The Uses of Enchantment: The Authorized Biography of Roald Dahl
If Sturrock does not dwell on these interior darknesses, it may be in part because the life affords so much external drama. Interestingly, Dahl does not emerge as a particularly reflective individual: his puerile humor, his lively imagination, his rebellious zeal and his determination were all strongly at odds with any analytical bent. It’s no surprise that “Get on with it” was one of his favorite phrases.
In the early 1990s, when Sony was still digesting Columbia Pictures and Japan was seen as an economic threat to the United States, I was urged by my father to learn to bow and wear a kimono, because we were all going to be working for Japanese companies one day. The cultural artifact of the moment was Michael Crichton’s borderline racist novel “Rising Sun,” which became a film starring Sean Connery and warned of Japanese corporate imperialism and the menace it posed to our way of life.
The business writer Eric J. Weiner offers a different sort of road map for a strangely parallel time in his dense and disturbing new book, “The Shadow Market: How a Group of Wealthy Nations and Powerful Investors Secretly Dominate the World.”
“There have been as many plagues as wars in history,” notes the central character in Albert Camus’s novel “The Plague,” “yet always plagues and wars take people equally by surprise.” The surprise is in the epidemic’s egalitarian choice of victims, in the unraveling of civic order and in the discovery that a just God may not be so just after all. This is why an epidemic makes such a great backdrop for a novel.
But in the decades since our children’s birth, results from research studies have suggested that we do not put fetal life so readily behind us. Rather, as Annie Murphy Paul writes in her informative and wise new book, “fetal origins research suggests that the lifestyle that influences the development of disease is often not only the one we follow as adults, but the one our mothers practiced when they were pregnant with us as well.” This hypothesis was initially put forth by David Barker, a British physician who in 1989 published data indicating that poor maternal nutrition put offspring at risk for heart disease decades later.
Theodore Rockwell, who served as technical director for the U.S. Navy’s nuclear-propulsion program in the 1950s and ’60s, shared a telling anecdote about his onetime boss, the famously irascible Adm. Hyman G. Rickover. “One time he caught me using the editorial we, as in ‘we will get back to you by… .’ ” Rockwell recalled in his memoir, “The Rickover Effect.” “He explained brusquely that only three types of individual were entitled to such usage: ‘The head of a sovereign state, a schizophrenic and a pregnant woman. Which are you, Rockwell?’ ”
In the middle of his analogy to me about his own personal crash and the country’s need to heal itself, Beck looked at his publicist with a flash of alarm about how I might construe what he was saying. “He is going to write a story that I believe the whole country is alcoholics,” he said. And then he went on to essentially compare his “Restoring Honor” pageant at the Lincoln Memorial to a large-scale A.A. meeting. “When I bottomed out, I couldn’t put it back together myself,” Beck told me. “I could do all the hard work. I could do the 12 steps. But I needed like-minded people around me.”
“Everyone is essentially either sad, angry or afraid,” Mike, my best friend, said. We were sitting on the linoleum floor in my college dorm room. It was 1990. It was 3:45 in the morning. We were down to brass tacks.J
“I’m definitely sad, then,” I said.
“Well, I’m angry,” he said.
As a dutiful sad person, I felt instantly defeated. Anger seemed like something that lean, focused, going-places people had, especially men — rage and fury and indignation. Anger meant glory. Where depression would just mean shame and Dove Bars. How horrible to be essentially sad. Why couldn’t I be essentially angry?
Enter the Finnish video game Angry Birds. Angry Birds HD for iPad has finally filled my life with the wrath I’ve long aspired to.
Is Michelle Rhee’s Revolution Over?
Around the country, supporters of education reform — or at least of the test-scores-driven, tenure-busting, results-rewarding sort of reform epitomized by organizations like Teach for America and championed by Education Secretary Arne Duncan — gave a collective gasp of dismay last month when voters in a number of districts handed primary defeats to candidates closely associated with just this type of reform.
I stopped in the park and held out the money, two crisp $20 bills, plus a few singles, all folded up to seem like more. I was calm, but my hands were shaking. I looked at the ground and caught a glimpse of his weapon — not a gun, but a six-inch knife, barely concealed under a shredded sleeve. I sensed he was looking at me. He took the money, but didn’t move.
Why isn’t he leaving?
“Hey,” he said. There was a new tenor in his voice. “You work at the Bay?”My body tensed. It was true: my work was following me home.
— I’ve come to understand that all literature is a product of translation. That is, translation is not merely a job assigned to a translator expert in a foreign language, but a long, complex and even profound series of transformations that involve the writer and reader as well. “Translation” as a human act is, like so many human acts, a far more complicated proposition than it may initially seem to be.
Film Version of Zuckerberg Divides Generations
“When you talk to people afterward, it was as if they were seeing two different films,” said Scott Rudin, one of the producers. “The older audiences see Zuckerberg as a tragic figure who comes out of the film with less of himself than when he went in, while young people see him as completely enhanced, a rock star, who did what he needed to do to protect the thing that he had created.”
The actual Facebook has been playing clumsy defense against the film, including having the real Mr. Zuckerberg pop out of nowhere on “Oprah” to donate $100 million to the schools of Newark, but my hunch is that the company doesn’t have much to worry about.
More States Allowing Guns in Bars and Restaurants
Mr. Spurlock’s segment, “A Roshanda by Any Other Name,” is a facetious contemplation of baby names in the age of branding. Does a child’s name determine his or her adult destiny? The answer is, probably not, although the downward spiral of one girl unfortunately named Temptress might suggest otherwise. An opposite message is gleaned from the biographies of two boys, one named Winner, the other Loser. The segment addresses the widening gap between the names of white and black babies, which began with the black power movement in the late 1960s. It can barely contain its amusement at the many variations of the name Unique.
Arthur Penn, Director of ‘Bonnie and Clyde,’ Dies
“Arthur Penn brought the sensibility of ’60s European art films to American movies,” the writer-director Paul Schrader said. “He paved the way for the new generation of American directors who came out of film schools.”Many of the now-classic films of what was branded the “New American Cinema” of the 1970s — including “Taxi Driver,” directed by Martin Scorsese and written by Mr. Schrader, and “The Godfather,” directed by Francis Ford Coppola — would have been unthinkable without “Bonnie and Clyde” to point the way.
MacArthur Foundation Honors 23
“Obviously, I’m very grateful but I have a vague sense of not belonging,” Mr. Simon said in a telephone interview about his grant. He said past winners had done “tangible things to improve conditions.”
Still, storytellers can also make a difference, said Mr. Simon, who now splits his time between Baltimore and New Orleans. He expects the MacArthur imprimatur to help move the discussion of the ideas in his work from the “entertainment pages to the op-ed pages,” he said. “One overt argument that ‘The Wire’ was making is that the drug war is amoral and untenable,” Mr. Simon added.
Vampire romanticism is nothing new, of course. Millions of us, not just teenage girls, have followed the courtship of Bella Swan and Edward Cullen through every deep breath and smoldering glance. But the love story in “Let Me In,” between two 12-year-olds, one of them a blood-craving undead pixie named Abby, is both more intense and more innocent.
The subtext of the relationship is not sexuality, as it is in “Twilight” or “True Blood,” but rather the loneliness of children and their often unrecognized reservoirs of rage. Abby (Chloë Grace Moretz) and her pal, a trembling, big-eyed boy named Owen (Kodi Smit-McPhee), are fragile and quiet but also capable of horrifying violence.
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