On Wednesday, TNR senior editor Ruth Franklin explored the way authenticity is played with in David Simon’s new HBO show, “Treme.” Here, John McWhorter offers his own, markedly different opinion on the subject. People can get irritating about their authenticity.
I dimly remembered that Mohammed Atta and at least three of his brothers (a big word in Islam) had been known to security agencies at least a year before 9/11 as "likely members of a cell of Al Qaeda operating in the United States." This quote is from an August 9, 2005 article written by ace- investigator-of-intricate-matters Douglas Jehl for the New York Times.
Reflections on the Revolution in Europe: Immigration, Islam, and the West By Christopher Caldwell (Doubleday, 422 pp., $30) As its subtitle makes clear, this is a book about immigration, Islam, and the West. But at the same time this is also a book about a particular moral culture, a set of attitudes, habits, and beliefs that has developed in Western Europe over the past sixty years. There isn’t a good shorthand way to describe this moral culture. Sometimes it is called “political correctness,” though politics as such does not define it.
Rembrandt’s J’Accuse Film Forum The Maid Elephant Eye Films Peter Greenaway, the British director who was educated as a painter, first came to wide attention in 1982 with The Draughtsman’s Contract, a silky comedy about seventeenth-century aristocrats. Greenaway then promptly set out not to build on this success, undertaking one eccentric film project after another. It was almost as if he were determined not to grow cumulatively, as most of the best directors have done. Of the Greenaway works that I have seen, only two of them--quite unlike each other--stand out in memory.
To build a building is hard; to criticize a building is, by comparison, easy. For a serious critic, the impulse to write uncomplimentary things should always provoke a bout of preliminary introspection. Does one write from the lofty principle that truth must be spoken to power, or at least to fashion? Will the reader come away from this exercise in scorching criticism of buildings and urban spaces with a heightened appreciation for the built environment and its importance to our daily lives?
"Open" has long been a catchword for the Netherlands, referring to everything from the flat, low-lying fields of Zuid-Holland and the curtain-less windows of Amsterdam and The Hague to the country's liberal stances on marijuana and prostitution, both of which are enjoyed freely and legally in cheerful "coffee shops" and red-lighted bordellos throughout the country. To many, the country has long seemed the apotheosis of a free, liberal, and democratic state. But, these days, Filip Dewinter, leader of one of Europe's most extreme far-right political parties, Belgium's Vlaams Belang (Flemish Inte
Like many people, I'm ambivalent about flying. Since September 11, that ambivalence is as much about the way I act when I fly as it is about flying itself. I SPENT MANY years not thinking about flying one way or the other. I'd get on a plane, open my book, and often be glad for the enforced solitude. Whether in school; during years of early travel in Europe and Asia; or on my first jobs in magazine publishing, when eventplanning took me around the United States, flying was a welcome break from the routine.
THE DICTATORS IN the Arab-Muslim world, and those in Europe who tolerate them, can now rest easier. The Syrian dictator will not be chased into a "spider hole." And the Iranian theocracy will not be sacked by soldiers from West Virginia and Indiana and Vermont. The Iranians will have to secure their own liberty; we know better than to provide it to strangers sure to second- guess the morning after. Yes, America is embattled in Iraq. But its leaders took up the sword against Arab-Muslim troubles and dared to think that tyranny was not fated and inevitable for the Arabs.
The Haunting of L. By Howard Norman (Farrar, Straus & Giroux, 326 pp., $24) Howard Norman’s novels are hard to like. Starting in 1987 with The Northern Lights, each novel has featured a taciturn, antisocial male protagonist, as disconnected from his own inner life as he is from the people around him. Norman’s landscapes mirror the emptiness of the characters who inhabit them: this American writer is unique in setting his books in the bleakest regions of Canada, from the expanses of northern Manitoba to turn-of-the century Newfoundland. And his prose is as inhospitable as the terrain.