BEFORE HE EARNED his reputation as one of the best ad men in politics, before he wrote for several major television shows, and long before he became Mitt Romney’s top campaign strategist, Stuart Stevens found himself in Cameroon, face to face with a machine-gun-wielding soldier looking to shake him down. It was 1988, and a few weeks earlier, Stevens had deposited himself in the nearby Central African Republic to pick up a friend’s Land Rover and drive it back to France. But the trip was a disaster from the get-go. Local officials confiscated the car and refused to release it.
Before 2013 begins, catch up on the best of 2012. From now until the New Year, we will be re-posting some of The New Republic’s most thought-provoking pieces of the year. Enjoy. ALONZO KING is not a celebrity. He is virtually unknown outside the dance world, and even to insiders he is something of an outsider, a choreographer-monk working away with a small troupe of devoted dancers in San Francisco. It is not that his work has gone unrecognized: he has won dozens of awards and made ballets for companies as diverse as the Alvin Ailey Dance Theater and the Royal Swedish Ballet.
How startling to see the speed with which the film business can respond to audience taste. Within hours of the massacre at a midnight screening of The Dark Knight Rises, (far quicker than the removal of the Joe Paterno statue), Warner Brothers were in action. Premieres in Paris and Tokyo were cancelled. Most of the players in the movie—writer-director Christopher Nolan, Christian Bale, Gary Oldman, and Anne Hathaway—issued statements of sorrow.
Europe's 1960s protest movement sought to chart a path to political power in the interest of a socialist agenda—a “long march through the institutions” is what they called it.
James Joyce: A New Biography By Gordon Bowker (Farrar, Straus and Giroux, 608 pp., $35) THERE ARE CERTAIN artistic geniuses who demand that we should know their lives in detail, since for them the story of their lives is a living component of thewider story of their art. In this new biography of James Joyce—the first major one since Richard Ellmann’s monumental Life, now fifty years old—we encounter again an oft-told tale.