Like many of the masterpieces of Western culture to which it humbly invites comparison—Ulysses, Endgame, Pierrot Le Fou—Michael Winterbottom’s new movie, The Trip, does not sound promising in paraphrase. Two successful middle-aged actors take a tour of high-end restaurants in the North of England in order to write an article for The Observer newspaper. The pair bicker, trade impersonations of their cinematic heroes, struggle to come up with interesting things to say about the finicky and pretentious meals they are fed (“Hotter than I would’ve expected,” etc.), and that is more or less it. It is hard to say exactly how Winterbottom and his two leading men transmute this rather lenten premise into the artistic feast The Trip becomes, but humor certainly plays a large part. After a comparatively tame first quarter of an hour, the theater where I went to see it was engulfed in a ninety-minute tsunami of laughter.
Who knows in how many directorial breasts a conflict rages between a desire for intimacy and the yearning for the very grandest of effects? On the one hand, there is the ambition to mount, in the smallest of theaters, a drama of the most intense kind, in which the actors are never obliged to raise their voices to suit the acoustics of the space, because nothing is going to be missed. Working through improvisation, perhaps, or through other revered techniques of self-discovery, the performers arrive at dangerous levels of intensity and verisimilitude.
If at any time you find it necessary to correct your brother, do not correct him with mud—never, on any account, throw mud at him, because it will spoil his clothes. It is better to scald him a little, for then you obtain desired results.
If your mother tells you to do a thing, it is wrong to reply that you won’t. It is better and more becoming to intimate that you will do as she bids you, and then afterward act quietly in the matter according to the dictates of your best judgment.
Grover Norquist is the powerful president of Americans for Tax Reform (where reform means elimination). He issues to all Republican candidates and office holders Taxpayer Protection Pledges—a promise never, under any conditions, to support the raising of a tax—and then he monitors and reports the performance of those who have taken the pledge, as almost all Republicans in Congress have. That, in effect, puts a ban on congressional discussion of tax income, since the Republican bloc has pledged not even to consider it. The idea of committing candidates to a rigid position as a condition of their being elected seems to be catching on.
A debate has erupted anew in Washington over whether Fannie Mae and Freddie Mac caused the credit crisis of 2007 and 2008. Their critics claim that these two Government Sponsored Enterprises (GSEs) deserve a lot of the blame because they encouraged mortgage lending to low-to-middle-income Americans, a goal that Congress required and Bill Clinton advocated. The debate, which faded after a brief fluorescence in 2008, has been revived by a new book, Reckless Endangerment, by the respected New York Times reporter Gretchen Morgenson and the dogged financial analyst Josh Rosner.
On one side, we have a violent, mystically charged racism with its vision of brute domination of one people by another, and of an endgame of perpetual disenfranchisement and dispossession. On the other side, we have the prospect of a free Palestine, with its capital in East Jerusalem, the end of the Occupation, and the realistic hope of an agreement based on compromise and mutuality.
We now have a President we can admire and respect. But he seems unaware that his opponents are not patriots anxious to help govern through a decent consensus but fanatics who would destroy the country if that would lead to his defeat. We think he should understand that this is a time for confrontation not compromise. He should therefore remember the words of another president running for reelection in the middle of an even graver economic catastrophe, words that seem eerily relevant now.
Memories of Chekhov, from which this excerpt is drawn, is the first documentary biography of Anton Chekhov to be based on primary sources: the letters, diaries, essays, and memories of Chekhov’s family, friends, and contemporaries that I collected from Chekhov archives in Yalta and Moscow, as well as the New York Public Library, the Russian State Library, and the Library of Congress. All of this material appears in English translation for the first time. My favorite discovery was a rare editorial by Chekhov dedicated to the life of Nikolai Przhevalsky, a famous Russian geographer. At the very end of the nineteenth century Chekhov wrote, “Reading this biography, we do not ask: ‘Why did he do this?’ or ‘What did he accomplish?’ but we say, ‘He was right!’” These words also describe Chekhov’s own life.
On June 29, 2011, the first federal court of appeals to rule on the constitutionality of the Affordable Care Act, otherwise known as “Obamacare,” upheld the law by a vote of 2-1. Two more appellate court decisions are expected soon, and ultimately the Supreme Court will have the final say. But more significant than the judges’ reasoning is the judge who cast the deciding vote – Judge Jeffrey Sutton. Had those challenging the law been asked to name their “dream judge” for this appeal, they would almost certainly have named Sutton. It’s not only that he is a Republican, a former law clerk to Justice Antonin Scalia, an appointee of President George W. Bush, and an active member of the Federalist Society. Sutton made his name litigating for states’ rights.
Kafka’s “A Message From the Emperor” made its first appearance in the Prague Zionist journal Die Selbstwehr (“Self-defense”) in September 1919, the year the thirty-six-year-old Kafka composed his famous letter to his father. Hauntingly oblique, the story weaves together child-like hopefulness and stoical resignation, metaphysical yearning and psychological insight, a seemingly Chinese tale and covert Jewish themes.