The news that Borders Group Inc. has filed for Chapter 11 protection and also plans to close 30 percent of its stores doesn’t come as much of a surprise. Increasingly, consumers and publishers are focusing on e-books, and many readers prefer to order books online through retailers like Amazon.com. I love small bookstores. I have a particular fondness for the Lift Bridge Book Shop in Brockport, New York, my hometown. The store may have more books than there are residents in the community.
I don’t think the Borders bankruptcy is an indication that reading is dying–it’s really a sign that reading is changing. The recording industry faced a similar shift. People hadn’t fallen out of love with music — they just wanted it in other forms.
Excellent point.
I’ve found that my 8-year-old son and his friends may actually be more excited about reading than kids of previous generations. They talk excitedly about Harry Potter, A Series of Unfortunate Events and other book franchises. My son’s 16-year-old babysitter borrowed some of my copies of the Hunger Games books. And on more than a few nights, I’ve had to go into my son’s room and turn off his iPod after he fell asleep listening to the Narnia books or the Secret series.
Thursday, February 17, 2011
Tuesday, February 15, 2011
Violin maker
A trumpet player follows the crafting of a violin by Sam Zygmuntowicz,a renowned violin maker whose praises had been sung by Isaac Stern, among others. The violin is being made for Eugene Drucker, a violinist with the Emerson Quartet, a finicky and difficult-to-please client. Along the way Marchese traces the history of luthiers since the times of Amati, Stradivari, and Guarnieri, all from Cremona, considered to be the best violin makers of all time.
Easy to follow, even fun to read, it ids an interesting look into an old craft still practiced widely.
Sunday, February 13, 2011
Bottle shock
Some liked it: on Rotten Tomatoes 48% of critics and 60% of viewers rated it positively. I'd agree with the 60%, perhaps add a dime.
Saturday, February 12, 2011
Hilary and Jackie
Music and the dynamics of the relationship between the sisters are the core of the film. Daniel Barenboim is introduced as Jackie's love interest and husband. After a section of the film tracing the early lives and teen years of the sisters, the film looks at their lives first from Hilary's viewpoint, and, later, from Jackie's.
Tuesday, February 8, 2011
Poisoning the Well
The right wing is in absolute denial that there is such a problem; some yahoo just recently said that all the snowstorms we're having proves that there is no such phenomenon as global warming. It's socialism's agenda, another way to grow government.
Hertsgaard, to his credit, refuses to sugarcoat these facts. For all the justifiable fears about flooded coastlines, he writes, the “overriding danger” in the coming years is drought. “Floods kill thousands, drought can kill millions,” one expert told him. Within two decades, the number of people in “water-stressed countries” will rise to three billion from 800 million.
Only when they see the palpable truth will naysayers admit there is a problems, if then.
“Scientists had actually underestimated the danger,” he writes. “Climate change had arrived a century sooner than expected.” What’s more, given our current trajectory — economic, cultural and, most important, political — it’s guaranteed to get a lot worse before it gets any better. (Significant impacts like sea-level rise are now “locked in.”) And it won’t get any better — indeed, it will become truly unmanageable — if we don’t make the necessary cuts in global greenhouse emissions.
When the FDR Drive is underwater, what will skeptics say then?
This leads Hertsgaard to what he calls the new “double imperative” of the climate fight. “We have to live through global warming,” he writes, “even as we halt and reverse it.” In other words, while deep emissions cuts (what experts call “mitigation”) remain the top priority, that alone is no longer enough. We also have to do everything we can to prepare for the effects of climate change.
Cap and trade is anathema to the right wing.
Wealth and technology clearly matter, but politics and culture may trump them. Take Louisiana: efforts to prepare for future hurricanes, Hertsgaard writes, “have been crippled by the state’s history of poor government” along with “its continuing reluctance — even after Katrina — to acknowledge the reality of global warming for fear that might harm oil and gas production, and an abhorrence of taxes and public planning as somehow socialistic.”
Yasujirō Ozu
From reading The elegance of the hedgehog, I became aware of this Japanese film maker. Luckily, the library where I work owns 3 of Ozu's films on DVD. I have watched three of them over the past week. Aside from enjoying them, I noticed a few details about each, and all, that simply stood out. Ozu's films are different than just about any other film I can think of: the camera work is completely different, and that makes the films different than, say, Hitchcock.
My tendency and habit are to become emotionally involved with the film (otherwise, I turn it off), so evaluating one critically is not something I do well. Yet with Ozu's films I found myself seeing some aspects without trying: they just appeared clear to me.
The camera looks at a room, at a space, before a character enters, and remains after the character leaves. Thus space is assigned its own worth, given its own respect, as Renée Michel might have said (if, perhaps, more eloquently). Women's roles are clearly in transition in the three films that I saw: while embracing the traditional, they are redefining their roles. And the war looms as a major factor, of course, though it is never overdone.
On searching Ozu's name in the web, I found a website devoted to his films (or, rather to Ozu himself, his films being an aspect of the site. In fact, the site is about film, and Ozu is simply one part thereof). Of course, there are others; one is Senses of Cinema.
Late spring 1949. A father and daughter live together in apparent happiness. Somiya is a college professor; Noriko is an office worker. In her twenties, she is unmarried, and that soon becomes an issue (for everyone but her; she is content with her life). The professor's sister presses him to have his daughter marry, and busies herself finding a suitable match. At first the professor is content, but soon realizes that if he himself does not press Noriko to marry she might wind up with an unfulfilled life. He and his sister concoct a scheme, wherein he pretends to be planning to marry, as a way to pressure Noriko. Aghast that her father is planning to remarry, she gives in, and marries. In a wrenching final scene, the professor peels a pear, wan, resigned, poignant.
One fascinating aspect of this film if the professor's reluctance to pressure his daughter to conform to traditional expectations and roles. He's happy living with her, having her take care of him. Yet he is pressured by those around him, and sacrifices for her future good. Divorce seemed to be casually mentioned, and I wondered when divorce became an acceptable topic to mention in Hollywood films (I think of Lucy and Ricky sleeping in separate beds in the 1950s, as an example of different mores).
The camera work was stunning. I could not remember ever having seen a camera dwell on a room without a being in it. I've read that one criticism of Ozu is that his camera is always mere inches off the ground, but that seems absurd, though not entirely an inaccurate comment.
The two main actors in this film, and others of Ozu, were Hara Setsuko and Chishu Ryu.
A posting by Peter Bradshaw on Wednesday 16 June 2010 in the Guardian celebrates the 90th birthday of Setsuko Hara.
AN AUTUMN AFTERNOON
Sanma no aji
Her best friend, who is divorced and happy to be so, pushes her to marry. Her father's friends, with whom he regularly has restaurant meals that include copious amounts of saké and the more-than-occasional beer, soon begin to press him on why his daughter is unmarried (including one who has remarried). on seeing his former teacher living with his old, unmarried daughter,
My tendency and habit are to become emotionally involved with the film (otherwise, I turn it off), so evaluating one critically is not something I do well. Yet with Ozu's films I found myself seeing some aspects without trying: they just appeared clear to me.
The camera looks at a room, at a space, before a character enters, and remains after the character leaves. Thus space is assigned its own worth, given its own respect, as Renée Michel might have said (if, perhaps, more eloquently). Women's roles are clearly in transition in the three films that I saw: while embracing the traditional, they are redefining their roles. And the war looms as a major factor, of course, though it is never overdone.
On searching Ozu's name in the web, I found a website devoted to his films (or, rather to Ozu himself, his films being an aspect of the site. In fact, the site is about film, and Ozu is simply one part thereof). Of course, there are others; one is Senses of Cinema.
One fascinating aspect of this film if the professor's reluctance to pressure his daughter to conform to traditional expectations and roles. He's happy living with her, having her take care of him. Yet he is pressured by those around him, and sacrifices for her future good. Divorce seemed to be casually mentioned, and I wondered when divorce became an acceptable topic to mention in Hollywood films (I think of Lucy and Ricky sleeping in separate beds in the 1950s, as an example of different mores).
The camera work was stunning. I could not remember ever having seen a camera dwell on a room without a being in it. I've read that one criticism of Ozu is that his camera is always mere inches off the ground, but that seems absurd, though not entirely an inaccurate comment.
The two main actors in this film, and others of Ozu, were Hara Setsuko and Chishu Ryu.
A posting by Peter Bradshaw on Wednesday 16 June 2010 in the Guardian celebrates the 90th birthday of Setsuko Hara.
AN AUTUMN AFTERNOON
Sanma no aji
Her best friend, who is divorced and happy to be so, pushes her to marry. Her father's friends, with whom he regularly has restaurant meals that include copious amounts of saké and the more-than-occasional beer, soon begin to press him on why his daughter is unmarried (including one who has remarried). on seeing his former teacher living with his old, unmarried daughter,
Escape from Amsterdam
After reading Housekeeper and the Professor, and Elegance of the hedgehog, watching Ozu films as a result therefrom, I yearned for more Japanese. This book seemed in keeping with that theme, yet offering a slightly different take.
Started out fine: a young man deep in debt is informed by his father that he and his sister have inherited prints and other assets from a deceased aunt that could results in vast sums of yen for them. Seeing his ticket out of debt, Aozora goes looking for his sister in southern Japan, where he imagines she is working. They both must appear at the lawyer's office for the inheritance to go to them.
As he travels south, Japan does emerge as a character in this novel, and the narrative moves along nicely. Mai's phone is being used by another woman, and her cryptic answers draw Aozoa south. But as he arrives at Amsterdam, a theme park that promises all the pleasures tourists might want, from parades featuring a Princess Michiko look-alike (that is one of two of Mai's jobs) to prostitution, the story weakens. From there is goes on a sort of glide pattern, and although Sherwood tries, he can rescue the book from its two and a half star rating.
Saturday, February 5, 2011
CNN Rises to the Top in Egypt Coverage
As mesmerized as I have been by watching the unfolding drama of Egyptian protest, governmental intransigence and repressive violence, I have been mindful of the magnificent work of Anderson Cooper and other CNN reporters. Getting home just before 10, each night I put on CNN; when Lawrence O'Donnell moved to the 8pm slot, my other cable channel lost my vote and my eyes. I do put on msnbc, but it is only for Richard Engel (a great reporter himself).
Photos from Egypt.
Pro-Mubarak forces once again clashed with anti-Mubarak forces on Friday. The brutal set-to didn’t take place in Tahrir Square in Cairo, where as many as 100,000 demonstrators managed to assemble peacefully. The brick-throwing was on cable television, as Fox News and MSNBC anchors continued knocking heads over what’s worse: the dictatorship we know or a democratic rebellion we can’t control.
One of the right wing's great inconsistencies is its insistence on the virtues of democracy: they still insist it was a valid reason for invading Iraq, but they do not insist on its validity in Egypt.
On Wednesday, Thursday and again on Friday, Chris Matthews, the host of “Hardball” on MSNBC, ridiculed Glenn Beck of Fox News for predicting a conspiracy for world domination by a leftist-Islamic “caliphate.” On Friday morning Steve Doocy, a co-host of “Fox and Friends,” showed a clip of Mr. Matthews likening the Muslim Brotherhood to the Tea Party movement and then asked L. Brent Bozell III, a conservative commentator, to explain “how the mainstream media has been playing down the Muslim Brotherhood, which, as I mentioned a moment ago, does have ties to terror.”
Where is it written that that the US decides how other nations conduct their internal affairs?
That was just another skirmish in the cable news culture wars, except that the bickering was woven into one of the most critical — and visually riveting — foreign news events in years. In all the confusion, contradiction and multisource coverage in the 11 days since the Cairo uprising began, viewers of American television have been best served by CNN. The Egyptian crisis has played out live on television minute by minute, hour after hour, in an incongruous clash of the modern and the ancient: the opponents fought with stones and on horse and camel, while the watching world looks on via satellite, Skype, Twitter and flip phone. The uprising against President Hosni Mubarak is as compelling to watch as it is hard to parse; even more than with most major news, it helps to have a reliable narrator.
Cooper has been stellar.
The ABC anchor Diane Sawyer stayed in New York and let Ms. Amanpour do what she does best. The NBC anchor Brian Williams had rushed to Cairo, followed by Katie Couric of CBS. They worked hard, but in that volatile setting, the network anchors didn’t have much to do; the best reporting was provided by well-connected veterans like Richard Engel on NBC and Lara Logan of CBS. After pro-Mubarak mobs began going after journalists — Ms. Couric was jostled while trying to report live on Wednesday from Tahrir Square — she and Mr. Williams left the country, quite wisely. On Friday Ms. Couric and Mr. Williams were both back in New York.
Where they belong, and will do least harm.
It’s an unfinished and changing story, but from the beginning, the Cairo uprising gave hundreds of thousands of unprivileged, unheeded Egyptians a voice. So it’s fitting that covering it is giving less eminent but experienced CNN correspondents like Ben Wedeman and Arwa Damon a chance to have their say as well.
Photos from Egypt.
Pro-Mubarak forces once again clashed with anti-Mubarak forces on Friday. The brutal set-to didn’t take place in Tahrir Square in Cairo, where as many as 100,000 demonstrators managed to assemble peacefully. The brick-throwing was on cable television, as Fox News and MSNBC anchors continued knocking heads over what’s worse: the dictatorship we know or a democratic rebellion we can’t control.
One of the right wing's great inconsistencies is its insistence on the virtues of democracy: they still insist it was a valid reason for invading Iraq, but they do not insist on its validity in Egypt.
On Wednesday, Thursday and again on Friday, Chris Matthews, the host of “Hardball” on MSNBC, ridiculed Glenn Beck of Fox News for predicting a conspiracy for world domination by a leftist-Islamic “caliphate.” On Friday morning Steve Doocy, a co-host of “Fox and Friends,” showed a clip of Mr. Matthews likening the Muslim Brotherhood to the Tea Party movement and then asked L. Brent Bozell III, a conservative commentator, to explain “how the mainstream media has been playing down the Muslim Brotherhood, which, as I mentioned a moment ago, does have ties to terror.”
Where is it written that that the US decides how other nations conduct their internal affairs?
That was just another skirmish in the cable news culture wars, except that the bickering was woven into one of the most critical — and visually riveting — foreign news events in years. In all the confusion, contradiction and multisource coverage in the 11 days since the Cairo uprising began, viewers of American television have been best served by CNN. The Egyptian crisis has played out live on television minute by minute, hour after hour, in an incongruous clash of the modern and the ancient: the opponents fought with stones and on horse and camel, while the watching world looks on via satellite, Skype, Twitter and flip phone. The uprising against President Hosni Mubarak is as compelling to watch as it is hard to parse; even more than with most major news, it helps to have a reliable narrator.
Cooper has been stellar.
The ABC anchor Diane Sawyer stayed in New York and let Ms. Amanpour do what she does best. The NBC anchor Brian Williams had rushed to Cairo, followed by Katie Couric of CBS. They worked hard, but in that volatile setting, the network anchors didn’t have much to do; the best reporting was provided by well-connected veterans like Richard Engel on NBC and Lara Logan of CBS. After pro-Mubarak mobs began going after journalists — Ms. Couric was jostled while trying to report live on Wednesday from Tahrir Square — she and Mr. Williams left the country, quite wisely. On Friday Ms. Couric and Mr. Williams were both back in New York.
Where they belong, and will do least harm.
It’s an unfinished and changing story, but from the beginning, the Cairo uprising gave hundreds of thousands of unprivileged, unheeded Egyptians a voice. So it’s fitting that covering it is giving less eminent but experienced CNN correspondents like Ben Wedeman and Arwa Damon a chance to have their say as well.
Wednesday, February 2, 2011
Uprising in Egypt Splits U.S Conservatives
I'm not sure if this item belongs in Geopolitics, Politics, Comedy, or psychiatry. Glenn Beck blasts the uprising in Cairo as a threat to our way of life. Michelle Goldberg on how the rebellion is splitting U.S. conservatives—and the fallout for the 2012 presidential campaign.
His logic is, to say the least, interesting; it would be alarming if it weren't so pathetic: "We've shown you tonight that Hamas, Code Pink"—the feminist anti-war group—"and the Muslim Brotherhood are all linked together." With the future bleak, Beck called on his viewers to pray for "our way of life" and for Israel.
And he has more to say.
"This is Saul Alinsky. This is STORM from Van Jones," he warned on Monday, continuing, "The former Soviet Union, everybody, radical Islam, every—this is the story of everyone who has ever plotted to or wanted to fundamentally change or destroy the Western way of life. This isn't about Egypt. Everything is up on the table." It would all end, he warned, with the restoration of a "Muslim caliphate that controls the Mideast and parts of Europe," along with an expanded China and Russian control of the entire Soviet Union "plus maybe the Netherlands."
And he ain't alone: On Sean Hannity's radio show, Newt Gingrich warned that Egypt "could go the way of Iran."
Now, there is some incisive analysis.
His logic is, to say the least, interesting; it would be alarming if it weren't so pathetic: "We've shown you tonight that Hamas, Code Pink"—the feminist anti-war group—"and the Muslim Brotherhood are all linked together." With the future bleak, Beck called on his viewers to pray for "our way of life" and for Israel.
And he has more to say.
"This is Saul Alinsky. This is STORM from Van Jones," he warned on Monday, continuing, "The former Soviet Union, everybody, radical Islam, every—this is the story of everyone who has ever plotted to or wanted to fundamentally change or destroy the Western way of life. This isn't about Egypt. Everything is up on the table." It would all end, he warned, with the restoration of a "Muslim caliphate that controls the Mideast and parts of Europe," along with an expanded China and Russian control of the entire Soviet Union "plus maybe the Netherlands."
And he ain't alone: On Sean Hannity's radio show, Newt Gingrich warned that Egypt "could go the way of Iran."
Now, there is some incisive analysis.
‘Skins,’ Sex and Foreign Affairs
On Monday’s episode of MTV could show minors in the kind of flagrante delicto that is usually reserved for mature audiences. Yet most adult Americans still can’t watch Al Jazeera English on television — even now, when the world is transfixed by images of Egypt in revolt. It seems like a perverse application of free speech. But sex is sexier than foreign affairs and it certainly sells better. Freedom of expression is guaranteed to all Americans, but mostly it follows the money.
Brings to mind that line by H.L. Mencken: "No one ever went broke underestimating the intelligence of the American public." [That seems moreaccurate than: “Nobody ever went broke underestimating the taste of the American public.”]
The English-language version is more cosmopolitan, offering a non-Western view of world events that is instructive, if not always persuasive. Al Jazeera English is available in more than 100 countries, including Canada, but it is almost totally invisible in the United States — except on cable providers in Burlington, Vt.; Toledo, Ohio; and Washington.
What ever happpened to the assertion that most people get their news through the Internet?
To be fair, Al Jazeera English may be providing the most up-close and personal coverage round-the-clock, but it isn’t necessarily the best. And “Skins” isn’t the worst series for young people on cable, not by far. That would be “Jersey Shore.”
The little I see of that latter show makes me wonder just why it is so poular. To wit: “Jersey Shore” is popular mostly because it is a reality show that works like a cartoon. The stars are self-parodying characters who misbehave outlandishly — without comeuppance or scary consequences. Like Daffy Duck, who can dodge hunters’ bullets and swallow nitroglycerin, characters like Snooki can curse, get drunk, have promiscuous sex and buy a stripper pole, and never get seriously hurt.
Brings to mind that line by H.L. Mencken: "No one ever went broke underestimating the intelligence of the American public." [That seems moreaccurate than: “Nobody ever went broke underestimating the taste of the American public.”]
The English-language version is more cosmopolitan, offering a non-Western view of world events that is instructive, if not always persuasive. Al Jazeera English is available in more than 100 countries, including Canada, but it is almost totally invisible in the United States — except on cable providers in Burlington, Vt.; Toledo, Ohio; and Washington.
What ever happpened to the assertion that most people get their news through the Internet?
To be fair, Al Jazeera English may be providing the most up-close and personal coverage round-the-clock, but it isn’t necessarily the best. And “Skins” isn’t the worst series for young people on cable, not by far. That would be “Jersey Shore.”
The little I see of that latter show makes me wonder just why it is so poular. To wit: “Jersey Shore” is popular mostly because it is a reality show that works like a cartoon. The stars are self-parodying characters who misbehave outlandishly — without comeuppance or scary consequences. Like Daffy Duck, who can dodge hunters’ bullets and swallow nitroglycerin, characters like Snooki can curse, get drunk, have promiscuous sex and buy a stripper pole, and never get seriously hurt.
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