I teased at this the other day but wanted to bring out a bit. Here is Mr. Brooke. I gather some read him as a bit of idiot. I read him as a bit of an absent-minded professor. His niece has just returned from Rome and he is greeting her and her new husband Causabon:
"I need not ask how you are, my dear," said Mr. Brooke, after kissing her forehead. "Rome has agreed with you, I see--happiness, frescos, the antique--that sort of thing. Well, it's very pleasant to have you back again, and you understand all about art now, eh? But Casaubon is a little pale, I tell him--a little pale, you know. Studying hard in his holidays is carrying it rather too far. I overdid it at one time"--Mr. Brooke still held Dorothea's hand, but had turned his face to Mr. Casaubon--"about topography, ruins, temples--I thought I had a clue, but I saw it would carry me too far, and nothing might come of it. You may go any length in that sort of thing, and nothing may come of it, you know."
Brooke has a very particular way of speaking, which I find amusing. He almost reminds me of an insecticon. He repeats himself and tends to wave off entire epochs with three word summaries and the broad label "that sort of thing."
Ah? ... Well! He is a good match in some respects. But now, Chettam is a good match. And our land lies together. I shall never interfere against your wishes, my dear. People should have their own way in marriage, and that sort of thing--up to a certain point, you know. I have always said that, up to a certain point. I wish you to marry well; and I have good reason to believe that Chettam wishes to marry you. I mention it, you know."
Very true. You couldn't put the thing better--couldn't put it better, beforehand, you know. But there are oddities in things," continued Mr. Brooke, whose conscience was really roused to do the best he could for his niece on this occasion. "Life isn't cast in a mould--not cut out by rule and line, and that sort of thing. I never married myself, and it will be the better for you and yours. The fact is, I never loved any one well enough to put myself into a noose for them. It is a noose, you know. Temper, now. There is temper. And a husband likes to be master.
"Lydgate has lots of ideas, quite new, about ventilation and diet, that sort of thing,"
His cadence are the most unusual in the book, and stand out, as the rest of the voices aren't as well delineated. But I find myself meditating on how his voice sounds to me in my head.
The thing about Middlemarch is not that it is long, but that it is detailed. I don't mean detailed as an assembly of facts and descriptions. I mean detailed like an old Harlem brownstone, or the Cathedral up here in Morningside Heights. Mr. Brooke's voice is a place of retreat, a cavern for my mind to whirl around in or explore It is as if Eliot created a plot and then tricked it out, if I may be so profane. There are epigraphs, allusions to scientists who I do not know, weird unpredictable shifts in voice, notes on the history of medicine, Zen-like aphorisms, all of it attached to a narrative.
I find that I don't much care about the narrative ("the what happens next?") as I enjoy losing myself in the detailing, in the craftsmanship. This is what I mean when I claim that the novel has "physicality." The best thing about Middlemarch is that it has exploded my sense of what a novel can be. I felt the same way about Faulkner, but I think I also kind of dismissed because he wrote so small. (I'm speaking as a matter of subjective taste, as opposed to fact.) He often just seemed a little crazy.
Anyway, There's a moment in Issac Hayes's "Walk On By" where he repeats the chorus, and suddenly, in the background, you hear horns cracking lightly. (It's at about 2:23) I love that moment. It's the most unexpected, most delicate thing. And it comes amidst a meaty and unexpected reworking of another song. Hayes's version is slow, plodding almost, and the his heavy grieving voice is set against background vocals from what almost sounds like European church choir. The song is thick. It's physical. There are so many places to get lost.
Of course this is likely my native aesthetic coming to the fore because this kind of thickness is always what hip-hop, at its best, excelled at. You hear it in the great Public Enemy albums, in the great Wu-Tang albums, in Rakim's lyrics. I guess it's only natural that I would see this here. George Eliot is just bringing the Bomb Squad.
To many white Trump voters, the problem wasn’t her economic stance, but the larger vision—a multi-ethnic social democracy—that it was a part of.
Perhaps the clearest takeaway from the November election for many liberals is that Hillary Clinton lost because she ignored the working class.
In the days after her shocking loss, Democrats complained that Clinton had no jobs agenda. A widely shared essay in The Nationblamed Clinton's "neoliberalism" for abandoning the voters who swung the election. “I come from the white working class,” Bernie Sanders said on CBS This Morning, “and I am deeply humiliated that the Democratic Party cannot talk to where I came from.”
But here is the troubling reality for civically minded liberals looking to justify their preferred strategies: Hillary Clinton talked about the working class, middle class jobs, and the dignity of work constantly. And she still lost.
The HBO drama’s finale hinted at a dark, meta message.
This post contains spoilers for the season finale of Westworld.
In 2013, a widely cited study published in Science suggested that reading literature increases a person ability to understand other peoples’ emotions. In 2016, another study seemed to debunk it, finding the original study’s results irreplicable and its resulting media coverage way too broad. “Reading Literature Won’t Give You Superpowers,” went The Atlantic’s headline from last week about the reversal.
It might seem laughable in the first place for anyone to think literature bestows superpowers. But that’s actually one of the more abiding beliefs of popular culture, and the question of whether stories improve the soul and mind—and better humanity more broadly—remains eternally in dispute. It’s a question that HBO’s Westworld has riffed on for 10 episodes, with the popular drama’s finale last night suggesting a cynical take on the social value of storytelling.
Trump's election has reopened questions that have long seemed settled in America—including the acceptability of open discrimination against minority groups.
When Stephen Bannon called his website, Breitbart, the “platform for the alt-right” this summer, he was referring to a movement that promotes white nationalism and argues that the strength of the United States is tied to its ethnic European roots. Its members mostly stick to trolling online, but much of what they do isn’t original or new: Their taunts often involve vicious anti-Semitism. They make it clear that Jews are not included in their vision of a perfect, white, ethno-state.
On the opposite side of American politics, many progressive groups are preparing to mount a rebellion against Donald Trump. They see solidarity among racial minorities as their goal, and largely blame Trump’s election on racism and white supremacy. Three-quarters of American Jews voted against Trump, and many support this progressive vision. Some members of these groups, though, have singled out particular Jews for their collusion with oppressive power—criticisms which range from inflammatory condemnations of Israel to full-on conspiracies about global Jewish media and banking cabals.
The past 12 months have been an eventful time for news stories, from the unpredictable and tumultuous U.S. presidential election, to continued war and terror and refugees fleeing to Europe, to a historic World Series win for the Chicago Cubs, and so much more.
The past 12 months have been an eventful time for news stories, from the unpredictable and tumultuous U.S. presidential election, to continued war and terror in the Middle East and refugees fleeing to Europe, to a historic World Series win for the Chicago Cubs, ongoing protests demanding racial justice in the U.S., the Summer Olympics and Paralympics in Rio de Janeiro, and so much more. Today, we present the “Top 25 News Photos of 2016”—and starting tomorrow will be presenting part one of a more comprehensive three-part series, “2016: The Year in Photos.” Warning, some of the photos may contain graphic or objectionable content.
A professor of cognitive science argues that the world is nothing like the one we experience through our senses.
As we go about our daily lives, we tend to assume that our perceptions—sights, sounds, textures, tastes—are an accurate portrayal of the real world. Sure, when we stop and think about it—or when we find ourselves fooled by a perceptual illusion—we realize with a jolt that what we perceive is never the world directly, but rather our brain’s best guess at what that world is like, a kind of internal simulation of an external reality. Still, we bank on the fact that our simulation is a reasonably decent one. If it wasn’t, wouldn’t evolution have weeded us out by now? The true reality might be forever beyond our reach, but surely our senses give us at least an inkling of what it’s really like.
SNL parodied the president-elect’s impulsive tweeting last weekend, and he responded by tweeting about it.
Saturday Night Live has been on television for nearly 42 years, and in that time, it has mocked seven presidents, with an eighth, Donald Trump, now firmly in its sights. The show’s satire is essentially part of the political scenery; at best, a president might knowingly reference it as a sign of self-awareness. Chevy Chase, in his portrayal of Gerald Ford, mocked the president as clumsy and accident-prone. President Ford did not respond by publicly demonstrating his grace and poise, obeying the old maxim about not protesting too much.
Playing Trump on last weekend’s show, Alec Baldwin mocked the president-elect’s impulse control in a sketch that saw him retweeting random high-school students during a national security briefing. The real Trump was not pleased. “Just tried watching Saturday Night Live - unwatchable! Totally biased, not funny and the Baldwin impersonation just can’t get any worse. Sad,” he tweeted at 12:13 a.m., about halfway through the episode. The irony couldn’t have been more plain: In response to a sketch mocking his propensity for impulsive tweeting, the president-elect ... impulsively tweeted about it. Satire in the age of Trump has already been difficult for Saturday Night Live, but it seems increasingly caught in a feedback loop: Any ridiculous heightening of his behavior is doomed to instant irrelevance by Trump’s reaction to it.
The island once had a seat on the UN Security Council. Now a simple phone call with its leader is international news.
Richard Nixon excelled at stating the obvious. On his historic first trip to China in February of 1972, he visited the Great Wall, marveling at its vast length and age. “I think that you would have to conclude that this is a great wall,” he remarked. But when dealing with a country as complex as China, Nixonian plainspeak was not always a bad thing. In a private conversation in June 1971 with Walter P. McConaughy, the U.S. ambassador to Taiwan, Nixon said that the United States needed to prepare Taiwan’s leaders for the eventual shock that would accompany Washington’s improved ties with Beijing. At the time, Washington had full diplomatic relations with Taiwan, but not China; the small island nation was still one of the five permanent members of the United Nations Security Council (UNSC). In the eyes of the world, Taiwan’s strongman leader Chiang Kai-Shek was the legitimate ruler of China. But Taiwan, Nixon said, must know that Washington is engaging with Beijing, “not because we love them. But because they’re there.” China, he implied in his circuitous yet blunt way, was just too big to ignore anymore. More importantly, it had been a mistake to ignore China.
Confronting racism can be crucial, even when it’s not persuasive.
In the brushfire wars since Donald Trump won the presidency, skirmishes over how to speak to his coalition of voters have consumed liberals. Leading the vanguard in those conversations is a collection of writers and thinkers of otherwise divergent views, united by the painful process of reexamining identity politics, social norms, and—most urgently—how to address racism in an election clearly influenced by it. Though earnest and perhaps necessary, their emphasis on the civil persuasion of denizens of "middle America" effectively coddles white people. It mistakes civility for the only suitable tool of discourse, and persuasion as its only end.
This exploration of how to best win over white Americans to the liberal project is exemplified by reactions to Hillary Clinton’s placing many of Donald Trump’s supporters in a “basket of deplorables.” The debate about whether to classify these voters as racist or bigoted for supporting a candidate who constantly evinced views and policies many believe to be bigoted is still raging. As Dara Lind at Vox expertly notes, Clinton’s comments themselves were inartful precisely because they seemed focused solely on “overt” manifestations of racism, like Klan hoods and slurs. That focus ignores the ways in which white supremacy and patriarchy can function as systems of oppression, tends to forgive the more refined and subtle racism of elites, and may ultimately lead to a definition of racism in which no one is actually racist and yet discrimination remains ubiquitous.
Firefighters have now found 36 bodies inside the artist collective where dozens of people lived together.
Rescue workers say 36 people were killed in Oakland, California, in a fire that torched an artist-collective warehouse known locally as the “Ghost Ship.” It may take weeks to identify everyone killed, because the flames have charred some bodies so badly they’ll have to be identified through dental records. The Alameda County Sheriff’s Office has also opened a criminal investigation into what caused the fire. So far, it’s thought to have been an accident—the result of too many people in a place with rampant building-code violations. But already some of the artistic community’s frustration seems aimed at both the warehouse’s artistic leader as well as the Bay Area’s unaffordable rent.
The fire started Friday during a late-night rave being held at the warehouse, home to a couple dozen artists. The blaze grew so quickly that flames and smoke trapped many of the people inside, and forced some to leap out of the second-floor windows. Since firefighters extinguished the flames early Saturday morning, rescue workers have methodically removed bits of ash and debris, putting them in dump trucks to be taken to an offsite location, where they can be sorted and checked in case they contain human remains. It is one of the worst U.S. fires in recent memory, bringing to mind the 2003 blaze in West Warwick, Rhode Island, that killed 100 people at a nightclub called the Station.
What it means, what the law says, and what comes next
Updated on December 5 at 12:50 p.m. ET
Surely some of the protesters believed they would prevail, but among the experts—the law professors, financial analysts, and industry journalists who pride themselves on knowing the ins and outs of federal rules—almost no one expected it. The so-called experts were getting ready to shake their heads and sigh, to lament that once again a federal agency had failed to respond to a historic protest and had failed to protect the most vulnerable.
And then the incredible happened.
On Sunday afternoon, the U.S. Army Corps of Engineers legally blocked the construction of the Dakota Access Pipeline, denying it a needed easement to drill beneath the Missouri River.
The corps will now investigate and write an environmental-impact statement, a roughly two-year process that will assess the risks of building a pipeline so close to the Standing Rock Sioux’s water supply. It will specifically examine whether the pipeline should be moved or cancelled altogether.