The events in Cairo of August 14, in which Egyptian security forces confronted thousands of supporters of ousted president Mohamed Morsi, were widely covered around the world. Most reports have described the protesters as unarmed and peaceful. However it was clear, both from what I witnessed on the ground and from extensive footage recording the events that day, that a faction of the protesters were heavily armed, and that both Islamists and the police used live ammunition in the confrontation that followed.
“Bill Brandt…is to photography what a sculptor is to a block of marble,” wrote Lawrence Durrell. “His pictures read into things, try to get at the hidden presence which dwells in the inanimate object. Whether his subject is live or not—whether woman or child or human hand or stone—he detaches it from its context by some small twist of perception and lodges it securely in the world of Platonic forms.”
In the September 26, 2013 issue of The New York Review, Sanford Schwartz writes about a new exhibition of the work of L.S. Lowry (1887–1976), whom he calls “Britain’s only visual artist to make industrial Lancashire, with its factories and smoke-belching chimneys and crowded streets, his or her predominant subject.”
At the end of World War II, as it became clear that Hitler was headed for defeat, Russia and the Western powers raced against each other to claim territory in Europe. Russian troops were the first to reach Warsaw, Budapest, and Vienna, and most observers expected that the Russians would also be the first to reach Prague, the capital of Czechoslovakia. It looked as if all of Eastern Europe was fated to fall under Soviet sway. At the last minute, however, it almost didn’t turn out that way. General Dwight D. Eisenhower authorized Patton to take Karlovy Vary, Plzeň, and České Budějovice, three of Czechoslovakia’s westernmost cities. Patton quickly took the cities, and he wanted to keep marching—all the way to Prague. If Eisenhower had given Patton a green light, the Iron Curtain of the next half-century would very likely have had a very different shape.
On June 22, 2013, The New York Review held a conference to celebrate its fiftieth anniversary and to honor the lives, work, and legacy of Isaiah Berlin, Stuart Hampshire and Bernard Williams. We are pleased to present the following audio record of this event.