Bao Tong is one of China’s best-known political dissidents. In the early to mid 1980s, he was director of the Communist Party’s Office of Political Reform and the policy secretary for Zhao Ziyang, the party’s former general secretary. I recently met Bao at a McDonald’s in Beijing, after secret police refused me permission to enter his apartment building in the city’s western suburbs.
Bao Tong: In America, if you’re corrupt you have to resign. Look at Nixon. He had Watergate and had to resign. In China does that happen? No. Why? Because everyone is in one boat. If that boat turns over, everyone ends up in the water. When I say “everyone” of course I mean the people in power. So in China everyone helps each other out. If you are in trouble, I’ll help you out and if I’m in trouble you help me out. So only in an extreme case like [recently deposed Politburo member] Bo Xilai can someone be pushed out.
Right now it’s nine guys helping each other out [the nine members of the Politburo’s Standing Committee]. That’s the political system. No one wants to rock the boat.
Ian Johnson:I think that group of men at the other table are watching us.
Ever since H.P. Lovecraft, archaeology has been an indispensable point of entry to the remotest reaches of the universe. In Ridley’s Scott’s new film Prometheus, space voyagers will travel to those reaches only to find echoes of earthly mythology, whether horrendous serpents recalling the fate of Laocoön or titanic forebears proportioned on the order of Gilgamesh. At his best (as he is in much of Prometheus) Scott can really do the romantic sublime. He continually suggests more than the movie’s plot and dialogue can quite live up to, and when he wants he can deliver a boreal blast of the “magnificent desolation” that Buzz Aldrin caught sight of when landing on the Moon.
About 56 percent of Europeans speak a second language, and for 38 percent of them that language is English. In Scandinavia and the Netherlands the figure is more like 90 percent. Even where the percentage is smaller we are nevertheless talking about the most educated part of the community, those more likely to be reading novels, particularly literary novels. Inevitably, as the number of people speaking English increases, so do the sales of novels in English. But not enormously. The surprise is that increased knowledge of English has also brought a much more marked increase in sales of literature written in English but read in translation in the local language.
This election year gives Republicans one of their last chances—perhaps the very last one—to put the seal on their plutocracy. They are in a race against time. A Democratic wave is rising fast, to wash away the plutocracy before it sets its features in concrete, with future help from the full (not just frequent) cooperation of the Supreme Court.
I was standing, one lovely May afternoon, on the corner of 5th Avenue and 42nd Street in New York City, waiting for a friend who was late. I had spent the previous hour in a bookstore in the neighborhood that was famous for stocking up on the latest literary magazines and poetry books, turning the pages and reading a poem here and there. Waiting at the busy intersection, it suddenly occurred to me that if the old Greek poetess, Sappho, could see what I’m seeing now, she would not only understand nothing, but she would be terrified out of her wits.
After reading the article that appeared under the headline “Secret ‘Kill List’ Proves a Test of Obama’s Principles and Will” in the May 29 New York Times, I couldn’t talk about much else. I found myself wanting to analyze it, as one might dissect a literary text, to better understand how it produced its effect on the reader: in my case, shock and awe, tempered by consolatory flickers of disbelief. Like literature, the story resists summarization, partly because the Times reporters, Jo Becker and Scott Shane, employ detail, word choice, diction, and tone to direct and influence the reader’s response without, on the surface, appearing to do so—and to make a familiar narrative seem new.
On May 23, the Romney campaign released its education policy white paper titled “A Chance for Every Child: Mitt Romney’s Plan for Restoring the Promise of American Education.” If you liked the George W. Bush administration’s education reforms, you will love the Romney plan. If you think that turning the schools over to the private sector will solve their problems, then his plan will thrill you.
Corruption seems to surround Wisconsin Governor Scott Walker, who faces Milwaukee Mayor Tom Barrett in Tuesday’s recall election. Walker has a criminal defense fund already in place and rumors of indictments are in the air, regarding both his time as Milwaukee County Executive and his current use of state moneys. But many people in self-contradictory Wisconsin, the home of both the Progressive Party and of Joe McCarthy, may not care very deeply about the charges against Walker. There can be a begrudging provincial respect for someone in the national eye, as well as for the out-of-state billionaires who have helped fill Walker’s campaign coffers with $31 million—an unprecedented amount in Wisconsin political history.
What kind of a problem is a library? It’s clear that for many people it is not a problem at all, only a kind of obsolescence. At the extreme pole of this view is the technocrat’s total faith: with every book in the world online, what need could there be for the physical reality? This kind of argument thinks of the library as a function rather than a plurality of individual spaces. But each library is a different kind of problem and “the Internet” is no more a solution for all of them than it is their universal death knell.
With the escalation of the Vietnam War, every Marxist intellectual, it seemed, wanted to write a Western. The most notable was Franco Solinas (1927–1982), a teenaged partisan and longtime member of the Italian Communist Party, journalist for the Communist newspaper L’Unità, and author. Solinas worked on four Spaghetti Westerns—all included in a three-week-long series at New York’s Film Forum that begins June 1—contributing to this wildly commercial and equally disreputable mode as decisively as director Sergio Leone or composer Ennio Morricone.