keith — Page 63

→ July 30, 2020
→ By keith

The Famished Road.

Nigerian-born poet and author Ben Okri won the Booker Prize in 1991 for his sprawling novel The Famished Road, which now sits as the start of a trilogy of novels about the spirit child Azaro, who moves back and forth between the spirit and material worlds until he decides to stay with one family in a nameless African country until he can make his mother happy. Okri’s prose is stunning and the book is replete with the magical realism common in postcolonial literature, but even a week after finishing it I still can’t quite decide what, if anything, this book was about.

Azaro, short for Lazaro (since he has seemingly returned from the dead multiple times), is the only child of a couple in a small African village where citizens are getting by, but where the mere appearance of a car or a radio is notable. Representatives of two political parties, the Party of the Rich and the Party of the Poor, visit the village, where the hub of activity is the bar owned by the mysterious Madame Koto, who lets Azaro hang around during the day while his mother hawks goods at a local market and his father does … well, a lot of nothing. Azaro’s father chases various chimeras throughout the book, at one point deciding he’s going to be a boxer and at another that he’ll be a politician, never doing much to earn money to feed his family (and, while he’s a boxer, eating more than his share, so Azaro and his mother go hungry). There’s also a blind man in a wheelchair who seems to just wish evil on Azaro and the other kids in the village, a photographer who runs afoul of the political thugs and begins to document the strife they cause in the village, and various incarnations from the spirit world who want to pull Azaro back to the other side.

Okri is a beautiful writer, and even descriptions of ordinary events and moments sparkle. Azaro is probably around eight or nine years old, but uses phrasings and imagery of a wizened adult – or, perhaps, an ageless being from the spirit world: “The only points of light were the mosquito coil, its smoke spiralling to the ceiling, and his cigarette. In a way I came to think of Dad as a cigarette smoked alone in the dark.” Even scenes of violence take on a mystical quality that lessens their graphic nature, which makes some of the rioting – a not infrequent event in The Famished Road – a bit easier to navigate as a reader.

I love both magical realism and postcolonial literature, but something about this book didn’t hit the mark with me, primarily because I couldn’t connect with whatever its underlying themes might be. It seems like Okri writes at a figurative level, but perhaps without the metaphorical meaning beneath it. If Madame Koto represents someone or something, or Azaro’s father does, I missed it completely, perhaps just because I lack the historical context (what I know of Nigerian history is fairly limited to their civil war), but even his depiction of the two political parties felt a little facile; if the message here is just “all politicians are corrupt,” well, sure, but I think we already knew that.

Because of Okri’s prose and the incredible imagery throughout the book, The Famished Road flies by, even at 500 pages, and even with a plot that meanders substantially. Okri sets a scene, creating a vivid environment with a clear atmosphere, but what happens in these scenes is murky and I was left with a constant sense that I didn’t really get what he was trying to express. It reminded me of Ng?g? wa Thiong’o’s Wizard of the Crow, which seems thematically similar, but is more grounded in the concrete and, as a result, has a more powerful and evident metaphorical meaning as well.

Next up: I’ve finished Tara Westover’s Educated and begun David Mitchell’s new novel Utopia Avenue.

Filed Under: Uncategorized Tagged With: african literature, magical realism, man booker prize, nigerian literature, post-colonial literature

→ July 29, 2020
→ By keith

The Whistlers.

I doubt I would have even bothered looking for The Whistlers, which is free to watch on Hulu, if my friend Tim Grierson hadn’t named it one of his favorite films of 2020 so far. Submitted by Romania for this year’s Academy Award for Best International Feature Film, The Whistlers missed the shortlist in a very competitive group, and perhaps was too quirky or absurd for the committee (who did nominate The Painted Bird, which you couldn’t pay me to watch given how much I hated the book). It’s a crime drama with a perfectly ridiculous twist that makes it one of the most interesting and unusual films I saw from last year, so even where the plot is a bit off, it still works and kept me engrossed till the end.

The Whistlers takes place in Romania and on La Gomera, one of the smaller islands in the Canaries, jumping back and forth in location and time to follow the main character, Cristi, a Romanian police officer, as tries to free a businessman named Zsolt who has been taken by an organized crime ring based on the island. I was completely unaware of this before watching The Whistlers, La Gomera has a whistling language called Silbo Gomero that has been used for centuries to communicate across the island’s valleys. (You can read more about it at UNESCO’s page, commemorating its inclusion on the list of the Intangible Cultural Heritage of Humanity.) To evade detection by foreign police officers, Cristi learns the whistling language, with comic misfires along the way, using it to talk to the various thugs with whom he’s working, along with the femme fatale Gilda, who is working with the criminals but also has her own agenda.

Cristi’s bosses suspect him of criminal involvement and have him under what appears to be nonstop surveillance, including bugging his apartment, which leads to all sorts of subterfuge, not least of which is Gilda pretending to be a sex worker, with Cristi a regular client, to fool the cameras. Of course, Cristi is hardly the only corrupt cop – one theme throughout every Romanian-language film I’ve seen is that pretty much everyone is corrupt – and it’s not really clear how effective their cover story is, especially given one detail towards the end of the film that was the only element I found hard to accept as plausible.

The Whistlers has a very neo-noir feel even with the comedic elements, thanks to a short list of named characters and a plot that has just about everyone in the story working multiple angles, including Cristi himself, reminiscent of Kiss Kiss Bang Bang orsome of the Coen Brothers’ work. The script plays the comedy very straight, respecting the whistling language even as Cristi looks utterly ridiculous trying to reproduce the sounds required for it, while also hiding enough of the byzantine machinations of all of the major characters to make the film’s resolution as suspenseful as you’d demand from a classic noir film.

Writer-director Corneliu Porumboiu is apparently better known for dramatic films, including Police, Adjective (which also stars Vlad Ivanov, who plays Cristi), so this script was a new turn for him, and his ability to write dark comedy is quite promising – and a welcome shift from the grim reputation of Romanian films. It also adheres to the spirit of traditional noir stories in that the actual crime at the heart of the plot, the theft of several million leus stuffed into a couple of mattresses, isn’t actually all that important to the film as a whole. This is about the interactions between the characters, with levity from Cristi’s difficulty mastering the whistling language, with an ending that ties the remaining threads together in clever, cohesive fashion.

Because The Whistlers was submitted and eligible for this year’s Oscars, I’ve included it as a 2019 film and added it to my ranking of all films from 2019 that I’ve seen.

Filed Under: Uncategorized Tagged With: 2019 movies, dark comedy, movies, noir, romanian films

→ July 25, 2020
→ By keith

Stick to baseball, 7/25/20.

I wrote two pieces for subscribers to The Athletic this week – a season preview, with breakout candidates and team predictions; and a look at the top 100 prospects who made Opening Day rosters. I held a live Zoom Q&A via The Athletic’s Twitter account on Thursday.

For Paste, I reviewed the new flick-and-write game Sonora, where players flick discs on to the same board, possibly knocking each others’ discs out of the way, and score on their personal scoresheets based on where the discs end up.

My book, The Inside Game: Bad Calls, Strange Moves, and What Baseball Behavior Teaches Us About Ourselves, is out now. You can order it anywhere you buy books, and I recommend bookshop.org. I’ll also resume my email newsletter this weekend.

And now, the links…

Longreads first: GEN looks at evangelical women who’ve left their churches and the Republican Party because they couldn’t reconcile Christian support for Trump with the ostensible tenets of the religion.
The New Yorker‘s Isaac Chotiner interviewed Thomas Chatterson Williams, one of the authors of the Harper’s letter decrying ‘cancel culture’ on the left; it’s an informative conversation, made better because Chotiner is unafraid to challenge Williams’ inaccuracies and to correct others in the final text.
The Jackson Free Press spoke to doctors and nurses at the University of Mississippi Medical Center’s dedicated COVID-19 ICU about how overloaded they are and how sick the victims become. The executive vice chair of emergency medicine, begging people to wear masks and keep distancing, says, “Please don’t make this worse.”
A SPLC Hatewatch investigation found that OANN employee Jack Posobiec went to Poland to meet with a Polish neo-Nazi party, promoting their messages through his popular Twitter account.
Customs and Border Protection is involved in far more cities than just Portland, and they’re not being transparent about their activities.
Florida’s former top coronavirus data scientist claims she was fired for refusing to manipulate data to make the pandemic there appear less serious than it actually was.
WIRED looks at the difficulty of calculating herd immunity requirements for COVID-19; the quick summary is that we need a vaccine to get there.
A group of over 100 scientists called for a rapid review system for research preprints so papers like the Stanford one that used highly questionable methods to claim that the rate of COVID-19 infection was 50 times higher in California than widely accepted don’t get widely reported before they’re further vetted.
To be a parent right now is to be a liar, writes Dan Sinker for Esquire.
Dave Grohl – yep, that one – wrote an op ed in the Atlantic in defense of teachers, saying we need better plans before we reopen schools.
Why have rates of premature births gone way down in some areas during the pandemic?
Here’s a list of all of the known QAnon supporters running for Congress this year, or who tried to run; fourteen have already secured spots on November ballots. Sixty-two of the 67 are Republicans. Meanwhile, Twitter has at least begun to ban or limit accounts promoting the QAnon conspiracy theory, on the grounds that the ‘movement’ is associated with increasing violence. Facebook needs to do the same.
Over 280 Wall Street Journal employees signed a letter to the paper’s new publisher asking for a clearer distinction between the news and opinion sections, something the paper reported on itself (subscription required).
A Philadelphia attorney who makes her living evicting people on behalf of city courts is married to a city eviction judge who doesn’t recuse himself from cases involving her.
Quanta has a pretty good, concise explanation of Gödel’s incompleteness theorems.
Board game news: Renegade Game Studios announced the release of a new RPG, Kids on Brooms, that is itself a spinoff of the game Kids on Bikes.
Capstone announced the late 2020 release of Renature, from designers Michael Kiesling and Wolfgang Kramer, which I assume is a sequel to their 2017 game Reworld. The two are probably best known for their collaborations on Tikal and Torres.

Filed Under: Uncategorized Tagged With: board game news, conspiracy theories, coronavirus, links, longreads, math, philadelphia, stick to baseball

→ July 24, 2020
→ By keith

The Old Guard.

The Old Guard, now available on Netflix, is an extremely competent action flick that checks just about all of the necessary boxes, with a mostly credible story and some solid character development for its two leads, played by Charlize Theron and Kiki Layne. It’s also a superhero story that has to fit some of the conventions of that particular subgenre, and has some regrettable song choices that often detract from what’s happening on screen, but the two lead actresses are so good, and Theron especially has some incredible fight sequences, that it managed to be better than I’d expect from this sort of film.

Theron plays Andy, the leader of a group of four mercenaries who, we learn very early in the film, can’t die – or, more precisely, don’t stay dead for more than a few seconds. Their bodies heal quickly, even ejecting bullets from their skin, so while our heroes do feel pain, they’re impossible to kill, and have dedicated their long existences to doing good in the world. They’re hired by an ex-CIA man to go rescue a group of kidnapped schoolchildren in South Sudan, but that mission goes awry, leading them to try to figure out who was behind the failure. Around the same time, a new immortal, Nile (Layne), appears to the four heroes in their dreams, so Andy goes on a separate mission to take Nile into their fold, knowing that she can’t continue to live in the human world when she can’t die or even age normally.

There’s a villain, of course, a pharma CEO who is rather one-note as a character and is played perfectly by Harry Melling; if his name isn’t familiar, I won’t spoil why, because the moment when you figure out where you’ve seen him before is pretty incredible. He wants the immortals’ DNA because he sees a way to save humanity, and to turn a tiny little profit too, of course, but while his words seem to favor the former, his actions entirely point to the latter, and he ends up a stock Big Pharma/evil scientist character – as does Anamaria Marinca, who won wide acclaim for her leading role in the Romanian film 4 Months, 3 Weeks, and 2 Days, but is wasted here as Melling’s lead scientist. The antagonists’ entire argument is that the immortals have an obligation to share their gift, which is presumed to reside in their genes, with the rest of humanity, but that rationale denies the immortals any agency in the decision, and ends up reducing them to the status of lab rats in the eyes of the scientists here.

Based on a series of graphic novels by Greg Rucka, who also wrote the screenplay, The Old Guard feels like an attempt to start up a franchise, especially with the way the ending of the film perfectly sets up a sequel – but it’s effective in that attempt. Andy and Booker, the next-oldest of the four superheroes, are well-drawn, distinctive characters, with varying views on the responsibilities that accompany their gift, while Nile gains depth from her struggle to accept her new powers and the imminent loss of her connections to her family. The other two heroes, Joe and Nicky, both needed a bit more to do as well as some more back story, but they’re notable because they’re a couple, apparently the first out gay superheroes in film, and the script plays that fact as totally unremarkable beyond one interaction with a homophobic mercenary.

The history of this crew is that they go around the world saving people who need saving, trying to do some good, but we don’t actually get any of that in the story here, which is a little bit disappointing since the fight scenes are exceptionally well done (especially when Theron is involved). The two subplots are the battle with Melling for their freedom and survival, and the integration of Nile into their group once they make her understand and accept what’s happened to her, neither of which shows us the Old Guard (who never call themselves that) doing the thing they would typically do. Perhaps that will come in the sequel.

The music in this movie doesn’t just suck, although I would argue that most of the songs on the soundtrack are indeed quite bad, but it’s poorly deployed, with electropop songs playing during what should be tense action sequences. This is the kind of movie that would benefit from less music, or no music at all, given how dark some of its themes are and how brutal the violence can be, although the camera seldom lingers luridly on the violence as it does in, say, Deadpool, where the gore is kind of the point. I was far less bothered by the formulaic parts of The Old Guard, which could just be unavoidable in the genre, than by the obtrusive nature of the soundtrack, which often seemed at odds with the movie’s underlying themes about mortality and meaning. It may be a movie about superheroes with impossible powers, but The Old Guard at least tries to be more serious and thoughtful than the standard MCU film, and by and large it succeeds.

Filed Under: Uncategorized Tagged With: 2020 movies, movies, superhero movies

→ July 21, 2020
→ By keith

Les Misérables (2019).

Les Misérables won the Jury Prize at Cannes in 2019 and was France’s submission for the Academy Award for Best International Feature Film this past year, earning one of the five nominations but losing out to eventual Best Picture winner Parasite. The first full-length film directed by Ladj Ly, who was born in Mali and raised in the Montfermeil commune in the eastern Paris suburbs, Les Misérables takes its name from the Victor Hugo novel, but tells a very timely story of police brutality and racial strife that seems like it was made specifically for the current moment both in France and in the United States.

Based loosely on an actual incident of police violence Ly witnessed in that same commune in 2008, Les Misérables takes place over the course of about 36 hours, following three police officers – one, Stéphane, new to the job and to the city – who patrol a specific neighborhood of apartments and shops that are largely populated by immigrants from former French colonies in northern Africa. Both veteran cops, Chris (who is white) and Gwada (who is black and speaks Bambara as well as French), take the approach that they must use force to make the residents ‘respect’ them, with Chris especially willing to profile people, even kids, and rough them up while frisking them without cause, while Gwada often stands by. They’re entwined in the subculture of the neighborhood as well, with rival forces that include the “mayor,” who works with Chris in particular to maintain his local authority, and the Muslim Brotherhood, led by former drug dealer turned imam Salah. When a touring circus of Roma performers threaten the immigrants unless a lion cub stolen from them by one of the children in the neighborhood is returned, the cops’ overbearing tactics leave one child seriously injured and spark a cascade of violence.

Les Misérables is a serious film that balances its multiple themes of police brutality, racism, and xenophobia with a plot that often unfurls like that of an action film. Most of the adult characters have some complexity to them, other than Chris, who is your garden-variety racist white cop like you might find in a less nuanced film. Stéphane has a real arc to his story as he’s confronted with Chris’ increasingly violent and counterproductive tactics and Gwada’s tacit approval despite the latter’s racial and ethnic ties to many of the residents of these apartment buildings, and thus has to choose when to speak or act, finding his voice more as the story progresses and puts him into increasingly more difficult situations. The main child character is Issa, who we’re told is always causing trouble, and who ends up a central character in the trouble that follows – in no small part because the police already know him, and Chris and Gwada seem more than ready to treat him like a dangerous adult rather than a small child who (as we see in an early scene) has no guidance at home.

While this film was made in 2019 and hit amazon prime back in April, watching it right now made it seem like it was written as an argument for community policing. The racism and xenophobia depicted here are nothing new and the script isn’t making any novel points or arguments about them, but the way that Chris and Gwada maintain ‘control’ of this area is extremely damning of what I would think of as the American model of policing. It’s punctuated by their link to this local fixer/boss who calls himself the Mayor, and how they react when they find out they’ve been filmed during one such act of violence against a suspect, and in turn how Stéphane, who isn’t from this geographical area and hasn’t worked as this sort of cop before, reacts when seeing it from an outsider’s view. While the script at least creates some ambiguities around some of the adults in the community, this is a protest against the power given to and wielded by police against underprivileged and mostly powerless communities that lack avenues to fight back through political or legal channels, leaving them little recourse but to respond in kind.

—

I went to put Les Misérables on my rankings of 2019 films, only to discover that I didn’t post them back in March/April like I’d planned to do. So while I still have a few stragglers from last year I’d like to see (Monos, Invisible Life), here’s everything I saw from 2019, with links to my writeups, from my favorite to my least favorite:

1. Parasite
2. Knives Out
3. Little Women
4. Uncut Gems
5. Pain and Glory
6. Once Upon a Time in Hollywood
7. The Irishman
8. Corpus Christi
9. The Farewell
10. Ford v. Ferrari
11. Les Misérables

12. Monos
13. Hustlers
14. American Factory
15. Wild Rose
16. The Whistlers
17. The Two Popes
18. The Souvenir
19. 1917
20. Toy Story 4
21. Marriage Story
22. High Flying Bird
23. Non-Fiction
24. FYRE
25. Honeyland
26. Bombshell
27. Climax
28. Jojo Rabbit
29. Atlantique
30. Joker
31. Booksmart
32. Judy
33. High Life
34. Portrait of a Lady on Fire
35. The Great Hack
36. Frozen 2

Filed Under: Uncategorized Tagged With: 2019 best international film nominees, 2019 movies, french films, highly recommended, movies

→ July 18, 2020
→ By keith

Stick to baseball, 7/18/20.

I didn’t write anything this week other than the review here of Patrick Radden Keefe’s book Say Nothing and my review of the lovely little light strategy game Walking in Burano. I will do a season preview with some picks for breakout candidates this week for subscribers to The Athletic, as well as a new game review for Paste, and a Zoom Q&A session on The Athletic’s site on Thursday at 3 pm ET. I answered reader questions on a mailbag episode of my podcast last week.

My book, The Inside Game: Bad Calls, Strange Moves, and What Baseball Behavior Teaches Us About Ourselves, is out now, just in time for Opening Day (okay, three months before, but who’s counting). You can order it anywhere you buy books, and I recommend bookshop.org. I’ll also resume my email newsletter this week once I have some new content.

I’ll be speaking at the U.S. Army Mad Scientist Weaponized Information Virtual Conference on Tuesday at 9:30 am ET, talking about topics from The Inside Game. You can register to watch the event here.

And now, the links…

Longreads first: Data scientist David Shor, fired for tweeting that nonviolent protests tend to push public opinion leftward (a conclusion based on data), spoke at length to New York about what the data say about the Democrats’ chances in 2020 and beyond. It’s sobering, but comes with evidence-based recommendations that start with not taking any swing states for granted in October.
The Guardian looks at the rise and fall of Nespresso, which faces low-price competition, criticism of environmental impact, and growing consumer awareness.
Politico has a long profile on Rep. Elissa Slotkin (D), a first-term representative from Michigan running for re-election in her purple district, and what lessons she may have to offer Democrats nationwide.
The inspiration for the original text-based adventure game Colossal Cave Adventure (often just abbreviated as Adventure) was Patricia Crowther, ex-wife of the game’s co-creator, who didn’t credit her with the cave mapping that he used to design the game.
Orac looks at the controversy over airborne transmission of COVID-19. His conclusions: the virus can be spread via respiratory aerosols, but we already guessed that, and mandating masks and physical distancing is part of the solution.
Cases have been rising, but deaths weren’t, which isn’t the good news it might appear to be, writes Alexis Madrigal for the Atlantic. The death rate has begun to rise since Madrigal’s piece went up, though.
The CDC’s longtime status as an agency beyond the reach of partisan politics has left it defenseless against attacks from the science-deniers in the White House.
Vox looks at why Arizona has the nation’s worst outbreak of COVID-19, and may be undercounting cases since they have so little testing. They closed too late, reopened too soon, people didn’t take the masks and distancing guidelines seriously.
The New Yorker looks at how Texas Republicans politicized the coronavirus pandemic, leading to an ongoing outbreak, and over 600 deaths in just the last four days.
An Alabama jail refused to give masks to prisoners because, jail officials claimed, the prisoners would eat them.
There’s a threat to American democracy beyond that posed by the President and his sycophants – the ongoing disappearance of local news outlets. When nobody watches local officials, they can get away with a whole lot more.
Why are federal law enforcement agents arresting protestors in Oregon, using unmarked vehicles? When did the feds start looking at the Sicherheitsdienst as a model?
Multiple employees of color at ESPN spoke to the New York Times about racism behind the camera at the company, from limited career opportunities to a lack of diversity in leadership. I can’t say I ever witnessed any of this, or heard about it from people affected, but given the ways you get into leadership positions at ESPN, a lack of diversity is a feature rather than a bug.
Authorities in Selah, Washington, including the city leaders, are trying to criminalize speech in the form of chalk writing of “Black Lives Matter.”
Georgia Senator Kelly Loeffler (guess!) is running against Black Lives Matter, opposing the WNBA’s use of the term (she owns part of the WNBA’s Atlanta Dream) and claiming that BLM harbors anti-Semitic and anti-Christian views (they don’t, as BLM is not a single, coherent organization). Here’s a list of some major companies that donated to her while proclaiming support for Black Lives Matter and efforts to fight structural racism.
Three articles on the additional challenges working mothers are facing during the pandemic: “They Go to Mommy First,” from Jess Grose in the New York Times; Parents Can’t Wait Around Forever, by author/economist Emily Oster in the Atlantic; and how a lack of childcare options is keeping women unemployed, in Politico.
A woman who had been tested for COVID-19 but didn’t self-isolate while she waited to get her results dropped off her child at a day care facility in upstate New York. She tested positive and gave it to 16 other adults and children.
A meeting in Utah to discuss requiring students to wear masks in schools was postponed because dingbats without masks filled the room, some carrying signs opposing the mask requirement. Their ‘arguments’ mirror those of anti-vaxxers’, which should be reason enough to overrule them.
An activist couple who support Palestinian causes found themselves attacked online in columns appearing in the Jerusalem Post and The Algemeiner by a student at the University of Birmingham named Oliver Taylor … except that Oliver Taylor doesn’t exist, and seemingly accurate photos of him are just well-made deepfakes.
A Toronto health official has the right to intervene in the case of two children whose dipshit mother doesn’t want to get them vaccinated. Vaccines work. They are safe and effective, and it turns out that the MMR vaccine may even protect you against some of the worst symptoms of COVID-19.
Walt Disneyworld is permanently closing three attractions, two rides and a show, none of which will be particularly missed.
Board game news: Renegade Game Studios announced a new line of puzzles based on art from four popular board games, including Raiders of the North Sea and Arboretum, with pre-orders now open.
Grail Games has a Kickstarter up for Whale Riders, a new game from Reiner Knizia, which is always of interest to me. I’m not sure about this theme, though; those look like Inuit people, and there’s no reason to use them in the artwork.
Marvel Villainous, the new standalone game in the Villainous line from Ravensburger, is available for pre-order exclusively through Target. I have a review copy and have played it once; it’s quite good, with five new villains from the MCU, but can’t be played with any of the 15 villains from the previous four boxes in the series.

Filed Under: Uncategorized Tagged With: alabama, arizona, board game news, coffee, coronavirus, disneyworld, frauds, links, longreads, michigan, stick to baseball, utah, vaccines, video games

→ July 15, 2020
→ By keith

Say Nothing.

Patrick Radden Keefe won the National Book Critics Circle Award for Non-Fiction this spring for his book Say Nothing: A True Story of Murder and Memory in Northern Ireland, a well-deserved honor for what is easily one of the best narrative non-fiction books I’ve ever read. The future of the NBCC is in doubt after mass resignations over the behavior of board member Carlin Romano in the wake of the board’s attempt to draft a strong statement on structural racism in the publishing world, but with this, Everything Inside (Fiction) and The Queen (Biography), they picked three tremendous books for their three big awards in this cycle.

Say Nothing is the story of the disappearance of Jean McConville, a widowed Protestant mother of eight, in Belfast in 1972, who was “disappeared” and whose body wasn’t even found for forty years. Keefe uses that as a framing device to provide an incredibly detailed, unsparing history of the Troubles, taking advantage of the trove of new information that has become available in the last decade on the conflict, including copious interviews with people actually involved in the violence who spoke to historians working at Boston College.

McConville was one of sixteen people who were considered Disappeared from the Troubles, and her case, and its ultimate resolution, work extremely well as a point of entry to discuss the conflict as a whole – particularly because some of the people involved in or with knowledge of her abduction were major figures in the Troubles. Keefe walks back to the origins of the strife between Catholics and Protestants in the six counties of Northern Ireland, focusing on the rise of the Irish Republican Army and its various splits (into the Official IRA and the Provisional IRA), and on the violent repression by the British authorities that created a war zone in Belfast for decades.

Keefe shifts the focus in the second chapter, after depicting McConville’s abduction, to Dolous and Marian Price, Catholic sisters who joined the Provisional IRA, the terrorist wing of the group that sought the unification of all of Ireland and expulsion of the British from Ulster at any cost. These two fanatical women were involved in numerous critical events of the Troubles, including the car bombing of the Old Bailey and other London sites in 1973, for which she went to prison; the first series of IRA hunger strikes in the 1970s; and several of the abductions of the Disappeared. Dolours eventually gave up her role in the violent struggle but remained politically active, opposing the Good Friday Agreement and eventually revealing that Gerry Adams was far more involved in IRA violence than he admitted, while Marian continued to engage in terrorist activity well into her 50s. The two make fascinating characters to study while conveniently bringing the narrative to several events critical in any retelling of the Troubles.

The Belfast Project provided Keefe with a wealth of material to fill in much of the historical record on the McConville case and many other Provisional IRA operations from the late 1960s until the Good Friday Agreement was signed in 1998, thanks to hours of in-person interviews the two historians behind the project conducted with former and even still current IRA members. The original intent was for the content of those interviews to remain confidential until after each subject’s death, and after the first few passed away, including Brendan Hughes, who ran multiple terror attacks for the IRA against British soldiers and also led the 1978 “dirty protest” and the 1980 Hunger Strike while in the prison known as Long Kesh, and who opposed the peace accord as too favorable to the United Kingdom. Hughes named many names, including the person he said ordered the abduction and murder of McConville, and these revelations – coming after Hughes’ death – led to prosecutions and an international court proceeding that eventually forced Boston College and the Project to turn over all of their interviews relating to specific crimes, even those that involved confessions by still-living persons. Without those materials, Keefe wouldn’t have much to add to the history of the Troubles beyond what had already been written by 2010, but the interviews with Hughes and Dolours Price both shed substantial light on multiple attacks and murders, also allowing Keefe to provide a conclusion to the Jean McConville story (albeit one that never led to a conviction). There’s also a tangent here about the nature of oral histories and whether the Belfast Project might have deserved some legal protection, although the school declined to fight the subpoena and subsequent efforts to invoke journalists’ privilege failed.

The detail is what carries the day here for Say Nothing; even if you’ve read about the Troubles before, as I had for a project while in college, you probably haven’t read anything this specific and well-structured. Keefe weaves multiple narratives together, giving nuance to so many of the people involved, even those who participated in multiple murders and carried out vicious campaigns of terror against their own neighbors and fellow citizens. You won’t leave with sympathy for Hughes or the Price sisters, but you will still get to see them as three-dimensional actors, and their revelations help give more texture to the portrayals of other major IRA figures all the way up to Gerry Adams, who had a whole second act as a politician and supporter of peace while denying that he was ever involved in the IRA – a lie that he was able to perpetuate for more than two decades because of the very code of silence that kept Jean McConville’s killers from ever facing justice.

Next up: Tony Collins’ The Oval World: A Global History of Rugby.

Filed Under: Uncategorized Tagged With: 2019 books, british history, highly recommended, ireland, irish history, non-fiction, northern ireland

→ July 12, 2020
→ By keith

Walking in Burano.

Walking in Burano is a 2018 game from Taiwanese designer Wei-Min Ling, who also designed the semi-abstract, chess-like game Shadows in Kyoto; and Mystery of the Temples. Ling owns one of the most important board game publishers in Asia, EmperorS4, which produced Hanamikoji and Realm of Sand, and uses Taiwanese artist Maisherly Chan for the majority of their games. With great art and a fairly simple set of mechanics, Walking in Burano is one of the best EmperorS4 games yet, not quite at Hanamikoji’s level but on par with their other top titles, especially given how quickly you can learn to play.

Players in Walking in Burano will acquire cards from the central market to create three-story buildings on their streets, ultimately filling out a 3×5 grid with five scoring cards, one beneath each house. These represent streets on the Venetian island of Burano, and the idea is to appeal to tourists and locals with various combinations of features on single buildings or streets as a whole. The catch is that building cards come in six colors, where each building (or house, they’re the same in this game) must comprise three cards of the same color, but adjacent buildings can’t share a color – unless you want to use one of your ‘rule-breaking’ tokens to break that rule and cede three points at game-end.

The market has three rows of cards, each of which corresponds to a specific floor of the houses you’ll be constructing. You may take one, two, or three cards from any column in the market, although you must start with the top or bottom row and can’t skip the middle card (e.g., you can take cards 1, 3, 1-2, 2-3, or 1-2-3). If you take an entire column, you don’t get any coins; if you take one card, you get two coins, and if you take two cards, you get one coin. You may then choose to build as many floors as you can afford, with the first floor you build on any turn costing you one coin, the second costing two coins more, and the third two coins beyond that. You get two scaffolding cards that you can move as needed, so you don’t have to build from the first floor up. You don’t have to build cards immediately when you take them; you can keep up to three from one turn to the next.

Once you complete any building of three cards, you can choose a scoring card from the available supply. There are four tourist cards that are worth four points each, and then give you additional points based on what’s showing on the three cards in the building you just finished – one point per flower pot, one point per plant, three points per cat, or two points per cat/awning/lamp/chimney. There are seven inhabitant cards in the base game, the supply of which is more limited, that offer very different bonuses that often apply to entire floors or to several adjacent cards. (I also have the one mini-expansion for the game, which adds three more inhabitants; you shuffle all ten types together and randomly choose seven to use in any single game.)

Once any player finishes their fifth building, it triggers game-end. You get points from your bonus cards, points from some first-floor cards that show shops, and 3 points for each rule-breaking token you still have. All players then count their “closed” windows on cards, those with X’s on them, and the player with the most loses one point per such window.

Even tough turns are quick, there’s quite a bit of strategy involved in Walking in Burano, as you try to collect certain symbols on cards to maximize your potential bonuses from cards you don’t yet have. You can end up losing out on a bonus card after collecting the house cards that would have granted you a huge bonus from it; you won’t end up with nothing, as you get another bonus card, but you’ll probably get fewer points than you’d planned. You are also betting on the availability of future cards, and future symbols, regularly during the game.

The rules also include a solo mode that works extremely well, almost exactly mirroring the two-player rules (where, after each round, you remove all cards in the rightmost column of the market, to keep it moving and create a bit more urgency), but also requiring you to remove one Character bonus card of your choice after each turn. This creates an upper bound on the number of turns you can take, as the game ends either when you complete your fifth building or when there are no bonus cards remaining, after which you score your street as you would in a multi-player game, deducting one point for every closed window you have, then comparing your score to the table in the rules.

Walking in Burano only came out in the United States in 2019, although the Chinese edition was released a year earlier, and I think the timing of the U.S. release during the flood of July/August releases last year led it to fall through the cracks. It’s pretty great across the board – easy to learn, quick game time, deeper strategically than you’d guess at first glance, with gorgeous art. Light-strategy games in small boxes that give you more to chew on than the typical short game are right in my wheelhouse, since it’s just easier to get people to sit for a game that’s short and that doesn’t require a long explanation of the rules; Walking in Burano is exactly that kind of game.

Filed Under: Uncategorized Tagged With: board games, boardgames, family games, family strategy games, highly recommended

→ July 11, 2020
→ By keith

Stick to baseball, 7/11/20.

I had one solo post for The Athletic subscribers this week, something out of the ordinary: To participate in the site’s Book Blitz, I gave 25 recommendations for non-sports books, five apiece in literary novels, sci-fi/fantasy, detective/mystery, non-fiction, and short story collections. I also joined the site’s Authors Roundtable, answering some questions on the book-writing process.

Over at Paste, I reviewed Floor Plan, a new roll-and-write from Deep Water (publishers of Welcome To…) that is quite easy to learn, but where the theme and the strategy don’t work together.

My second book, The Inside Game, is out now, and you can buy it on bookshop.org through that link, or find it at your local independent bookstore.

And now, the links…

Vulture‘s interview with Thandie Newton is a must-read for her unbelievable candor, speaking about racism and sexism on set as well as some lousy experiences with Tom Cruise.
Patients who are hospitalized with COVID-19 and recover can face weeks or months of delirium, anxiety, depression, fatigue, and physical and cognitive deficits.
The Washington Post looks at how the pandemic has made the struggle working moms face impossible for employers to ignore, as we’ve seen with the recent backlash to bizarre decisions by Florida State and Georgia Tech.
The new invite-only audio app Clubhouse is paying a price for omitting any protections for users against harassment. Given what this Verge article says about the app I’d have zero interest in participating in it.
The Paris Review explains how Neapolitan cuisine became synonymous with Italian food.
Human rights lawyer Derecka Purnell explains why she became a police abolitionist, the first of three links this week from the Atlantic. The crux of her argument is the lack of accountability for officers who commit violence against civilians.
Ed Yong continues his tremendous work for the Atlantic on the pandemic, writing about how the experts trying to help hospitals and policymakers are getting burned out, while the pandemic is exacerbating issues of gender equity in the field, and charlatans from outside of epidemiology are trying to make names for themselves with shoddy research.
Also in the Atlantic, why death rates haven’t risen even as cases and hospitalizations continue to rise. Hint: it’s not necessarily good news.
A new study published in The Lancet found that antibody levels were extremely low in populations in COVID-19 hotspots, meaning that herd immunity isn’t coming any time soon.
Axios explains how public health efforts have to step up their efforts to combat COVID-19 misinformation.
This tweet showing average new cases per day of COVID-19 along with Trump’s comments on the pandemic is rather damning.
NPR looks at how crowdfunding has changed the board game industry in the wake of the RPG Frosthaven, the sequel to Gloomhaven, taking in $12.9 million in its Kickstarter run.
A Minnesota State Senator, who is also a physician, is now under investigation after spouting nonsense conspiracy theories about COVID-19 on social media. He has a history of voicing anti-vaccine sentiment too.
This isn’t exactly news, but a new study showed that anti-vaxxer parents are fraudulently using state religious exemptions to avoid vaccinating their kids. With no penalty for doing so – and minimal enforcement – they’re not going to stop until this loophole is closed.
Mental Floss has nine possible uses for sourdough starter discard.
I included this last week as well: There’s a petition online to demand the removal of the Conferederate flag and monument to Confederate soldiers at the Nutter Marvel Carriage Museum in Georgetown, Delaware. It’s a private institution, so unlike the statues and flags coming down in public spaces, the state and local governments can’t just remove the offensive objects.
Meanwhile, everything is fine in Poland, where the state TV station is warning that the opposition candidate for President will “fulfil Jewish demands” if he wins.
Board game news: Marvel Villainous, a new standalone game in the Disney Villainous series that introduces some new rules and five new villains to play, is available for pre-order at Target.
Bézier Games has announced an upcoming Kickstarter for Ultimate Werewolf Extreme, an expanded and upgraded version of their popular Ultimate Werewolf game.

Filed Under: Uncategorized Tagged With: anti-science, baking, board game news, coronavirus, links, longreads, stick to baseball, vaccines

→ July 9, 2020
→ By keith

The Dutch House.

Ann Patchett’s The Dutch House was one of the three finalists for this year’s Pulitzer Prize for Fiction, losing the top honor to Colson Whitehead’s The Nickel Boys. The honor was long overdue for Patchett, who received a Pen Faulkner award and what is now called the Women’s Prize for Fiction for Bel Canto and was a finalist for the National Book Critics Circle Award for Commonwealth. She’s in the uppermost echelon of American novelists, and worthy of more critical acclaim than she’s received. The Dutch House isn’t her best – that would be Bel Canto, a more ambitious novel that Patchett says was her attempt to write her take on The Magic Mountain – but it’s something different from her, a return to the narrower character studies of her earlier career but with greater emotional depth, informed by the wisdom of a quarter-century of living.

The Dutch House tells the story of Danny, the narrator, and his older sister Maeve, who live in the colossal estate that gives the book its title, in the northeast Philadelphia suburbs. Their mother left the family several years earlier for unknown reasons, leaving them with their real estate mogul father, who, as the novel opens, is about to marry Andrea, a much younger woman, and then brings her and her two daughters into the house. Andrea loves the house and the status it confers, but has little use for Danny or Maeve, and eventually casts them out when the opportunity presents itself, starting the siblings on decades of acrimony and grief for what they lost, emotions and memories they process by parking outside the house, often for hours, over the ensuing years.

Danny tells us the story, but Maeve is just as much a central character here, better developed than Danny is, and the most influential figure in Danny’s life. (As an aside, I couldn’t help but picture Maeve as Emma Mackey, who plays the character by that name on Sex Education.) Maeve has the memories of their mother that Danny lacks, and has just enough of an advantage of age to be wiser and more perceptive than her brother, which serves them both well when Andrea arrives on the scene. She’s a diabetic, which becomes significant at multiple points in the book, and appears to sacrifice some of her future to help Danny – although it’s possible her motives are mixed up with nostalgia and an unwillingness to leave the area where she grew up.

The story jumps forward and back in time, so we see Danny as an adult, after medical school, then find out how and why he ended up pursuing that academic path from the point where we first saw him as a kid who played basketball and loved going around with his father once a month to collect rent and see properties, but didn’t have a ton of use for school. The relationships between the siblings and their distant father, and the siblings and the two older women who work in the house and end up helping raise the kids – at least until Andrea kicks them out – form part of a foundation for both Danny and Maeve as they mature into adulthood. The problem they encounter is that the void left by their mother’s departure, which they’re told was so she could go help the poor in India, leaves the foundation incomplete, and their obsessive, nostalgic attachment to the house, even after there’s no one living there who truly matters to them, seems both symbolic of what they’ve lost and a sad testament to how the past can prevent us from moving into the future.

I had a hard time reading Danny’s voice for at least a solid third of the book, continually ‘hearing’ the narrator as a young girl, probably because I know Ann Patchett’s style so well (and know that she’s a woman), and can’t recall her writing in the first person for a male character before. That sensation faded as Danny grew up in the first half of the novel and his voice became more distinctive, while he also felt like more of a participant in the action rather than a passive observer (to whom many things happen, however). I think this also arose because Maeve is a much more clearly defined character from the start of the book, while Danny starts out as unmolded clay and grows into adulthood before the reader, a maturation that comes in fits and starts and doesn’t end up where you – or Maeve – expect it to finish.

Of all contemporary authors whose work I know, Patchett might have the most empathy toward her main characters, no matter how flawed; only Andrea, who is a bit of a one-dimensional plot device here, misses out on this, while her two daughters, Maeve and Danny’s mother, and the nanny who was fired when Danny was just four all reappear in some form before the novel is out to get resolution, if not actual redemption. You can probably see the main plot event at the book’s conclusion coming, but I was neither surprised nor dismayed to see it happen, because in Patchett’s better novels, the pleasure of reading is in the journey. These two characters are so richly textured, and so realistic, that I was willing to buy into the less believable aspects of the story, just to get to the end of Danny’s arc, and to read more of Patchett’s prose.

Next up: I just finished Patrick Radden Keefe’s Say Nothing: A True Story of Murder and Memory in Northern Ireland yesterday.

Filed Under: Uncategorized Tagged With: 2019 books, american literature, ann patchett, highly recommended, novels

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