This is the second of a two-part post covering my goals for 2023. See the first part to understand the vision, mission and strategy driving these goals. I want to thank my friend Nat, and Will Larson whose annual reviews I ve always enjoyed reading for inspiring me to write these posts. I ve found the process articulating my motivations and goals very useful to clarify my thoughts and create tangible next steps. I m grateful for that in and of itself, but I also hope that by publishing this you too might find it interesting, and the additional public accountability it creates will be a positive encouragement to me.
Publisher: | Penguin Books |
Copyright: | 2005 |
ISBN: | 1-4406-2476-3 |
Format: | Kindle |
Pages: | 835 |
On one thing, however, all were agreed resisters and politicians alike: "planning". The disasters of the inter-war decades the missed opportunities after 1918, the great depression that followed the stock-market crash of 1929, the waste of unemployment, the inequalities, injustices and inefficiencies of laissez-faire capitalism that had led so many into authoritarian temptation, the brazen indifference of an arrogant ruling elite and the incompetence of an inadequate political class all seemed to be connected by the utter failure to organize society better. If democracy was to work, if it was to recover its appeal, it would have to be planned.It's one thing to be familiar with the basic economic and political arguments between degrees of free market and planned economies. It's quite another to understand how the appeal of one approach or the discredit of another stems from recent historical experience, and that's what a good history can provide. Judt does not hesitate to draw these sorts of conclusions, and I'm sure some of them are controversial. But while he's opinionated, he's rarely ideological, and he offers no grand explanations. His discussion of the Yugoslav Wars stands out as an example: he mentions various theories of blame (a fraught local ethnic history, the decision by others to not intervene until the situation was truly dire), but largely discards them. Judt's offered explanation is that local politicians saw an opportunity to gain power by inflaming ethnic animosity, and a large portion of the population participated in this process, either passively or eagerly. Other explanations are both unnecessarily complex and too willing to deprive Yugoslavs of agency. I found this refreshingly blunt. When is more complex analysis a way to diffuse responsibility and cling to an ideological fantasy that the right foreign policy would have resolved a problem? A few personal grumblings do creep in, particularly in the chapters on the 1970s (and I think it's not a coincidence that this matches Judt's own young adulthood, a time when one is prone to forming a lot of opinions). There is a brief but stinging criticism of postmodernism in scholarship, which I thought was justified but probably incomplete, and a decidedly grumpy dismissal of punk music, which I thought was less fair. But these are brief asides that don't detract from the overall work. Indeed, they, along with the occasional wry asides ("respecting long-established European practice, no one asked the Poles for their views [on Poland's new frontiers]") add a lot of character. Insofar as this book has a thesis, it's in the implications of the title: Europe only exited the postwar period at the end of the 20th century. Political stability through exhaustion, the overwhelming urgency of economic recovery, and the degree to which the Iron Curtain and the Cold War froze eastern Europe in amber meant that full European recovery from World War II was drawn out and at times suspended. It's only after 1989 and its subsequent upheavals that European politics were able to move beyond postwar concerns. Some of that movement was a reemergence of earlier European politics of nations and ethnic conflict. But, new on the scene, was a sense of identity as Europeans, one that western Europe circled warily and eastern Europe saw as the only realistic path forward.
What binds Europeans together, even when they are deeply critical of some aspect or other of its practical workings, is what it has become conventional to call in disjunctive but revealing contrast with "the American way of life" the "European model of society".Judt also gave me a new appreciation of how traumatic people find the assignment of fault, and how difficult it is to wrestle with guilt without providing open invitations to political backlash. People will go to great lengths to not feel guilty, and pressing the point runs a substantial risk of creating popular support for ideological movements that are willing to lie to their followers. The book's most memorable treatment of this observation is in the epilogue, which traces popular European attitudes towards the history of the Holocaust through the whole time period. The largest problem with this book is that it is dense and very long. I'm a fairly fast reader, but this was the only book I read through most of my holiday vacation and it still took a full week into the new year to finish it. By the end, I admit I was somewhat exhausted and ready to be finished with European history for a while (although the epilogue is very much worth waiting for). If you, unlike me, can read a book slowly among other things, that may be a good tactic. But despite feeling like this was a slog at times, I'm very glad that I read it. I'm not sure if someone with a firmer grounding in European history would have gotten as much out of it, but I, at least, needed something this comprehensive to wrap my mind around the timeline and fill in some embarrassing gaps. Judt is not the most entertaining writer (although he has his moments), and this is not the sort of popular history that goes out of its way to draw you in, but I found it approachable and clear. If you're looking for a solid survey of modern European history with this type of high-level focus, recommended. Rating: 8 out of 10
Publisher: | Columbia Global Reports |
Copyright: | 2022 |
ISBN: | 1-7359137-1-5 |
Format: | Kindle |
Pages: | 156 |
expect()
and
Result<T,E>
It will take some time to be at ease developing in
it, if I ever reach that stage!
Oh, FWIW Interested related reading. I am halfway through an
interesting article, published in March in the Communications of the
ACM magazine, titled Here We Go Again: Why
Is It Difficult for Developers to Learn Another Programming
Language? ,
that presents an interesting point we don t always consider: If I m a
proficient programmer in the X programming language and want to use
the Y programming language, learning it Should be easier for me
than for the casual bystander, or not? After all, I already have a
background in programming! But it happens that mental constructs we
build for a given language might hamper our learning of a very
different one. This article presents three interesting research
questions:
I have just filed a complaint with the CRTC about my phone provider's outrageous fees. This is a copy of the complaint.I am traveling to Europe, specifically to Ireland, for a 6 days for a work meeting. I thought I could use my phone there. So I looked at my phone provider's services in Europe, and found the "Fido roaming" services: https://www.fido.ca/mobility/roaming The fees, at the time of writing, at fifteen (15!) dollars PER DAY to get access to my regular phone service (not unlimited!!). If I do not use that "roaming" service, the fees are:
I have no illusions about this having any effect. I thought of filing such a complain after the Rogers outage as well, but felt I had less of a standing there because I wasn't affected that much (e.g. I didn't have a life-threatening situation myself). This, however, was ridiculous and frustrating enough to trigger this outrage. We'll see how it goes..."We will respond to you within 10 working days."
Dear Antoine Beaupr : Thank you for contacting us about your mobile telephone international roaming service plan rates concern with Fido Solutions Inc. (Fido). In Canada, mobile telephone service is offered on a competitive basis. Therefore, the Canadian Radio-television and Telecommunications Commission (CRTC) is not involved in Fido's terms of service (including international roaming service plan rates), billing and marketing practices, quality of service issues and customer relations. If you haven't already done so, we encourage you to escalate your concern to a manager if you believe the answer you have received from Fido's customer service is not satisfactory. Based on the information that you have provided, this may also appear to be a Competition Bureau matter. The Competition Bureau is responsible for administering and enforcing the Competition Act, and deals with issues such as false or misleading representations, deceptive marketing practices and collusion. You can reach the Competition Bureau by calling 1-800-348-5358 (toll-free), by TTY (for deaf and hard of hearing people) by calling 1-866-694-8389 (toll-free). For more contact information, please visit http://www.competitionbureau.gc.ca/eic/site/cb-bc.nsf/eng/00157.html When consumers are not satisfied with the service they are offered, we encourage them to compare the products and services of other providers in their area and look for a company that can better match their needs. The following tool helps to show choices of providers in your area: https://crtc.gc.ca/eng/comm/fourprov.htm Thank you for sharing your concern with us.In other words, complain with Fido, or change providers. Don't complain to us, we don't manage the telcos, they self-regulate. Great job, CRTC. This is going great. This is exactly why we're one of the most expensive countries on the planet for cell phone service.
Date: Tue, 13 Sep 2022 10:10:00 -0400 From: Fido DONOTREPLY@fido.ca To: REDACTED Subject: Courriel d avis d itin rance Fido Roaming Welcome Confirmation Fido Date : 13 septembre 2022I found that message utterly confusing (and yes, I can read french). Basically, it says that some user (presumably me!) connected to the network with roaming. I did just disabled airplane mode on my phone to debug a Syncthing bug but had not enabled roaming. So this message seemed to say that I would be charged 15$ (per DAY!) for roaming from now on. Confused, I tried their live chat to try to clarify things, worried I would get charged even more for calling tech support on
Num ro de compte : [redacted] Bonjour
Antoine Beaupr ! Nous vous crivons pour vous indiquer qu au moins un utilisateur inscrit votre compte s est r cemment connect un r seau en itin rance.
Vous trouverez ci-dessous le message texte de bienvenue en itin rance envoy l utilisateur (ou aux utilisateurs), qui contenait les tarifs d itin rance
applicables. Message texte de bienvenue en itin rance Destinataire : REDACTED Date et heure : 2022-09-13 / 10:10:00
Allo, ici Fido : Bienvenue destination! Vous tes inscrit Fido Nomade alors utilisez vos donn es, parlez et textez comme vous le faites la
maison. Depuis le 1 mars 2022 le tarif cette destination pour 15 $/jour (+ taxes) et valide tous les jours jusqu' 23 h 59 HE, peu importe le fuseau
horaire dans lequel vous vous trouvez. Bon voyage! Des questions? Consultez fido.ca/m/itinerance ou composez +15149333436 (sans frais). Besoin d aide?D tails
- PLANIFIEZ UN VOYAGE AVEC Fido NomadeMC
D couvrez nos options d itin rance et restez en contact l tranger sans vous soucier de votre
facture.D tails Ce courriel est produit automatiquement; veuillez ne pas y r pondre. Ce courriel (et toute pi ce jointe) est confidentiel. Si vous n tes pas le destinataire,
- G rez votre compte
G rez vos produits et services Fido la maison ou sur la route gr ce Mon
Compte.
veuillez supprimer le pr sent message et en d truire toute copie. FIDO SOLUTIONS 800, RUE DE LA GAUCHETI RE OUEST
BUREAU 4000 MONTR AL (QU BEC) H5A 1K3
Fido
*611
. This is a transcript of the chat:
F: Hi! What are we doing today? Type in your question or choose from the options below: * Track my Equipment Order * View Bill Online * Payment Options * iPhone 14 Pre-Order A: i received a message about roaming while abroad but i did not enable roaming on my phone, will i be charged anyways? F: I think I know what you re asking for. Select the topic that best matches your request or try rephrasing your question. A: no F: Thank you, this will help us to improve! Would you like to chat with a specialist? Chat with a specialist I'll get a specialist to help you with this. It appears that you're not signed in. Your session may have timed out. To save time and identify your account details, please sign in to My Account.[... delay ...]Have any questions specific to your Fido account? To service you faster, please identify yourself by completing the form below. A: Personal info Form submitted F: Thank you! I'll connect you with the next available specialist. Your chat is being transferred to a Live Chat agent. Thanks for your patience. We are here to assist you and we kindly ask that our team members be treated with respect and dignity. Please note that abuse directed towards any Consumer Care Specialist will not be tolerated and will result in the termination of your conversation with us. All of our agents are with other customers at the moment. Your chat is in a priority sequence and someone will be with you as soon as possible. Thanks! Thanks for continuing to hold. An agent will be with you as soon as possible. Thank you for your continued patience. We re getting more Live Chat requests than usual so it s taking longer to answer. Your chat is still in a priority sequence and will be answered as soon as an agent becomes available. Thank you so much for your patience we're sorry for the wait. Your chat is still in a priority sequence and will be answered as soon as possible. Hi, I'm [REDACTED] from Fido in [REDACTED]. May I have your name please? A: hi i am antoine, nice to meet you sorry to use the live chat, but it's not clear to me i can safely use my phone to call support, because i am in ireland and i'm worried i'll get charged for the call F: Thank You Antoine , I see you waited to speak with me today, thank you for your patience.Apart from having to wait, how are you today? A: i am good thank you
- Sign in
- I'm not able to sign in
A: should i restate my question? F: Yes please what is the concern you have? A: i have received an email from fido saying i someone used my phone for roaming it's in french (which is fine), but that's the gist of it i am traveling to ireland for a week i do not want to use fido's services here... i have set the phon eto airplane mode for most of my time here F: The SMS just says what will be the charges if you used any services. A: but today i have mistakenly turned that off and did not turn on roaming well it's not a SMS, it's an email F: Yes take out the sim and keep it safe.Turun off or On for roaming you cant do it as it is part of plan. A: wat F: if you used any service you will be charged if you not used any service you will not be charged. A: you are saying i need to physically take the SIM out of the phone? i guess i will have a fun conversation with your management once i return from this trip not that i can do that now, given that, you know, i nee dto take the sim out of this phone fun times F: Yes that is better as most of the customer end up using some kind of service and get charged for roaming. A: well that is completely outrageous roaming is off on the phone i shouldn't get charged for roaming, since roaming is off on the phone i also don't get why i cannot be clearly told whether i will be charged or not the message i have received says i will be charged if i use the service and you seem to say i could accidentally do that easily can you tell me if i have indeed used service sthat will incur an extra charge? are incoming text messages free? F: I understand but it is on you if you used some data SMS or voice mail you can get charged as you used some services.And we cant check anything for now you have to wait for next bill. and incoming SMS are free rest all service comes under roaming. That is the reason I suggested take out the sim from phone and keep it safe or always keep the phone or airplane mode. A: okay can you confirm whether or not i can call fido by voice for support? i mean for free F: So use your Fido sim and call on +1-514-925-4590 on this number it will be free from out side Canada from Fido sim. A: that is quite counter-intuitive, but i guess i will trust you on that thank you, i think that will be all F: Perfect, Again, my name is [REDACTED] and it s been my pleasure to help you today. Thank you for being a part of the Fido family and have a great day! A: you tooSo, in other words:
*611
, and
instead on that long-distance-looking phone number, and yes, that
means turning off airplane mode and putting the SIM card in, which
contradicts step 3+1-514-925-4590
) is different than the one provided in the email
(15149333436
). So who knows what would have happened if I would have
called the latter. The former is mentioned in their contact page.
I guess the next step is to call Fido over the phone and talk to a
manager, which is what the CRTC told me to do in the first place...
I ended up talking with a manager (another 1h phone call) and they
confirmed there is no other package available at Fido for this. At
best they can provide me with a credit if I mistakenly use the roaming
by accident to refund me, but that's it. The manager also confirmed
that I cannot know if I have actually used any data before reading the
bill, which is issued on the 15th of every month, but only
available... three days later, at which point I'll be back home
anyways.
Fantastic.
CONNECT 2400
. Now your computer was bridged to the other; anything going out your serial port was encoded as sound by your modem and decoded at the other end, and vice-versa.
But what, exactly, was the other end?
It might have been another person at their computer. Turn on local echo, and you can see what they did. Maybe you d send files to each other. But in my case, the answer was different: PC Magazine.
71510,1421
. CompuServe had forums, and files. Eventually I would use TapCIS to queue up things I wanted to do offline, to minimize phone usage online.
CompuServe eventually added a gateway to the Internet. For the sum of somewhere around $1 a message, you could send or receive an email from someone with an Internet email address! I remember the thrill of one time, as a kid of probably 11 years, sending a message to one of the editors of PC Magazine and getting a kind, if brief, reply back!
But inevitably I had
complete.org
, as well. At the time, the process was a bit lengthy and involved downloading a text file form, filling it out in a precise way, sending it to InterNIC, and probably mailing them a check. Well I did that, and in September of 1995, complete.org
became mine. I set up sendmail
on my local system, as well as INN
to handle the limited Usenet newsfeed I requested from the ISP. I even ran Majordomo to host some mailing lists, including some that were surprisingly high-traffic for a few-times-a-day long-distance modem UUCP link!
The modem client programs for FreeBSD were somewhat less advanced than for OS/2, but I believe I wound up using Minicom or Seyon to continue to dial out to BBSs and, I believe, continue to use Learning Link. So all the while I was setting up my local BBS, I continued to have access to the text Internet, consisting of chiefly Gopher for me.
Under Canadian Radio-television and Telecommunications Commission (CRTC) rules in place since 2017, telecom networks are supposed to ensure that cellphones are able to contact 911 even if they do not have service.I could personally confirm that my phone couldn't reach 911 services, because all calls would fail: the problem was that towers were still up, so your phone wouldn't fall back to alternative service providers (which could have resolved the issue). I can only speculate as to why Rogers didn't take cell phone towers out of the network to let phones work properly for 911 service, but it seems like a dangerous game to play. Hilariously, the CRTC itself didn't have a reliable phone service due to the service outage:
Please note that our phone lines are affected by the Rogers network outage. Our website is still available: https://crtc.gc.ca/eng/contact/https://mobile.twitter.com/CRTCeng/status/1545421218534359041 I wonder if they will file a complaint against Rogers themselves about this. I probably should. It seems the federal government is thinking more of the same medicine will fix the problem and has told companies should "help" each other in an emergency. I doubt this will fix anything, and could actually make things worse if the competitors actually interoperate more, as it could cause multi-provider, cascading failures.
He pulls from Ethan Zuckerman s idea of a web that is plural in purpose that just as pool halls, libraries and churches each have different norms, purposes and designs, so too should different places on the internet. To achieve this, Tarnoff wants governments to pass laws that would make the big platforms unprofitable and, in their place, fund small-scale, local experiments in social media design. Instead of having platforms ruled by engagement-maximizing algorithms, Tarnoff imagines public platforms run by local librarians that include content from public media.(Links mine: the Washington Post obviously prefers to not link to the real web, and instead doesn't link to Zuckerman's site all and suggests Amazon for the book, in a cynical example.) And in another example of how the private sector has failed us, there was recently a fluke in the AMBER alert system where the entire province was warned about a loose shooter in Saint-Elz ar except the people in the town, because they have spotty cell phone coverage. In other words, millions of people received a strongly toned, "life-threatening", alert for a city sometimes hours away, except the people most vulnerable to the alert. Not missing a beat, the CAQ party is promising more of the same medicine again and giving more money to telcos to fix the problem, suggesting to spend three billion dollars in private infrastructure.
Series: | Monk & Robot #2 |
Publisher: | Tordotcom |
Copyright: | 2022 |
ISBN: | 1-250-23624-X |
Format: | Kindle |
Pages: | 151 |
Series: | Eternal Sky #3 |
Publisher: | Tor |
Copyright: | April 2014 |
ISBN: | 0-7653-2756-2 |
Format: | Hardcover |
Pages: | 429 |
README
file in the bomsh repository.
[ ] implemented what we call package multi-versioning for C/C++ software that lacks function multi-versioning and run-time dispatch [ ]. It is another way to ensure that users do not have to trade reproducibility for performance. (full PDF)
It is one thing to talk about reproducible builds and how they strengthen software supply chain security, but it s quite another to effectively configure a reproducible build. Concrete steps for specific languages are a far larger topic than can be covered in a single blog post, but today we ll be talking about some guiding principles when designing reproducible builds. [ ]The article was discussed on Hacker News.
SOURCE_DATE_EPOCH
environment variable, both by expanding parts of the existing text [ ][ ] as well as clarifying meaning by removing text in other places [ ]. In addition, Chris Lamb added a Twitter Card to our website s metadata too [ ][ ][ ].
On our mailing list this month:
So now we have 364 source packages for which we have a patch and for which we can show that this patch does not change the build output. Do you agree that with those two properties, the advantages of the 3.0 (quilt) format are sufficient such that the change shall be implemented at least for those 364? [ ]
buildpath_in_postgres_opcodes
, captures_kernel_version_via_CMAKE_SYSTEM
, build_id_differences_only
, etc.
python-securesystemslib
package to version 0.22.0-1
and the in-toto
package to 1.2.0-1
.
207
, 208
and 209
to Debian unstable, as well as made the following changes to the code itself:
--append-build-command
option [ ], which was subsequently uploaded to Debian unstable by Holger Levsen.
python-ara
.nbformat
.chemical-structures
.fiat
.intel-mediasdk
.libao
.pcp
.tevent
.pcp
.apr-util
.liggghts
.kristall
.lmod
.libranlip
.xrt
.btrfsmaintenance
.dsa-check-running-kernel
script with a packaged version. [ ]sources.lst
file for our mail server as its still running Debian buster. [ ]debsecan
package everywhere; it got installed accidentally via the Recommends
relation. [ ]#reproducible-builds
on irc.oftc.net
.
rb-general@lists.reproducible-builds.org
kinnison
.
Dogtooth (2009) A father, a mother, a brother and two sisters live in a large and affluent house behind a very high wall and an always-locked gate. Only the father ever leaves the property, driving to the factory that he happens to own. Dogtooth goes far beyond any allusion to Josef Fritzl's cellar, though, as the children's education is a grotesque parody of home-schooling. Here, the parents deliberately teach their children the wrong meaning of words (e.g. a yellow flower is called a 'zombie'), all of which renders the outside world utterly meaningless and unreadable, and completely mystifying its very existence. It is this creepy strangeness within a 'regular' family unit in Dogtooth that is both socially and epistemically horrific, and I'll say nothing here of its sexual elements as well. Despite its cold, inscrutable and deadpan surreality, Dogtooth invites all manner of potential interpretations. Is this film about the artificiality of the nuclear family that the West insists is the benchmark of normality? Or is it, as I prefer to believe, something more visceral altogether: an allegory for the various forms of ontological violence wrought by fascism, as well a sobering nod towards some of fascism's inherent appeals? (Perhaps it is both. In 1972, French poststructuralists Gilles and F lix Guattari wrote Anti-Oedipus, which plays with the idea of the family unit as a metaphor for the authoritarian state.) The Greek-language Dogtooth, elegantly shot, thankfully provides no easy answers.
Holy Motors (2012) There is an infamous scene in Un Chien Andalou, the 1929 film collaboration between Luis Bu uel and famed artist Salvador Dal . A young woman is cornered in her own apartment by a threatening man, and she reaches for a tennis racquet in self-defence. But the man suddenly picks up two nearby ropes and drags into the frame two large grand pianos... each leaden with a dead donkey, a stone tablet, a pumpkin and a bewildered priest. This bizarre sketch serves as a better introduction to Leos Carax's Holy Motors than any elementary outline of its plot, which ostensibly follows 24 hours in the life of a man who must play a number of extremely diverse roles around Paris... all for no apparent reason. (And is he even a man?) Surrealism as an art movement gets a pretty bad wrap these days, and perhaps justifiably so. But Holy Motors and Un Chien Andalou serve as a good reminder that surrealism can be, well, 'good, actually'. And if not quite high art, Holy Motors at least demonstrates that surrealism can still unnerving and hilariously funny. Indeed, recalling the whimsy of the plot to a close friend, the tears of laughter came unbidden to my eyes once again. ("And then the limousines...!") Still, it is unclear how Holy Motors truly refreshes surrealism for the twenty-first century. Surrealism was, in part, a reaction to the mechanical and unfeeling brutality of World War I and ultimately sought to release the creative potential of the unconscious mind. Holy Motors cannot be responding to another continental conflagration, and so it appears to me to be some kind of commentary on the roles we exhibit in an era of 'post-postmodernity': a sketch on our age of performative authenticity, perhaps, or an idle doodle on the function and psychosocial function of work. Or perhaps not. After all, this film was produced in a time that offers the near-universal availability of mind-altering substances, and this certainly changes the context in which this film was both created. And, how can I put it, was intended to be watched.
Manchester by the Sea (2016) An absolutely devastating portrayal of a character who is unable to forgive himself and is hesitant to engage with anyone ever again. It features a near-ideal balance between portraying unrecoverable anguish and tender warmth, and is paradoxically grandiose in its subtle intimacy. The mechanics of life led me to watch this lying on a bed in a chain hotel by Heathrow Airport, and if this colourless circumstance blunted the film's emotional impact on me, I am probably thankful for it. Indeed, I find myself reduced in this review to fatuously recalling my favourite interactions instead of providing any real commentary. You could write a whole essay about one particular incident: its surfaces, subtexts and angles... all despite nothing of any substance ever being communicated. Truly stunning.
McCabe & Mrs. Miller (1971) Roger Ebert called this movie one of the saddest films I have ever seen, filled with a yearning for love and home that will not ever come. But whilst it is difficult to disagree with his sentiment, Ebert's choice of sad is somehow not quite the right word. Indeed, I've long regretted that our dictionaries don't have more nuanced blends of tragedy and sadness; perhaps the Ancient Greeks can loan us some. Nevertheless, the plot of this film is of a gambler and a prostitute who become business partners in a new and remote mining town called Presbyterian Church. However, as their town and enterprise booms, it comes to the attention of a large mining corporation who want to bully or buy their way into the action. What makes this film stand out is not the plot itself, however, but its mood and tone the town and its inhabitants seem to be thrown together out of raw lumber, covered alternatively in mud or frozen ice, and their days (and their personalities) are both short and dark in equal measure. As a brief aside, if you haven't seen a Roger Altman film before, this has all the trappings of being a good introduction. As Ebert went on to observe: This is not the kind of movie where the characters are introduced. They are all already here. Furthermore, we can see some of Altman's trademark conversations that overlap, a superb handling of ensemble casts, and a quietly subversive view of the tyranny of 'genre'... and the latter in a time when the appetite for revisionist portrays of the West was not very strong. All of these 'Altmanian' trademarks can be ordered in much stronger measures in his later films: in particular, his comedy-drama Nashville (1975) has 24 main characters, and my jejune interpretation of Gosford Park (2001) is that it is purposefully designed to poke fun those who take a reductionist view of 'genre', or at least on the audience's expectations. (In this case, an Edwardian-era English murder mystery in the style of Agatha Christie, but where no real murder or detection really takes place.) On the other hand, McCabe & Mrs. Miller is actually a poor introduction to Altman. The story is told in a suitable deliberate and slow tempo, and the two stars of the film are shown thoroughly defrocked of any 'star status', in both the visual and moral dimensions. All of these traits are, however, this film's strength, adding up to a credible, fascinating and riveting portrayal of the old West.
Detour (1945) Detour was filmed in less than a week, and it's difficult to decide out of the actors and the screenplay which is its weakest point.... Yet it still somehow seemed to drag me in. The plot revolves around luckless Al who is hitchhiking to California. Al gets a lift from a man called Haskell who quickly falls down dead from a heart attack. Al quickly buries the body and takes Haskell's money, car and identification, believing that the police will believe Al murdered him. An unstable element is soon introduced in the guise of Vera, who, through a set of coincidences that stretches credulity, knows that this 'new' Haskell (ie. Al pretending to be him) is not who he seems. Vera then attaches herself to Al in order to blackmail him, and the world starts to spin out of his control. It must be understood that none of this is executed very well. Rather, what makes Detour so interesting to watch is that its 'errors' lend a distinctively creepy and unnatural hue to the film. Indeed, in the early twentieth century, Sigmund Freud used the word unheimlich to describe the experience of something that is not simply mysterious, but something creepy in a strangely familiar way. This is almost the perfect description of watching Detour its eerie nature means that we are not only frequently second-guessed about where the film is going, but are often uncertain whether we are watching the usual objective perspective offered by cinema. In particular, are all the ham-fisted segues, stilted dialogue and inscrutable character motivations actually a product of Al inventing a story for the viewer? Did he murder Haskell after all, despite the film 'showing' us that Haskell died of natural causes? In other words, are we watching what Al wants us to believe? Regardless of the answers to these questions, the film succeeds precisely because of its accidental or inadvertent choices, so it is an implicit reminder that seeking the director's original intention in any piece of art is a complete mirage. Detour is certainly not a good film, but it just might be a great one. (It is a short film too, and, out of copyright, it is available online for free.)
Safe (1995) Safe is a subtly disturbing film about an upper-middle-class housewife who begins to complain about vague symptoms of illness. Initially claiming that she doesn't feel right, Carol starts to have unexplained headaches, a dry cough and nosebleeds, and eventually begins to have trouble breathing. Carol's family doctor treats her concerns with little care, and suggests to her husband that she sees a psychiatrist. Yet Carol's episodes soon escalate. For example, as a 'homemaker' and with nothing else to occupy her, Carol's orders a new couch for a party. But when the store delivers the wrong one (although it is not altogether clear that they did), Carol has a near breakdown. Unsure where to turn, an 'allergist' tells Carol she has "Environmental Illness," and so Carol eventually checks herself into a new-age commune filled with alternative therapies. On the surface, Safe is thus a film about the increasing about of pesticides and chemicals in our lives, something that was clearly felt far more viscerally in the 1990s. But it is also a film about how lack of genuine healthcare for women must be seen as a critical factor in the rise of crank medicine. (Indeed, it made for something of an uncomfortable watch during the coronavirus lockdown.) More interestingly, however, Safe gently-yet-critically examines the psychosocial causes that may be aggravating Carol's illnesses, including her vacant marriage, her hollow friends and the 'empty calorie' stimulus of suburbia. None of this should be especially new to anyone: the gendered Victorian term 'hysterical' is often all but spoken throughout this film, and perhaps from the very invention of modern medicine, women's symptoms have often regularly minimised or outright dismissed. (Hilary Mantel's 2003 memoir, Giving Up the Ghost is especially harrowing on this.) As I opened this review, the film is subtle in its messaging. Just to take one example from many, the sound of the cars is always just a fraction too loud: there's a scene where a group is eating dinner with a road in the background, and the total effect can be seen as representing the toxic fumes of modernity invading our social lives and health. I won't spoiler the conclusion of this quietly devasting film, but don't expect a happy ending.
The Driver (1978) Critics grossly misunderstood The Driver when it was first released. They interpreted the cold and unemotional affect of the characters with the lack of developmental depth, instead of representing their dissociation from the society around them. This reading was encouraged by the fact that the principal actors aren't given real names and are instead known simply by their archetypes instead: 'The Driver', 'The Detective', 'The Player' and so on. This sort of quasi-Jungian erudition is common in many crime films today (Reservoir Dogs, Kill Bill, Layer Cake, Fight Club), so the critics' misconceptions were entirely reasonable in 1978. The plot of The Driver involves the eponymous Driver, a noted getaway driver for robberies in Los Angeles. His exceptional talent has far prevented him from being captured thus far, so the Detective attempts to catch the Driver by pardoning another gang if they help convict the Driver via a set-up robbery. To give himself an edge, however, The Driver seeks help from the femme fatale 'Player' in order to mislead the Detective. If this all sounds eerily familiar, you would not be far wrong. The film was essentially remade by Nicolas Winding Refn as Drive (2011) and in Edgar Wright's 2017 Baby Driver. Yet The Driver offers something that these neon-noir variants do not. In particular, the car chases around Los Angeles are some of the most captivating I've seen: they aren't thrilling in the sense of tyre squeals, explosions and flying boxes, but rather the vehicles come across like wild animals hunting one another. This feels especially so when the police are hunting The Driver, which feels less like a low-stakes game of cat and mouse than a pack of feral animals working together a gang who will tear apart their prey if they find him. In contrast to the undercar neon glow of the Fast & Furious franchise, the urban realism backdrop of the The Driver's LA metropolis contributes to a sincere feeling of artistic fidelity as well. To be sure, most of this is present in the truly-excellent Drive, where the chase scenes do really communicate a credible sense of stakes. But the substitution of The Driver's grit with Drive's soft neon tilts it slightly towards that common affliction of crime movies: style over substance. Nevertheless, I can highly recommend watching The Driver and Drive together, as it can tell you a lot about the disconnected socioeconomic practices of the 1980s compared to the 2010s. More than that, however, the pseudo-1980s synthwave soundtrack of Drive captures something crucial to analysing the world of today. In particular, these 'sounds from the past filtered through the present' bring to mind the increasing role of nostalgia for lost futures in the culture of today, where temporality and pop culture references are almost-exclusively citational and commemorational.
The Souvenir (2019) The ostensible outline of this quietly understated film follows a shy but ambitious film student who falls into an emotionally fraught relationship with a charismatic but untrustworthy older man. But that doesn't quite cover the plot at all, for not only is The Souvenir a film about a young artist who is inspired, derailed and ultimately strengthened by a toxic relationship, it is also partly a coming-of-age drama, a subtle portrait of class and, finally, a film about the making of a film. Still, one of the geniuses of this truly heartbreaking movie is that none of these many elements crowds out the other. It never, ever feels rushed. Indeed, there are many scenes where the camera simply 'sits there' and quietly observes what is going on. Other films might smother themselves through references to 18th-century oil paintings, but The Souvenir somehow evades this too. And there's a certain ring of credibility to the story as well, no doubt in part due to the fact it is based on director Joanna Hogg's own experiences at film school. A beautifully observed and multi-layered film; I'll be happy if the sequel is one-half as good.
The Wrestler (2008) Randy 'The Ram' Robinson is long past his prime, but he is still rarin' to go in the local pro-wrestling circuit. Yet after a brutal beating that seriously threatens his health, Randy hangs up his tights and pursues a serious relationship... and even tries to reconnect with his estranged daughter. But Randy can't resist the lure of the ring, and readies himself for a comeback. The stage is thus set for Darren Aronofsky's The Wrestler, which is essentially about what drives Randy back to the ring. To be sure, Randy derives much of his money from wrestling as well as his 'fitness', self-image, self-esteem and self-worth. Oh, it's no use insisting that wrestling is fake, for the sport is, needless to say, Randy's identity; it's not for nothing that this film is called The Wrestler. In a number of ways, The Sound of Metal (2019) is both a reaction to (and a quiet remake of) The Wrestler, if only because both movies utilise 'cool' professions to explore such questions of identity. But perhaps simply when The Wrestler was produced makes it the superior film. Indeed, the role of time feels very important for the Wrestler. In the first instance, time is clearly taking its toll on Randy's body, but I felt it more strongly in the sense this was very much a pre-2008 film, released on the cliff-edge of the global financial crisis, and the concomitant precarity of the 2010s. Indeed, it is curious to consider that you couldn't make The Wrestler today, although not because the relationship to work has changed in any fundamentalway. (Indeed, isn't it somewhat depressing the realise that, since the start of the pandemic and the 'work from home' trend to one side, we now require even more people to wreck their bodies and mental health to cover their bills?) No, what I mean to say here is that, post-2016, you cannot portray wrestling on-screen without, how can I put it, unwelcome connotations. All of which then reminds me of Minari's notorious red hat... But I digress. The Wrestler is a grittily stark darkly humorous look into the life of a desperate man and a sorrowful world, all through one tragic profession.
Thief (1981) Frank is an expert professional safecracker and specialises in high-profile diamond heists. He plans to use his ill-gotten gains to retire from crime and build a life for himself with a wife and kids, so he signs on with a top gangster for one last big score. This, of course, could be the plot to any number of heist movies, but Thief does something different. Similar to The Wrestler and The Driver (see above) and a number of other films that I watched this year, Thief seems to be saying about our relationship to work and family in modernity and postmodernity. Indeed, the 'heist film', we are told, is an understudied genre, but part of the pleasure of watching these films is said to arise from how they portray our desired relationship to work. In particular, Frank's desire to pull off that last big job feels less about the money it would bring him, but a displacement from (or proxy for) fulfilling some deep-down desire to have a family or indeed any relationship at all. Because in theory, of course, Frank could enter into a fulfilling long-term relationship right away, without stealing millions of dollars in diamonds... but that's kinda the entire point: Frank needing just one more theft is an excuse to not pursue a relationship and put it off indefinitely in favour of 'work'. (And being Federal crimes, it also means Frank cannot put down meaningful roots in a community.) All this is communicated extremely subtly in the justly-lauded lowkey diner scene, by far the best scene in the movie. The visual aesthetic of Thief is as if you set The Warriors (1979) in a similarly-filthy Chicago, with the Xenophon-inspired plot of The Warriors replaced with an almost deliberate lack of plot development... and the allure of The Warriors' fantastical criminal gangs (with their alluringly well-defined social identities) substituted by a bunch of amoral individuals with no solidarity beyond the immediate moment. A tale of our time, perhaps. I should warn you that the ending of Thief is famously weak, but this is a gritty, intelligent and strangely credible heist movie before you get there.
Uncut Gems (2019) The most exhausting film I've seen in years; the cinematic equivalent of four cups of double espresso, I didn't even bother even trying to sleep after downing Uncut Gems late one night. Directed by the two Safdie Brothers, it often felt like I was watching two films that had been made at the same time. (Or do I mean two films at 2X speed?) No, whatever clumsy metaphor you choose to adopt, the unavoidable effect of this film's finely-tuned chaos is an uncompromising and anxiety-inducing piece of cinema. The plot follows Howard as a man lost to his countless vices mostly gambling with a significant side hustle in adultery, but you get the distinct impression he would be happy with anything that will give him another high. A true junkie's junkie, you might say. You know right from the beginning it's going to end in some kind of disaster, the only question remaining is precisely how and what. Portrayed by an (almost unrecognisable) Adam Sandler, there's an uncanny sense of distance in the emotional chasm between 'Sandler-as-junkie' and 'Sandler-as-regular-star-of-goofy-comedies'. Yet instead of being distracting and reducing the film's affect, this possibly-deliberate intertextuality somehow adds to the masterfully-controlled mayhem. My heart races just at the memory. Oof.
Woman in the Dunes (1964) I ended up watching three films that feature sand this year: Denis Villeneuve's Dune (2021), Lawrence of Arabia (1962) and Woman in the Dunes. But it is this last 1964 film by Hiroshi Teshigahara that will stick in my mind in the years to come. Sure, there is none of the Medician intrigue of Dune or the Super Panavision-70 of Lawrence of Arabia (or its quasi-orientalist score, itself likely stolen from Anton Bruckner's 6th Symphony), but Woman in the Dunes doesn't have to assert its confidence so boldly, and it reveals the enormity of its plot slowly and deliberately instead. Woman in the Dunes never rushes to get to the film's central dilemma, and it uncovers its terror in little hints and insights, all whilst establishing the daily rhythm of life. Woman in the Dunes has something of the uncanny horror as Dogtooth (see above), as well as its broad range of potential interpretations. Both films permit a wide array of readings, without resorting to being deliberately obscurantist or being just plain random it is perhaps this reason why I enjoyed them so much. It is true that asking 'So what does the sand mean?' sounds tediously sophomoric shorn of any context, but it somehow applies to this thoughtfully self-contained piece of cinema.
A Quiet Place (2018) Although A Quiet Place was not actually one of the best films I saw this year, I'm including it here as it is certainly one of the better 'mainstream' Hollywood franchises I came across. Not only is the film very ably constructed and engages on a visceral level, I should point out that it is rare that I can empathise with the peril of conventional horror movies (and perhaps prefer to focus on its cultural and political aesthetics), but I did here. The conceit of this particular post-apocalyptic world is that a family is forced to live in almost complete silence while hiding from creatures that hunt by sound alone. Still, A Quiet Place engages on an intellectual level too, and this probably works in tandem with the pure 'horrorific' elements and make it stick into your mind. In particular, and to my mind at least, A Quiet Place a deeply American conservative film below the surface: it exalts the family structure and a certain kind of sacrifice for your family. (The music often had a passacaglia-like strain too, forming a tombeau for America.) Moreover, you survive in this dystopia by staying quiet that is to say, by staying stoic suggesting that in the wake of any conflict that might beset the world, the best thing to do is to keep quiet. Even communicating with your loved ones can be deadly to both of you, so not emote, acquiesce quietly to your fate, and don't, whatever you do, speak up. (Or join a union.) I could go on, but The Quiet Place is more than this. It's taut and brief, and despite cinema being an increasingly visual medium, it encourages its audience to develop a new relationship with sound.
Publisher: | Penguin Books |
Copyright: | 2018 |
Printing: | 2019 |
ISBN: | 0-525-55880-2 |
Format: | Kindle |
Pages: | 615 |
In Europe, the bullish CEOs of Deutsche Bank and Barclays claimed exceptional status because they avoided taking aid from their national governments. What the Fed data reveal is the hollowness of those boasts. The banks might have avoided state-sponsored recapitalization, but every major bank in the entire world was taking liquidity assistance on a grand scale from its local central bank, and either directly or indirectly by way of the swap lines from the Fed.The emergency steps taken by Timothy Geithner in the Treasury Department were nearly as dramatic as those of the Federal Reserve. Without regard for borders, and pushing the boundary of their legal authority, they intervened massively in the world (not just the US) economy to save the banking and international finance system. And it worked. One of the benefits of a good history is to turn stories about heroes and villains into more nuanced information about motives and philosophies. I came away from Sheila Bair's account of the crisis furious at Geithner's protection of banks from any meaningful consequences for their greed. Tooze's account, and analysis, agrees with Bair in many respects, but Bair was continuing a personal fight and Tooze has more space to put Geithner into context. That context tells an interesting story about the shape of political economics in the 21st century. Tooze identifies Geithner as an institutionalist. His goal was to keep the system running, and he was acutely aware of what would happen if it failed. He therefore focused on the pragmatic and the practical: the financial system was about to collapse, he did whatever was necessary to keep it working, and that effort was successful. Fairness, fault, and morals were treated as irrelevant. This becomes more obvious when contrasted with the eurozone crisis, which started with a Greek debt crisis in the wake of the recession triggered by the 2008 crisis. Greece is tiny by the standards of the European economy, so at first glance there is no obvious reason why its debt crisis should have perturbed the financial system. Under normal circumstances, its lenders should have been able to absorb such relatively modest losses. But the immediate aftermath of the 2008 crisis was not normal circumstances, particularly in Europe. The United States had moved aggressively to recapitalize its banks using the threat of compensation caps and government review of their decisions. The European Union had not; European countries had done very little, and their banks were still in a fragile state. Worse, the European Central Bank had sent signals that the market interpreted as guaranteeing the safety of all European sovereign debt equally, even though this was explicitly ruled out by the Lisbon Treaty. If Greece defaulted on its debt, not only would that be another shock to already-precarious banks, it would indicate to the market that all European debt was not equal and other countries may also be allowed to default. As the shape of the Greek crisis became clearer, the cost of borrowing for all of the economically weaker European countries began rising towards unsustainable levels. In contrast to the approach taken by the United States government, though, Europe took a moralistic approach to the crisis. Jean-Claude Trichet, then president of the European Central Bank, held the absolute position that defaulting on or renegotiating the Greek debt was unthinkable and would not be permitted, even though there was no realistic possibility that Greece would be able to repay. He also took a conservative hard line on the role of the ECB, arguing that it could not assist in this crisis. (Tooze is absolutely scathing towards Trichet, who comes off in this account as rigidly inflexible, volatile, and completely irrational.) Germany's position, represented by Angela Merkel, was far more realistic: Greece's debt should be renegotiated and the creditors would have to accept losses. This is, in Tooze's account, clearly correct, and indeed is what eventually happened. But the problem with Merkel's position was the potential fallout. The German government was still in denial about the health of its own banks, and political opinion, particularly in Merkel's coalition, was strongly opposed to making German taxpayers responsible for other people's debts. Stopping the progression of a Greek default to a loss of confidence in other European countries would require backstopping European sovereign debt, and Merkel was not willing to support this. Tooze is similarly scathing towards Merkel, but I'm not sure it's warranted by his own account. She seemed, even in his account, boxed in by domestic politics and the tight constraints of the European political structure. Regardless, even after Trichet's term ended and he was replaced by the far more pragmatic Mario Draghi, Germany and Merkel continued to block effective action to relieve Greece's debt burden. As a result, the crisis lurched from inadequate stopgap to inadequate stopgap, forcing crippling austerity, deep depressions, and continued market instability while pretending unsustainable debt would magically become payable through sufficient tax increases and spending cuts. US officials such as Geithner, who put morals and arguably legality aside to do whatever was needed to save the system, were aghast. One takeaway from this is that expansionary austerity is the single worst macroeconomic idea that anyone has ever had.
In the summer of 2012 [the IMF's] staff revisited the forecasts they had made in the spring of 2010 as the eurozone crisis began and discovered that they had systematically underestimated the negative impact of budget cuts. Whereas they had started the crisis believing that the multiplier was on average around 0.5, they now concluded that from 2010 forward it had been in excess of 1. This meant that cutting government spending by 1 euro, as the austerity programs demanded, would reduce economic activity by more than 1 euro. So the share of the state in economic activity actually increased rather than decreased, as the programs presupposed. It was a staggering admission. Bad economics and faulty empirical assumptions had led the IMF to advocate a policy that destroyed the economic prospects for a generation of young people in Southern Europe.Another takeaway, though, is central to Tooze's point in the final section of the book: the institutionalists in the United States won the war on financial collapse via massive state interventions to support banks and the financial system, a model that Europe grudgingly had to follow when attempting to reject it caused vast suffering while still failing to stabilize the financial system. But both did so via actions that were profoundly and obviously unfair, and only questionably legal. Bankers suffered few consequences for their greed and systematic mismanagement, taking home their normal round of bonuses while millions of people lost their homes and unemployment rates for young men in some European countries exceeded 50%. In Europe, the troika's political pressure against Greece and Italy was profoundly anti-democratic. The financial elite achieved their goal of saving the financial system. It could have failed, that failure would have been catastrophic, and their actions are defensible on pragmatic grounds. But they completely abandoned the moral high ground in the process. The political forces opposed to centrist neoliberalism attempted to step into that moral gap. On the Left, that came in the form of mass protest movements, Occupy Wall Street, Bernie Sanders, and parties such as Syriza in Greece. The Left, broadly, took the moral side of debtors, holding that the primary pain of the crisis should instead be born by the wealthy creditors who were more able to absorb it. The Right by contrast, in the form of the Tea Party movement inside the Republican Party in the United States and the nationalist parties in Europe, broadly blamed debtors for taking on excessive debt and focused their opposition on use of taxpayer dollars to bail out investment banks and other institutions of the rich. Tooze correctly points out that the Right's embrace of racist nationalism and incoherent demagoguery obscures the fact that their criticism of the elite center has real merit and is partly shared by the Left. As Tooze sketches out, the elite centrist consensus held in most of Europe, beating back challenges from both the Left and the Right, although it faltered in the UK, Poland, and Hungary. In the United States, the Democratic Party similarly solidified around neoliberalism and saw off its challenges from the Left. The Republican Party, however, essentially abandoned the centrist position, embracing the Right. That left the Democratic Party as the sole remaining neoliberal institutionalist party, supplemented by a handful of embattled Republican centrists. Wall Street and its money swung to the Democratic Party, but it was deeply unpopular on both the Left and the Right and this shift may have hurt them more than helped. The Democrats, by not abandoning the center, bore the brunt of the residual anger over the bank bailout and subsequent deep recession. Tooze sees in that part of the explanation for Trump's electoral victory over Hilary Clinton. This review is already much too long, and I haven't even mentioned Tooze's clear explanation of the centrality of treasury bonds to world finances, or his discussions of Russian and Ukraine, China, or Brexit, all of which I thought were excellent. This is not only an comprehensive history of both of the crises and international politics of the time period. It is also a thought-provoking look at how drastic of interventions are required to keep the supposed free market working, who is left to suffer after those interventions, and the political consequences of the choice to prioritize the stability of a deeply inequitable and unsafe financial system. At least in the United States, there is now a major political party that is likely to oppose even mundane international financial institutions, let alone another major intervention. The neoliberal center is profoundly weakened. But nothing has been done to untangle the international financial system, and little has been done to reduce its risk. The world will go into the next financial challenge still suffering from a legitimacy crisis. Given the miserly, condescending, and dismissive treatment of the suffering general populace after moving heaven and earth to save the banking system, that legitimacy crisis is arguably justified, but an uncontrolled crash of the financial system is not likely to be any kinder to the average citizen than it is to the investment bankers. Crashed is not the best-written book at a sentence-by-sentence level. Tooze's prose is choppy and a bit awkward, and his paragraphs occasionally wander away from a clear point. But the content is excellent and thought-provoking, filling in large sections of the crisis picture that I had not previously been aware of and making a persuasive argument for its continuing effects on current politics. Recommended if you're not tired of reading about financial crises. Rating: 8 out of 10
A Wizard of Earthsea (1971) Ursula K. Le Guin How did it come to be that Harry Potter is the publishing sensation of the century, yet Ursula K. Le Guin's Earthsea is only a popular cult novel? Indeed, the comparisons and unintentional intertextuality with Harry Potter are entirely unavoidable when reading this book, and, in almost every respect, Ursula K. Le Guin's universe comes out the victor. In particular, the wizarding world that Le Guin portrays feels a lot more generous and humble than the class-ridden world of Hogwarts School of Witchcraft and Wizardry. Just to take one example from many, in Earthsea, magic turns out to be nurtured in a bottom-up manner within small village communities, in almost complete contrast to J. K. Rowling's concept of benevolent government departments and NGOs-like institutions, which now seems a far too New Labour for me. Indeed, imagine an entire world imbued with the kindly benevolence of Dumbledore, and you've got some of the moral palette of Earthsea. The gently moralising tone that runs through A Wizard of Earthsea may put some people off:
Vetch had been three years at the School and soon would be made Sorcerer; he thought no more of performing the lesser arts of magic than a bird thinks of flying. Yet a greater, unlearned skill he possessed, which was the art of kindness.Still, these parables aimed directly at the reader are fairly rare, and, for me, remain on the right side of being mawkish or hectoring. I'm thus looking forward to reading the next two books in the series soon.
Blood Meridian (1985) Cormac McCarthy Blood Meridian follows a band of American bounty hunters who are roaming the Mexican-American borderlands in the late 1840s. Far from being remotely swashbuckling, though, the group are collecting scalps for money and killing anyone who crosses their path. It is the most unsparing treatment of American genocide and moral depravity I have ever come across, an anti-Western that flouts every convention of the genre. Blood Meridian thus has a family resemblance to that other great anti-Western, Once Upon a Time in the West: after making a number of gun-toting films that venerate the American West (ie. his Dollars Trilogy), Sergio Leone turned his cynical eye to the western. Yet my previous paragraph actually euphemises just how violent Blood Meridian is. Indeed, I would need to be a much better writer (indeed, perhaps McCarthy himself) to adequately 0utline the tone of this book. In a certain sense, it's less than you read this book in a conventional sense, but rather that you are forced to witness successive chapters of grotesque violence... all occurring for no obvious reason. It is often said that books 'subvert' a genre and, indeed, I implied as such above. But the term subvert implies a kind of Puck-like mischievousness, or brings to mind court jesters licensed to poke fun at the courtiers. By contrast, however, Blood Meridian isn't funny in the slightest. There isn't animal cruelty per se, but rather wanton negligence of another kind entirely. In fact, recalling a particular passage involving an injured horse makes me feel physically ill. McCarthy's prose is at once both baroque in its language and thrifty in its presentation. As Philip Connors wrote back in 2007, McCarthy has spent forty years writing as if he were trying to expand the Old Testament, and learning that McCarthy grew up around the Church therefore came as no real surprise. As an example of his textual frugality, I often looked for greater precision in the text, finding myself asking whether who a particular 'he' is, or to which side of a fight some two men belonged to. Yet we must always remember that there is no precision to found in a gunfight, so this infidelity is turned into a virtue. It's not that these are fair fights anyway, or even 'murder': Blood Meridian is just slaughter; pure butchery. Murder is a gross understatement for what this book is, and at many points we are grateful that McCarthy spares us precision. At others, however, we can be thankful for his exactitude. There is no ambiguity regarding the morality of the puppy-drowning Judge, for example: a Colonel Kurtz who has been given free license over the entire American south. There is, thank God, no danger of Hollywood mythologising him into a badass hero. Indeed, we must all be thankful that it is impossible to film this ultra-violent book... Indeed, the broader idea of 'adapting' anything to this world is, beyond sick. An absolutely brutal read; I cannot recommend it highly enough.
Bodies of Light (2014) Sarah Moss Bodies of Light is a 2014 book by Glasgow-born Sarah Moss on the stirrings of women's suffrage within an arty clique in nineteenth-century England. Set in the intellectually smoggy cities of Manchester and London, this poignant book follows the studiously intelligent Alethia 'Ally' Moberly who is struggling to gain the acceptance of herself, her mother and the General Medical Council. You can read my full review from July.
House of Leaves (2000) Mark Z. Danielewski House of Leaves is a remarkably difficult book to explain. Although the plot refers to a fictional documentary about a family whose house is somehow larger on the inside than the outside, this quotidian horror premise doesn't explain the complex meta-commentary that Danielewski adds on top. For instance, the book contains a large number of pseudo-academic footnotes (many of which contain footnotes themselves), with references to scholarly papers, books, films and other articles. Most of these references are obviously fictional, but it's the kind of book where the joke is that some of them are not. The format, structure and typography of the book is highly unconventional too, with extremely unusual page layouts and styles. It's the sort of book and idea that should be a tired gimmick but somehow isn't. This is particularly so when you realise it seems specifically designed to create a fandom around it and to manufacturer its own 'cult' status, something that should be extremely tedious. But not only does this not happen, House of Leaves seems to have survived through two exhausting decades of found footage: The Blair Witch Project and Paranormal Activity are, to an admittedly lesser degree, doing much of the same thing as House of Leaves. House of Leaves might have its origins in Nabokov's Pale Fire or even Derrida's Glas, but it seems to have more in common with the claustrophobic horror of Cube (1997). And like all of these works, House of Leaves book has an extremely strange effect on the reader or viewer, something quite unlike reading a conventional book. It wasn't so much what I got out of the book itself, but how it added a glow to everything else I read, watched or saw at the time. An experience.
Milkman (2018) Anna Burns This quietly dazzling novel from Irish author Anna Burns is full of intellectual whimsy and oddball incident. Incongruously set in 1970s Belfast during The Irish Troubles, Milkman's 18-year-old narrator (known only as middle sister ), is the kind of dreamer who walks down the street with a Victorian-era novel in her hand. It's usually an error for a book that specifically mention other books, if only because inviting comparisons to great novels is grossly ill-advised. But it is a credit to Burns' writing that the references here actually add to the text and don't feel like they are a kind of literary paint by numbers. Our humble narrator has a boyfriend of sorts, but the figure who looms the largest in her life is a creepy milkman an older, married man who's deeply integrated in the paramilitary tribalism. And when gossip about the narrator and the milkman surfaces, the milkman beings to invade her life to a suffocating degree. Yet this milkman is not even a milkman at all. Indeed, it's precisely this kind of oblique irony that runs through this daring but darkly compelling book.
The First Fifteen Lives of Harry August (2014) Claire North Harry August is born, lives a relatively unremarkable life and finally dies a relatively unremarkable death. Not worth writing a novel about, I suppose. But then Harry finds himself born again in the very same circumstances, and as he grows from infancy into childhood again, he starts to remember his previous lives. This loop naturally drives Harry insane at first, but after finding that suicide doesn't stop the quasi-reincarnation, he becomes somewhat acclimatised to his fate. He prospers much better at school the next time around and is ultimately able to make better decisions about his life, especially when he just happens to know how to stay out of trouble during the Second World War. Yet what caught my attention in this 'soft' sci-fi book was not necessarily the book's core idea but rather the way its connotations were so intelligently thought through. Just like in a musical theme and varations, the success of any concept-driven book is far more a product of how the implications of the key idea are played out than how clever the central idea was to begin with. Otherwise, you just have another neat Borges short story: satisfying, to be sure, but in a narrower way. From her relatively simple premise, for example, North has divined that if there was a community of people who could remember their past lives, this would actually allow messages and knowledge to be passed backwards and forwards in time. Ah, of course! Indeed, this very mechanism drives the plot: news comes back from the future that the progress of history is being interfered with, and, because of this, the end of the world is slowly coming. Through the lives that follow, Harry sets out to find out who is passing on technology before its time, and work out how to stop them. With its gently-moralising romp through the salient historical touchpoints of the twentieth century, I sometimes got a whiff of Forrest Gump. But it must be stressed that this book is far less certain of its 'right-on' liberal credentials than Robert Zemeckis' badly-aged film. And whilst we're on the topic of other media, if you liked the underlying conceit behind Stuart Turton's The Seven Deaths of Evelyn Hardcastle yet didn't enjoy the 'variations' of that particular tale, then I'd definitely give The First Fifteen Lives a try. At the very least, 15 is bigger than 7. More seriously, though, The First Fifteen Lives appears to reflect anxieties about technology, particularly around modern technological accelerationism. At no point does it seriously suggest that if we could somehow possess the technology from a decade in the future then our lives would be improved in any meaningful way. Indeed, precisely the opposite is invariably implied. To me, at least, homo sapiens often seems to be merely marking time until we can blow each other up and destroying the climate whilst sleepwalking into some crisis that might precipitate a thermonuclear genocide sometimes seems to be built into our DNA. In an era of cli-fi fiction and our non-fiction newspaper headlines, to label North's insight as 'prescience' might perhaps be overstating it, but perhaps that is the point: this destructive and negative streak is universal to all periods of our violent, insecure species.
The Goldfinch (2013) Donna Tartt After Breaking Bad, the second biggest runaway success of 2014 was probably Donna Tartt's doorstop of a novel, The Goldfinch. Yet upon its release and popular reception, it got a significant number of bad reviews in the literary press with, of course, an equal number of predictable think pieces claiming this was sour grapes on the part of the cognoscenti. Ah, to be in 2014 again, when our arguments were so much more trivial. For the uninitiated, The Goldfinch is a sprawling bildungsroman that centres on Theo Decker, a 13-year-old whose world is turned upside down when a terrorist bomb goes off whilst visiting the Metropolitan Museum of Art, killing his mother among other bystanders. Perhaps more importantly, he makes off with a painting in order to fulfil a promise to a dying old man: Carel Fabritius' 1654 masterpiece The Goldfinch. For the next 14 years (and almost 800 pages), the painting becomes the only connection to his lost mother as he's flung, almost entirely rudderless, around the Western world, encountering an array of eccentric characters. Whatever the critics claimed, Tartt's near-perfect evocation of scenes, from the everyday to the unimaginable, is difficult to summarise. I wouldn't label it 'cinematic' due to her evocation of the interiority of the characters. Take, for example: Even the suggestion that my father had close friends conveyed a misunderstanding of his personality that I didn't know how to respond it's precisely this kind of relatable inner subjectivity that cannot be easily conveyed by film, likely is one of the main reasons why the 2019 film adaptation was such a damp squib. Tartt's writing is definitely not 'impressionistic' either: there are many near-perfect evocations of scenes, even ones we hope we cannot recognise from real life. In particular, some of the drug-taking scenes feel so credibly authentic that I sometimes worried about the author herself. Almost eight months on from first reading this novel, what I remember most was what a joy this was to read. I do worry that it won't stand up to a more critical re-reading (the character named Xandra even sounds like the pharmaceuticals she is taking), but I think I'll always treasure the first days I spent with this often-beautiful novel.
Beyond Black (2005) Hilary Mantel Published about five years before the hyperfamous Wolf Hall (2004), Hilary Mantel's Beyond Black is a deeply disturbing book about spiritualism and the nature of Hell, somewhat incongruously set in modern-day England. Alison Harte is a middle-aged physic medium who works in the various towns of the London orbital motorway. She is accompanied by her stuffy assistant, Colette, and her spirit guide, Morris, who is invisible to everyone but Alison. However, this is no gentle and musk-smelling world of the clairvoyant and mystic, for Alison is plagued by spirits from her past who infiltrate her physical world, becoming stronger and nastier every day. Alison's smiling and rotund persona thus conceals a truly desperate woman: she knows beyond doubt the terrors of the next life, yet must studiously conceal them from her credulous clients. Beyond Black would be worth reading for its dark atmosphere alone, but it offers much more than a chilling and creepy tale. Indeed, it is extraordinarily observant as well as unsettlingly funny about a particular tranche of British middle-class life. Still, the book's unnerving nature that sticks in the mind, and reading it noticeably changed my mood for days afterwards, and not necessarily for the best.
The Wall (2019) John Lanchester The Wall tells the story of a young man called Kavanagh, one of the thousands of Defenders standing guard around a solid fortress that envelopes the British Isles. A national service of sorts, it is Kavanagh's job to stop the so-called Others getting in. Lanchester is frank about what his wall provides to those who stand guard: the Defenders of the Wall are conscripted for two years on the Wall, with no exceptions, giving everyone in society a life plan and a story. But whilst The Wall is ostensibly about a physical wall, it works even better as a story about the walls in our mind. In fact, the book blends together of some of the most important issues of our time: climate change, increasing isolation, Brexit and other widening societal divisions. If you liked P. D. James' The Children of Men you'll undoubtedly recognise much of the same intellectual atmosphere, although the sterility of John Lanchester's dystopia is definitely figurative and textual rather than literal. Despite the final chapters perhaps not living up to the world-building of the opening, The Wall features a taut and engrossing narrative, and it undoubtedly warrants even the most cursory glance at its symbolism. I've yet to read something by Lanchester I haven't enjoyed (even his short essay on cheating in sports, for example) and will be definitely reading more from him in 2022.
The Only Story (2018) Julian Barnes The Only Story is the story of Paul, a 19-year-old boy who falls in love with 42-year-old Susan, a married woman with two daughters who are about Paul's age. The book begins with how Paul meets Susan in happy (albeit complicated) circumstances, but as the story unfolds, the novel becomes significantly more tragic and moving. Whilst the story begins from the first-person perspective, midway through the book it shifts into the second person, and, later, into the third as well. Both of these narrative changes suggested to me an attempt on the part of Paul the narrator (if not Barnes himself), to distance himself emotionally from the events taking place. This effect is a lot more subtle than it sounds, however: far more prominent and devastating is the underlying and deeply moving story about the relationship ends up. Throughout this touching book, Barnes uses his mastery of language and observation to avoid the saccharine and the maudlin, and ends up with a heart-wrenching and emotive narrative. Without a doubt, this is the saddest book I read this year.
Series: | Eternal Sky #2 |
Publisher: | Tor |
Copyright: | March 2013 |
ISBN: | 0-7653-2755-4 |
Format: | Hardcover |
Pages: | 333 |
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