --configmap=ingress-nginx/ingress-nginx-controller --validating-webhook=:8443 --validating-webhook-certificate=/usr/local/certificates/cert --validating-webhook-key=/usr/local/certificates/key
101 Ssl \_ /nginx-ingress-controller --publish-service=ingress-nginx/ingress-nginx-controller --election-id=ingress-controller-leader --ingress-class=nginx --configmap=ingress-nginx/ingress-nginx-controller --validating-webhook=:8443 --validating-webhook-certificate=/usr/local/certificates/cert --validating-webhook-key=/usr/local/certificates/key
101 S \_ nginx: master process /usr/local/nginx/sbin/nginx -c /etc/nginx/nginx.conf
101 Sl \_ nginx: worker process
101 Sl \_ nginx: worker process
101 Sl \_ nginx: worker process
101 Sl \_ nginx: worker process
101 S \_ nginx: cache manager process
/usr/local/bin/run.sh
), and some things that look related to weave. The rest appears to be Kubernete s related infrastructure.
kube-scheduler
, kube-controller-manager
, kube-apiserver
, kube-proxy
all look like core Kubernetes bits. etcd
is a distributed, reliable key-value store. coredns
is a DNS server, with plugins for Kubernetes and etcd.
What does Docker claim is happening?
CONTAINER ID IMAGE COMMAND CREATED STATUS PORTS NAMES
d5fa78fa31f1 k8s.gcr.io/ingress-nginx/controller "/usr/bin/dumb-init " 3 days ago Up 3 days k8s_controller_ingress-nginx-controller-5b74bc9868-bczdr_ingress-nginx_4d7d3d81-a769-4de9-a4fb-04763b7c1605_0
6669168db70d k8s.gcr.io/pause:3.4.1 "/pause" 3 days ago Up 3 days k8s_POD_ingress-nginx-controller-5b74bc9868-bczdr_ingress-nginx_4d7d3d81-a769-4de9-a4fb-04763b7c1605_0
7cbb177bee18 k8s.gcr.io/echoserver "/usr/local/bin/run. " 3 days ago Up 3 days k8s_echoserver_hello-node-59bffcc9fd-8hkgb_default_c7111c9e-7131-40e0-876d-be89d5ca1812_0
62b369de8d8c k8s.gcr.io/pause:3.4.1 "/pause" 3 days ago Up 3 days k8s_POD_hello-node-59bffcc9fd-8hkgb_default_c7111c9e-7131-40e0-876d-be89d5ca1812_0
649a507d4583 296a6d5035e2 "/coredns -conf /etc " 4 days ago Up 4 days k8s_coredns_coredns-558bd4d5db-flrfq_kube-system_f8b2b52e-6673-4966-82b1-3fbe052a0297_0
4a30785f9187 296a6d5035e2 "/coredns -conf /etc " 4 days ago Up 4 days k8s_coredns_coredns-558bd4d5db-4nvrg_kube-system_1976f4d6-647c-45ca-b268-95f071f064d5_0
9ffd6b668ddf k8s.gcr.io/pause:3.4.1 "/pause" 4 days ago Up 4 days k8s_POD_coredns-558bd4d5db-flrfq_kube-system_f8b2b52e-6673-4966-82b1-3fbe052a0297_0
534c0a698478 k8s.gcr.io/pause:3.4.1 "/pause" 4 days ago Up 4 days k8s_POD_coredns-558bd4d5db-4nvrg_kube-system_1976f4d6-647c-45ca-b268-95f071f064d5_0
36b418e69ae7 df29c0a4002c "/home/weave/launch. " 4 days ago Up 4 days k8s_weave_weave-net-mchmg_kube-system_b9af9615-8cde-4a18-8555-6da1f51b7136_1
48d735f7f44e weaveworks/weave-npc "/usr/bin/launch.sh" 4 days ago Up 4 days k8s_weave-npc_weave-net-mchmg_kube-system_b9af9615-8cde-4a18-8555-6da1f51b7136_0
7104f65b5d92 k8s.gcr.io/pause:3.4.1 "/pause" 4 days ago Up 4 days k8s_POD_weave-net-mchmg_kube-system_b9af9615-8cde-4a18-8555-6da1f51b7136_0
26d92a720c56 4359e752b596 "/usr/local/bin/kube " 4 days ago Up 4 days k8s_kube-proxy_kube-proxy-6d8kg_kube-system_8bf2d7ec-4850-427f-860f-465a9ff84841_0
73fae81715b6 k8s.gcr.io/pause:3.4.1 "/pause" 4 days ago Up 4 days k8s_POD_kube-proxy-6d8kg_kube-system_8bf2d7ec-4850-427f-860f-465a9ff84841_0
89f35bf7a825 771ffcf9ca63 "kube-apiserver --ad " 4 days ago Up 4 days k8s_kube-apiserver_kube-apiserver-udon_kube-system_1af8c5f362b7b02269f4d244cb0e6fbf_0
afa9798c9f66 a4183b88f6e6 "kube-scheduler --au " 4 days ago Up 4 days k8s_kube-scheduler_kube-scheduler-udon_kube-system_629dc49dfd9f7446eb681f1dcffe6d74_0
2dabff6e4f59 0369cf4303ff "etcd --advertise-cl " 4 days ago Up 4 days k8s_etcd_etcd-udon_kube-system_c2a3008c1d9895f171cd394e38656ea0_0
4b3708b62f4d e16544fd47b0 "kube-controller-man " 4 days ago Up 4 days k8s_kube-controller-manager_kube-controller-manager-udon_kube-system_1d1b9018c3c6e7aa2e803c6e9ccd2eab_0
fd95c597ff31 k8s.gcr.io/pause:3.4.1 "/pause" 4 days ago Up 4 days k8s_POD_kube-scheduler-udon_kube-system_629dc49dfd9f7446eb681f1dcffe6d74_0
589c1545d9e0 k8s.gcr.io/pause:3.4.1 "/pause" 4 days ago Up 4 days k8s_POD_kube-controller-manager-udon_kube-system_1d1b9018c3c6e7aa2e803c6e9ccd2eab_0
6f417fd8a8c5 k8s.gcr.io/pause:3.4.1 "/pause" 4 days ago Up 4 days k8s_POD_kube-apiserver-udon_kube-system_1af8c5f362b7b02269f4d244cb0e6fbf_0
c2ff2c50f0bc k8s.gcr.io/pause:3.4.1 "/pause" 4 days ago Up 4 days k8s_POD_etcd-udon_kube-system_c2a3008c1d9895f171cd394e38656ea0_0
noodles@udon:~$ kubectl get pods --all-namespaces
NAMESPACE NAME READY STATUS
default hello-node-59bffcc9fd-8hkgb 1/1 Running
ingress-nginx ingress-nginx-admission-create-8jgkt 0/1 Completed
ingress-nginx ingress-nginx-admission-patch-jdq4t 0/1 Completed
ingress-nginx ingress-nginx-controller-5b74bc9868-bczdr 1/1 Running
kube-system coredns-558bd4d5db-4nvrg 1/1 Running
kube-system coredns-558bd4d5db-flrfq 1/1 Running
kube-system etcd-udon 1/1 Running
kube-system kube-apiserver-udon 1/1 Running
kube-system kube-controller-manager-udon 1/1 Running
kube-system kube-proxy-6d8kg 1/1 Running
kube-system kube-scheduler-udon 1/1 Running
kube-system weave-net-mchmg 2/2 Running
Control group /:
-.slice
user.slice
user-0.slice
session-29.scope
515899 sshd: root@pts/1
515913 -bash
3519743 systemd-cgls
3519744 cat
user@0.service
init.scope
515902 /lib/systemd/systemd --user
515903 (sd-pam)
user-1000.slice
user@1000.service
init.scope
2564011 /lib/systemd/systemd --user
2564012 (sd-pam)
session-110.scope
2564007 sshd: noodles [priv]
2564040 sshd: noodles@pts/0
2564041 -bash
init.scope
1 /sbin/init
system.slice
containerd.service
21383 /usr/bin/containerd-shim-runc-v2 -namespace moby -id fd95c597ff31
21408 /usr/bin/containerd-shim-runc-v2 -namespace moby -id c2ff2c50f0bc
21432 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 589c1545d9e0
21459 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 6f417fd8a8c5
21582 /usr/bin/containerd-shim-runc-v2 -namespace moby -id afa9798c9f66
21607 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 4b3708b62f4d
21640 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 89f35bf7a825
21648 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 2dabff6e4f59
22343 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 73fae81715b6
22391 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 26d92a720c56
26992 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 7104f65b5d92
27405 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 48d735f7f44e
27531 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 36b418e69ae7
27941 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 534c0a698478
27960 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 9ffd6b668ddf
28131 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 4a30785f9187
28159 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 649a507d4583
514667 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 62b369de8d8c
514976 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 7cbb177bee18
698904 /usr/bin/containerd-shim-runc-v2 -namespace moby -id 6669168db70d
699284 /usr/bin/containerd-shim-runc-v2 -namespace moby -id d5fa78fa31f1
2805479 /usr/bin/containerd
systemd-udevd.service
2805502 /lib/systemd/systemd-udevd
cron.service
2805474 /usr/sbin/cron -f
docker.service
528 /usr/sbin/dockerd -H fd://
kubelet.service
2805501 /usr/bin/kubelet --bootstrap-kubeconfig=/etc/kubernetes/bootstrap
systemd-journald.service
2805505 /lib/systemd/systemd-journald
ssh.service
2805500 sshd: /usr/sbin/sshd -D [listener] 0 of 10-100 startups
ifup@enx00e04c6851de.service
2805675 /sbin/dhclient -4 -v -i -pf /run/dhclient.enx00e04c6851de.pid -lf
rsyslog.service
2805488 /usr/sbin/rsyslogd -n -iNONE
smartmontools.service
2805499 /usr/sbin/smartd -n
dbus.service
527 /usr/bin/dbus-daemon --system --address=systemd: --nofork --nopidfile
systemd-timesyncd.service
2805513 /lib/systemd/systemd-timesyncd
system-getty.slice
getty@tty1.service
536 /sbin/agetty -o -p -- \u --noclear tty1 linux
systemd-logind.service
533 /lib/systemd/systemd-logind
kubepods.slice
kubepods-burstable.slice
kubepods-burstable-pod1af8c5f362b7b02269f4d244cb0e6fbf.slice
docker-6f417fd8a8c573a2b8f792af08cdcd7ce663457f0f7218c8d55afa3732e6ee94.scope
21493 /pause
docker-89f35bf7a825eb97db7035d29aa475a3a1c8aaccda0860a46388a3a923cd10bc.scope
21699 kube-apiserver --advertise-address=192.168.33.147 --allow-privi
kubepods-burstable-podf8b2b52e_6673_4966_82b1_3fbe052a0297.slice
docker-649a507d45831aca1de5231b49afc8ff37d90add813e7ecd451d12eedd785b0c.scope
28187 /coredns -conf /etc/coredns/Corefile
docker-9ffd6b668ddfbf3c64c6783bc6f4f6cc9e92bfb16c83fb214c2cbb4044993bf0.scope
27987 /pause
kubepods-burstable-podc2a3008c1d9895f171cd394e38656ea0.slice
docker-c2ff2c50f0bc052feda2281741c4f37df7905e3b819294ec645148ae13c3fe1b.scope
21481 /pause
docker-2dabff6e4f59c96d931d95781d28314065b46d0e6f07f8c65dc52aa465f69456.scope
21701 etcd --advertise-client-urls=https://192.168.33.147:2379 --cert
kubepods-burstable-pod629dc49dfd9f7446eb681f1dcffe6d74.slice
docker-fd95c597ff3171ff110b7bf440229e76c5108d5d93be75ffeab54869df734413.scope
21491 /pause
docker-afa9798c9f663b21df8f38d9634469e6b4db0984124547cd472a7789c61ef752.scope
21680 kube-scheduler --authentication-kubeconfig=/etc/kubernetes/sche
kubepods-burstable-podb9af9615_8cde_4a18_8555_6da1f51b7136.slice
docker-48d735f7f44e3944851563f03f32c60811f81409e7378641404035dffd8c1eb4.scope
27424 /usr/bin/weave-npc
27458 /usr/sbin/ulogd -v
docker-36b418e69ae7076fe5a44d16cef223d8908016474cb65910f2fd54cca470566b.scope
27549 /bin/sh /home/weave/launch.sh
27629 /home/weave/weaver --port=6783 --datapath=datapath --name=12:82
27825 /home/weave/kube-utils -run-reclaim-daemon -node-name=udon -pee
docker-7104f65b5d92a56a2df93514ed0a78cfd1090ca47b6ce4e0badc43be6c6c538e.scope
27011 /pause
kubepods-burstable-pod4d7d3d81_a769_4de9_a4fb_04763b7c1605.slice
docker-6669168db70db4e6c741e8a047942af06dd745fae4d594291d1d6e1077b05082.scope
698925 /pause
docker-d5fa78fa31f11a4c5fb9fd2e853a00f0e60e414a7bce2e0d8fcd1f6ab2b30074.scope
699303 /usr/bin/dumb-init -- /nginx-ingress-controller --publish-ser
699316 /nginx-ingress-controller --publish-service=ingress-nginx/ing
699405 nginx: master process /usr/local/nginx/sbin/nginx -c /etc/ngi
1075085 nginx: worker process
1075086 nginx: worker process
1075087 nginx: worker process
1075088 nginx: worker process
1075089 nginx: cache manager process
kubepods-burstable-pod1976f4d6_647c_45ca_b268_95f071f064d5.slice
docker-4a30785f91873a7e6a191e86928a789760a054e4fa6dcd7048a059b42cf19edf.scope
28178 /coredns -conf /etc/coredns/Corefile
docker-534c0a698478599277482d97a137fab8ef4d62db8a8a5cf011b4bead28246f70.scope
27995 /pause
kubepods-burstable-pod1d1b9018c3c6e7aa2e803c6e9ccd2eab.slice
docker-589c1545d9e0cdf8ea391745c54c8f4db49f5f437b1a2e448e7744b2c12f8856.scope
21489 /pause
docker-4b3708b62f4d427690f5979848c59fce522dab6c62a9c53b806ffbaef3f88e62.scope
21690 kube-controller-manager --authentication-kubeconfig=/etc/kubern
kubepods-besteffort.slice
kubepods-besteffort-podc7111c9e_7131_40e0_876d_be89d5ca1812.slice
docker-62b369de8d8cece4d33ec9fda4d23a9718379a8df8b30173d68f20bff830fed2.scope
514688 /pause
docker-7cbb177bee18dbdeed21fb90e74378e2081436ad5bf116b36ad5077fe382df30.scope
514999 /bin/bash /usr/local/bin/run.sh
515039 nginx: master process nginx -g daemon off;
515040 nginx: worker process
kubepods-besteffort-pod8bf2d7ec_4850_427f_860f_465a9ff84841.slice
docker-73fae81715b670255b66419a7959798b287be7bbb41e96f8b711fa529aa02f0d.scope
22364 /pause
docker-26d92a720c560caaa5f8a0217bc98e486b1c032af6c7c5d75df508021d462878.scope
22412 /usr/local/bin/kube-proxy --config=/var/lib/kube-proxy/config.c
kubepods.slice
piece then you can see our pods are divided into two sets, kubepods-burstable.slice
and kubepods-besteffort.slice
. Under those you can see the individual pods, all of which have at least 2 separate cgroups, one of which is running /pause
. Turns out this is a generic Kubernetes image which basically performs the process reaping that an init process would do on a normal system; it just sits and waits for processes to exit and cleans them up. Again, Ian Lewis has more details on the pause container.
Finally let s dig into the actual containers. The pause
container seems like a good place to start. We can examine the details of where the filesystem is (may differ if you re not using the overlay2 image thingy). The hex string is the container ID listed by docker ps
.
# docker inspect --format=' .GraphDriver.Data.MergedDir ' 6669168db70d
/var/lib/docker/overlay2/5a2d76012476349e6b58eb6a279bac400968cefae8537082ea873b2e791ff3c6/merged
# cd /var/lib/docker/overlay2/5a2d76012476349e6b58eb6a279bac400968cefae8537082ea873b2e791ff3c6/merged
# find . sed -e 's;^./;;'
pause
proc
.dockerenv
etc
etc/resolv.conf
etc/hostname
etc/mtab
etc/hosts
sys
dev
dev/shm
dev/pts
dev/console
# file pause
pause: ELF 64-bit LSB executable, x86-64, version 1 (GNU/Linux), statically linked, for GNU/Linux 3.2.0, BuildID[sha1]=d35dab7152881e37373d819f6864cd43c0124a65, stripped
# docker inspect --format=' .GraphDriver.Data.MergedDir ' 7cbb177bee18
/var/lib/docker/overlay2/09042bc1aff16a9cba43f1a6a68f7786c4748e989a60833ec7417837c4bfaacb/merged
# cd /var/lib/docker/overlay2/09042bc1aff16a9cba43f1a6a68f7786c4748e989a60833ec7417837c4bfaacb/merged
# find . wc -l
3358
/etc/os-release
shows why:
# grep PRETTY etc/os-release
PRETTY_NAME="Ubuntu 16.04.2 LTS"
# docker exec d5fa78fa31f1 grep PRETTY /etc/os-release
PRETTY_NAME="Alpine Linux v3.13"
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...
Artemisia Lomi or Artemisia Gentileschi (US: / d nt l ski, -ti -/, Italian: [arte mi zja d enti leski]; July 8, 1593 c. 1656) was an Italian Baroque painter, now considered one of the most accomplished seventeenth-century artists working in the dramatic style of Caravaggio. In an era when women had few opportunities to pursue artistic training or work as professional artists, Artemisia was the first woman to become a member of the Accademia di Arte del Disegno in Florence and had an international clientele.
Maria Pellegrina Amoretti (1756 1787), was an Italian lawyer. She is referred to as the first woman to graduate in law in Italy, and the third woman to earn a degree.
Laura Maria Caterina Bassi (October 1711 20 February 1778) was an Italian physicist and academic. She received a doctoral degree in Philosophy from the University of Bologna in May 1732. She was the first woman to earn a professorship in physics at a university. She is recognized as the first woman in the world to be appointed a university chair in a scientific field of studies. Bassi contributed immensely to the field of science while also helping to spread the study of Newtonian mechanics through Italy.
Maria Gaetana Agnesi (UK: / n je zi/ an-YAY-zee,[1] US: / n -/ ahn-,[2][3] Italian: [ma ri a ae ta na a zi, - e z-];[4] 16 May 1718 9 January 1799) was an Italian mathematician, philosopher, theologian, and humanitarian. She was the first woman to write a mathematics handbook and the first woman appointed as a mathematics professor at a university.[5]
Elena Lucrezia Cornaro Piscopia (US: /k r n ro p sko pi /,[4] Italian: [ lena lu kr ttsja kor na ro pi sk pja]) or Elena Lucrezia Corner (Italian: [kor n r]; 5 June 1646 26 July 1684), also known in English as Helen Cornaro, was a Venetian philosopher of noble descent who in 1678 became one of the first women to receive an academic degree from a university, and the first to receive a Doctor of Philosophy degree.
Maria Tecla Artemisia Montessori (/ m nt s ri/ MON-tiss-OR-ee, Italian: [ma ri a montes s ri]; August 31, 1870 May 6, 1952) was an Italian physician and educator best known for the philosophy of education that bears her name, and her writing on scientific pedagogy. At an early age, Montessori broke gender barriers and expectations when she enrolled in classes at an all-boys technical school, with hopes of becoming an engineer. She soon had a change of heart and began medical school at the Sapienza University of Rome, where she graduated with honors in 1896. Her educational method is still in use today in many public and private schools throughout the world.
Rita Levi-Montalcini OMRI OMCA (US: / le vi mo nt l t i ni, l v-, li vi m nt l -/, Italian: [ ri ta l vi montal t i ni]; 22 April 1909 30 December 2012) was an Italian Nobel laureate, honored for her work in neurobiology. She was awarded the 1986 Nobel Prize in Physiology or Medicine jointly with colleague Stanley Cohen for the discovery of nerve growth factor (NGF). From 2001 until her death, she also served in the Italian Senate as a Senator for Life. This honor was given due to her significant scientific contributions. On 22 April 2009, she became the first Nobel laureate ever to reach the age of 100, and the event was feted with a party at Rome's City Hall. At the time of her death, she was the oldest living Nobel laureate.
Margherita Hack Knight Grand Cross OMRI (Italian: [mar e ri ta (h)ak]; 12 June 1922 29 June 2013) was an Italian astrophysicist and scientific disseminator. The asteroid 8558 Hack, discovered in 1995, was named in her honour.
Samantha Cristoforetti (Italian pronunciation: [sa manta kristofo retti]; born 26 April 1977, in Milan) is an Italian European Space Agency astronaut, former Italian Air Force pilot and engineer. She holds the record for the longest uninterrupted spaceflight by a European astronaut (199 days, 16 hours), and until June 2017 held the record for the longest single space flight by a woman until this was broken by Peggy Whitson and later by Christina Koch. She is also the first Italian woman in space. Samantha Cristoforetti is also known as the first person who brewed an espresso in space.
Think you can stop us? You can't you stupid b*tch. You have ruined the Debian community for us.The rest of the message is of no further relevance, but even though I can't take credit for being responsible for that, I'm glad to be a perceived part of ruining the Debian community for intolerant and hateful people. A lot of other things happened since too. Mostly locally here in Vienna, several queer empowering groups were founding around me, some of them existed already, some formed with the help of myself. We now have several great regular meetings for non-binary people, for queer polyamory people about which we gave an interview, a queer playfight (I might explain that concept another time), a polyamory discussion group, two bi-/pansexual groups, a queer-feminist choir, and there will be an European Lesbian* Conference in October where I help with the organization and on June 21st I'll finally receive the keys to my flat in Que[e]rbau Seestadt. I'm sooo looking forward to it. It will be part of the Let me come Home experience that I'm currently in. Another part of that experience is that I started changing my name (and gender marker) officially. I had my first appointment in the corresponding bureau, and I hope that it won't last too long because I have to get my papers in time for booking my flight to Montreal, and somewhen along the process my current passport won't contain correct data anymore. So for the people who have it in their signing policy to see government IDs this might be your chance to finally sign my key then. I plan to do a diversity BoF at debconf where we can speak more directly on where we want to head with the project. I hope I'll find the time to do an IRC meeting beforehand. I'm just uncertain how to coordinate that one to make it accessible for interested parties while keeping the destructive trolls out. I'm open for ideas here.
Component | Model | Cost |
---|---|---|
Barebone | Qotom Q190G4, VGA, 2x USB 2.0, 134x126x36mm, fanless | 130 |
CPU | Intel J1900, 2-2.4GHz quad-core | - |
NIC | Intel WG82583, 4x 10/100/1000 | - |
Memory | Crucial CT102464BF160B, 8GB DDR3L-1600 SODIMM 1.35V CL11 | 40 |
SSD | Kingston SSDNow mS200, 60GB mSATA | 42 |
WLAN | AzureWave AW-NU706H, Ralink RT3070L, 300M 802.11b/g/n, half mPCIe | 17 |
mPCIe adapter | Half to full mPCIe adapter | 3 |
Antennas | 2x 2.4/5GHz 6dBi, RP-SMA, U.FL Cables | 7 |
/home/ansible/.ssh/authorized_keys
file
with one that contains only your public ssh key.ansible@10.0.0.4
, and verify that sudo id
works without password. Except you can't do this, unless you put in
your ssh key in the authorized keys file above.minipc-router.yml
as wanted, and run the playbook. Then reboot the
router again.roles/router/files/ferm.conf
as
you wish.ansible
user's authorized keys file for ssh. This is because we built this
for ourselves first. If there's interest by others in using the
images, we'll solve this.Publisher: | Orbit |
Copyright: | February 2008 |
ISBN: | 0-316-00536-3 |
Format: | Hardcover |
Pages: | 593 |
Next.