In speaking of the 1939 Molotov-Ribbentrop pact as good foreign policy, Russian President Vladimir Putin has violated both a long Soviet taboo and revised his own prior position that the agreement was “immoral.” What it is about this alliance with Nazi Germany that is so appealing just at the present moment? In fact, Putin’s rehabilitation of the Molotov-Ribbentrop pact follows other recent moves by Moscow to revive the idea of a division of Eastern Europe between Russia and the West.
Never in memory has a midterm election been turned against a president so cynically as it was by the Republicans this year. Scott Brown was among those who made the comprehensive and efficient charge that ISIS was bringing Ebola into America over the Texas border. In exit interviews voters told pollsters that ISIS and Ebola were reasons they voted for Republicans.
“Rembrandt: The Late Works,” an exhibition now on view at London’s National Gallery, will linger long in the mind of anyone who has the pleasure to see it. Bringing together approximately ninety paintings, prints, and drawings Rembrandt made at the end of his life, it reveals a great artist working with unprecedented technical command and emotional power, even as the world closes in around him.
The horrific kidnapping of forty-three boys has created a crisis of a different order for the Mexican state. By rights the Ayotzinapa parents should all go mad, faced with the uncertainty, systematic mistreatment by the authorities, and sheer horror of contemplating how their children may have been killed.
Osvaldo Ferrari: Throughout your writing, you have referred to what’s divine, including the supernatural. That is, you seem to admit that transcendence exists but you don’t call it God.
Jorge Luis Borges: I do think that it’s safer not to call it God. On the other hand, if we employ other words, perhaps less precise or vivid ones, then we could approach the truth, if an approach to truth is possible. Or it could be something that we ignore.
Goodbye to Language is not different in kind from other works of Godard’s late period, but is different in the intensity of its impact. Filming in 3-D, Godard forces a reconsideration not only of his own films but of all films.
My wife and I moved to a new house a few years back. The street address is 666. I warned her that Halloween might be lively at our house and suggested that we get the number changed. I think she was a little embarrassed for me, suspecting that I was superstitious. So far—knock wood—the tricksters have stayed away. But an attempt to remove the diabolical digits from the garage door, where they had been nailed in place by a previous owner, has gone awry. The outlines of the ghostly numbers now shine forth from the stained wood, more visible than ever.
I stayed in quaint hotels and some that were appalling, also in some that were grand. I was an intent, anxious, too-serious boy bent over a heavy novel in the slop-strewn eating hall of a travelers’ block in Shanxi province; at an obscure mountain inn where the rain wouldn’t stop; in Bangkok, at yet another Indian cafe in a murky cul-de-sac. The view changed constantly, but what hardly varied was the sequence of long walks each day.
Even as Ebola hysteria rages in the US, the epidemic here in Liberia, which is supposed to be its epicenter, seems to be subsiding. According to official counts, this impoverished country of 4 million people is currently home to fewer than four hundred Ebola patients and the number of new cases is declining. The paranoid US response could make the disease far more dangerous than it currently is.
In their extraordinary revelations about what the NSA and its secret programs have been doing, Edward Snowden’s leaks have shown the precariousness of privacy in the digital age. But Laura Poitras’s documentary Citizenfour also demonstrates, unwittingly, that we are part of the problem. We have chosen to broadcast our lives.