On January 21, in its first decision of this term, Citizens United v. Federal Election Commission, the Supreme Court’s five-member conservative majority announced that the First Amendment bars Congress from imposing even mild constraints on the ways corporations can employ their vast financial resources to drown out the voices of ordinary people in federal election campaigns. On June 21, in one of its last decisions of the term, Holder v. Humanitarian Law Project, the same majority, this time joined by Justice John Paul Stevens, ruled that the First Amendment permits Congress to imprison human rights activists for up to fifteen years merely for advising militant organizations on ways to reject violence and pursue their disputes through lawful means. The two decisions purported to apply the same First Amendment standard, but in fact the Court applied that standard in radically different ways. In the Roberts Court’s world, corporations’ freedom to spend unlimited sums of money apparently deserves substantially greater protection than human rights advocates’ freedom to speak.
In January 1986, I became the South American bureau chief for a US magazine. It was not a happy marriage, and from the beginning I showed that I was not up to the job. A few weeks into my assignment, my editor in New York City phoned me at the bureau offices in Rio de Janeiro. “We have a great story for you!” he burbled. I said that was wonderful. “We’re going to put you on the cover!” he exclaimed further, and I said that was wonderful too. Bursting with excitement, he said, “It’s Maradona!”
There was a pause, and then I asked, “Where is that?” The silence that followed between us was to be never ending.
Those who undertake additions to architectural landmarks ought to abide by the famous medical principle, “first, do no harm.” Thus the best one can say of Renzo Piano’s recently unveiled plans for a $125 million expansion of Louis Kahn’s Kimbell Art Museum of 1966–1972 in Fort Worth is that no fatal physical damage is about to be inflicted on what many revere as the finest of all modern gallery buildings.
On April 23, Governor Jan Brewer of Arizona signed into law what is probably the most stringent and least welcoming immigration law in the nation. Its intent is to have all law enforcement agencies in the state—Federal, state, and local—pool their muscle and get illegal immigrants out of the state of Arizona, pronto. Senate Bill 1070 may be cited as the “Support Our Law Enforcement and Safe Neighborhoods Act.” Its passage immediately set off a chorus of indignation.
The initial reaction to Michael Hastings’s Rolling Stone article on General McChrystal was disturbing. The emphasis has been on the early parts of the article, with McChrystal’s dismissive attitude toward the President and his administration. Instant discussion focused on the person McChrystal—should he be fired, or resign, or have his resignation accepted? That does not matter. The Hastings article is powerful and important because of what it goes on to report from Afghanistan, building to a crushing conclusion, that the general was unable to command even the respect of Hamid Karzai and McChrystal’s own troops—for the very good reason that he has been given an impossible assignment, one that gets more surreal and absurd every day. His removal will not make the Afghan war go any better, for the simple reason that nothing will do that.
I first saw Fritz Lang’s Metropolis (1926) sometime in the Sixties in a miserable 16-millimeter print under 90 minutes in length. Drastically cut not long after its premiere engagement in Germany, the film had been slashed ever further in subsequent editions. One of the most influential films ever made—the font of cinematic dystopias, a source of imagery reflected in films from The Bride of Frankenstein to Blade Runner—is only now being recovered in nearly its intended form. The 2001 restoration which brought it to 120 minutes was a revelation; that has now been surpassed, thanks to the discovery of additional footage in a Buenos Aires archive. At 147 minutes, the new Metropolis is just six minutes shy of the original running time, even if the newly restored footage is in sadly deteriorated condition. It hardly matters: to see Metropolis in its original form is to discover not just the new material but all the rest; the restorers have not simply added deleted episodes but expanded existing ones, and the film’s rhythms and internal rhymes are disclosed as if for the first time.
Twenty-five years ago, when I was twenty-eight and trying to write a novel, I sent this fan letter to John Updike. I lived in Brookline, Massachusetts, back then, and my girlfriend, now my wife, lived in Boston. I printed the letter out all on one page, with narrow margins, using my new Kaypro computer and Juki daisywheel printer. Updike didn’t answer—he couldn’t, because I didn’t put a return address on the envelope.
Wasn’t that a good game! I think it may be the first time in history that Mexico actually has a real team, with three bright young players—Javier Hernández, Giovani Dos Santos, and Carlos Vela—who were on the team that won the under-17 World Cup in 2005. This bunch doesn’t seem to carry the weight of defeatism that has burdened previous teams in every single World Cup Mexico has qualified for, and they’re in top physical condition. By the end of the first half, they’d thoroughly tired out the panting French.
I was raised on words. They tumbled off the kitchen table onto the floor where I sat: grandfather, uncles, and refugees flung Russian, Polish, Yiddish, French, and what passed for English at one another in a competitive cascade of assertion and interrogation. Sententious flotsam from the Edwardian-era Socialist Party of Great Britain hung around our kitchen promoting the True Cause. I spent long, happy hours listening to Central European autodidacts arguing deep into the night: Marxismus, Zionismus, Socialismus. Talking, it seemed to me, was the point of adult existence. I have never lost that sense.
Recreating—if that is the right word—the daily routine of mass murder at Auschwitz with miniature puppets made of plasticine may not seem a promising enterprise. However artfully done, it could make what actually happened look trivial, like a kind of game. And yet Kamp, staged at St. Ann’s Warehouse in Brooklyn in the first week of June, by a Dutch group called Hotel Modern, was weirdly gripping.