On October 18, 1896, newspaper magnate William Randolph Hearst went to war against Joseph Pulitzer. His opening salvo was The New York Journal’s five-cent color supplement, The American Humorist, which Hearst called “eight pages of iridescent polychromous effulgence that makes the rainbow look like a piece of lead pipe.”
While Syrians continue to suffer, sandwiched between a brutal dictatorship and extremist groups, Arab and European jihadists are being indoctrinated and trained in the world’s most active battle zone—experience they may someday bring home.
Many a Tibetan mystic goes on a three-year retreat and comes back with a sense of stillness and attention that suggests great understanding, but most of these monks are masters of silence more than of the written word. The beauty of Proust is that he ventures into the farthest reaches of self-investigation and reflection, but brings his understandings back into language and episodes that anyone can follow.
Ever since the Snowden revelations, the Obama administration has maintained that the NSA’s domestic spying program has been approved by all three branches of government. But the secret program had never been subject to public scrutiny or adversarial judicial testing. As of this week, all three branches of government have called for substantial reforms of the program, and a federal judge has seriously questioned its constitutionality.
It dawned on me recently that every song, movie, and TV show that ever made an impression on me is available on YouTube. To test that proposition, and with so many options where to begin confronting me, I began by looking up a 1939 western called Oklahoma Kid with James Cagney and Humphrey Bogart that I saw in 1950 in Belgrade, Yugoslavia, one cold and snowy winter day while playing hooky from school.
If you excise the period details, Llewyn Davis, the folksinger protagonist of the Coen brothers’ new film, makes sense. He is a confused, irascible striver, apparently seeking a career when folk music was about the last place you’d look for one. Somehow he has made a connection to the haunting music, but circumstances force him to treat it as a card to play rather than as a path to explore.
My mother, who died on the fall equinox, left contradictory instructions about arrangements for her death. She told my father, firmly, that she didn’t want a memorial service. And she told me, just as firmly, that she wanted “Swing Low, Sweet Chariot”—“the cradle-song of death which all men know,” as W. E. B. Du Bois called it—sung at her memorial.
Asked about the turmoil in Ukraine, Alexander Orlov, the Russian Ambassador to France, declared: “Russians and Ukrainians are one nation. It’s like the Bretons and the Normans in France. You can’t separate them.” In denying the existence of a Ukrainian nation, he was echoing Russian President Vladimir Putin.
That winter we all became activists. We opened Twitter accounts, many of us, and learned how to dress for winter nights in Tahrir Square. I thought, we all thought, that the euphoria, the sense of possibility, would carry the country for years. As Jehane Noujaim’s documentary, The Square, vividly depicts, not only did we forget, but the euphoria quickly dissipated.
No one seems to have measured how old Chinese civilization is, but Endymion Wilkinson can give a better answer than anyone else. “1.6 billion minutes separate us from the Zhou conquest of the Shang,” he informs us at the beginning of his Chinese History: A New Manual. Undaunted, he then sets out to describe everything that has happened since.