You can’t fight it. It happens. The dreams come on. They’re part of what we do. I had a theory once, which I also put in a novel, that many nightmares were caused by a common physical need: the need to get up in the middle of the night and go to the bathroom. Out of the stochastic stew that sits cooling on the stovetop of our sleep-softened consciousness, a couple of images would be ladled out in a bowl and sprinkled with a special neural Pickapeppa Sauce that made them seem frightening, so as to wake us up. All our subconscious was trying to do, I thought, was to help us by saying, Friend, your bladder is overfull and you should get up and relieve it.
Charles Mingus’s audiences never knew quite what they were going to get, and this kept them coming. Mingus, the bassist, composer, and bandleader who reached the height of his fame in the mid-1960s, was notoriously mercurial. He was known to fire and rehire band members over the course of a set, and was once fired himself for chasing a trombonist across the stage with an axe. His reactions to noisy crowds ranged from announcing, “Isaac Stern doesn’t have to put up with this shit,” to ordering his band to read books onstage. His music, which drew omnivorously on the blues, gospel, Dixieland, Duke Ellington, bebop, and classical music, among much else, was similarly unpredictable. It blurred the boundaries between improvisation and composition, often ignoring standard form, and was famous for its rapid shifts in mood and tempo.
The Republican Party is having its own form of PTSD. According to one of the most respected party elders the Republicans firmly believed that the voters would reject Barack Obama for a second term and deliver the Senate back into their hands. Wishful thinking combined with erroneous polling assumptions left them totally unprepared for the thumping loss they sustained and they are still in something of a state of shock. “They’re still close in time to that event,” the party elder said. “You need to keep that in mind. Right now they’re groping around in a dark room.”
“The first thing is we have to get the information out. You have to understand that the public security and government agencies are monitoring our site. They read it. News services too. After we publish, it’ll get the attention of the relevant authorities. So we have to send it out and then people can learn about it. That’s how we do it.”
Everyone has dreams. Some remember theirs, far fewer recount them, and very few write them down. Why write them down, anyway, knowing you will only sell them out (and no doubt sell yourself out in the process)? I thought I was recording the dreams I was having; I have realized that it was not long before I began having dreams only in order to write them.
On Monday, NBC published a leaked Justice Department “white paper” laying out the Obama administration’s case for when the president, or indeed any “informed, high-level official” of the federal government, can authorize the secret killing of a US citizen without charges, a hearing, or a trial. The sixteen-page white paper argues that killing a US citizen with a drone and without trial is legal under domestic and international law, even if the individual is far from any battlefield, not a member of al-Qaeda, and not planning an imminent attack on the United States.
Are translated texts essentially different from texts in their original form? One of the arguments I have put forward is that there is a natural tendency towards, rhythm, alliteration, and assonance when one writes even the most ordinary prose, and that editing to conform to the linguistic conventions of a different culture can interfere with this. The translator gives priority to the semantic sense, but that sense was also partly guided in the original by what one might call the acoustic inertia of the language. All too often, the generous attempt to match the strategic use of poetic devices only alerts us to the strain the translator has to make to force the language into the desired sound patterns, patterns which in the original sounded easy and even natural.
For weeks, New York City Mayor Michael Bloomberg and the United Federation of Teachers have been battling over the issue of teacher evaluation. Governor Andrew Cuomo set a deadline for them to reach an agreement, but they failed to do so, potentially costing the city schools hundreds of millions of dollars. The state education commissioner, John King, jumped into the fray by threatening to withhold over a billion dollars in state and federal aid if there was no settlement between the parties. Now, Governor Cuomo says that he may intervene. What’s going on here? Why can’t the mayor and the union reach an agreement? Why does Commissioner King intend to punish the city’s children if the grown-ups don’t agree?
From Rushmore to Moonrise Kingdom (shamefully neglected by this year’s Academy voters), Wes Anderson’s films readily, even eagerly, concede the “miniature” quality of the worlds he builds, in their set design and camera-work, in their use of stop-motion, maps, and models. And yet these miniatures span continents and decades. They comprise crime, adultery, brutality, suicide, the death of a parent, the drowning of a child, moments of profound joy and transcendence.
Can Themba’s “The Suit,” a sparsely told tale of betrayal, was adapted for the stage in South Africa in the early 1990s. Peter Brook presented his production of The Suit at the Theatres des Bouffes du Nord last year. His English version is now at the Brooklyn Academy of Music, in the Harvey Theater, a space made to look distressed, in imitation of the look of decay that Brook’s Paris theater has made famous. Audiences will know immediately that The Suit is the work of Peter Brook, in its looking beyond Europe and the West for stories to tell on stage, and also in the elegant economy of the staging itself.