Le Weekend

Lindsay Duncan, Jim Broadbent, Le Weekend

Lindsay Duncan and Jim Broadbent in Le Weekend

Saw the previews for this movie (trailer) several times last spring, and it didn’t look promising. In it, two past-middle-aged Brits have a madcap weekend in Paris, fumbling around in their relationship, the wife mercurial—laughing one minute, enraged the next—the husband hoping for sex. They’re living high but low on cash, and full of petty irritations. For once, the previews were right. Plus they showed all the best barbs. How this ended up in our Netflix queue, I don’t know.

Still, the acting was flawless, with Jim Broadbent as the husband and Lindsay Duncan as his wife. A wonderful smarmy performance by Jeff Goldblum as a sycophantic fellow-academic who outs the fact that the couple’s lives are falling apart. Olly Alexander has a juicy part as Goldblum’s bored son. Another dinner party disaster, uncomfortable to watch, yet unbelievable.

Critics liked it. The Rotten Tomatoes reviewers’ rating: 89 percent, but audiences seemed more in my camp: 55.

****All The Light We Cannot See

Anthony DoerrBy Anthony Doerr. (Read by Zach Appelman.) A sweet and satisfying story of Marie-Laure LeBlanc, a French girl blind from childhood, and an orphaned German boy, Werner Pfennig, who is a genius with radios, and how their paths intersect in the desperate, waning days of World War II. Marie-Laure’s father—keeper of the keys at Paris’s Museum of Natural History—builds her a perfect model of their neighborhood, first in Paris, then in the walled city of Saint-Malo, where they flee to live with his uncle when the Nazis invade. By studying these replicas, she learns how to navigate her world.

The Saint-Malo model hides a secret, an invaluable diamond, a diamond with a peculiar light in its center, entrusted to her father for safekeeping, but a Nazi loot-hunter is on the trail. The difficulty of surviving for these two extremely perceptive prodigies, is tensely portrayed, and the light and lack of it in their worlds takes different forms, both literal and symbolic. While the circumstances of war are familiar—especially World War II in Europe—the particular reactions of these main characters are “surprisingly fresh and enveloping,” says Janet Maslin in the New York Times.

I’m not a fan of final chapter postscripts that let you know what happened to characters and their families in later years, feeling that better left to the reader’s devising, based on a book’s-worth of clues and insights. And, while I usually bow down in praise of the skills of audiobook narrators, this one was oddly off-hand, floaty and lacking in necessary heft.

Junot Díaz & Difficult Characters

Junot DiazJunot Díaz, fellow New Jerseyan and one of America’s top young writers, winner of the Pulitzer Prize for The Brief Wondrous Life of Oscar Wao(2007) and a certified MacArthur Foundation “genius,” is interviewed in the fall 2014 issue of Glimmer Train. Last year, he published a book of short stories, This is How You Lose Her. (This is the book a friend of mine starts reading whenever she and her husband have a disagreement.)

“She’s sensitive, too. Takes to hurt the way water takes to paper.”(TIHYLH)

About his recurring character Yunior, who narrates much of sci-fi addict Oscar’s story, and who also features in the short story collection, Díaz says “He is the classic dumb-ass character who makes all the right mistakes to produce, for me, in my mind, great stories.” Yunior shares some biographical details with Díaz, a parallelism that he believes makes writing—or reading—a little easier. “You get free heavy lifting from readers . . . by blurring that line between fiction and biography, a confusion that adds an extra serving of real to the tale.” Getting readers to do some of the work for him, some of the world-creation that keeps them on the page, is especially important in fiction, he believes, when writers “are asking them to confuse our work for the world and often to connect to characters who are difficult.”

“Dude wore his nerdiness like a Jedi wore his light saber or a Lensman her lens. Couldn’t have passed for Normal if he’d wanted to.”(BWL)

“Her rage filled the house, flat stale smoke. It got into everything, into our hair and our food, like the fallout they talked to us about in school that would one day drift down soft as snow.”(BWL)

Junot DiazOne of the ways Yunior is difficult is in his relations with women, his infidelities, and his objectification of women, and Díaz explains that he includes that aspect of his character because it’s “one of the standard ways our culture operates.” Díaz gets some blowback on this, and says the shock of recognition when readers see this aggressively masculine point-of-view on the page “in what I think is so honest a way, it often repels us in ways that the very presence of it in our real lives doesn’t. . . . It’s as if it’s only in this book where these guys exist.”

“You can never run away. Not ever. The only way out is in.”(BWL)

While the writer of the Door Stop Novels blog called Brief Wondrous Life “incredibly offensive,” she added, “it is also absolutely one of the funniest books I have ever read in my life.” Her bottom line: “I think that is what I like most about Díaz —the man goes for broke.” He isn’t writing allegory, with a lot of message overlaid about his real political views; he isn’t writing religious. He is describing the worldviews of very particular people, and it’s in the detailed rendering of those views that make people love or hate his work, but, either way, to believe it’s real.

“The half-life of love is forever.”(TIHYLH)

 

Been There! The Danube

Danube, Orthodox churchI’m reading a book by Nick Thorpe about the Danube and encountering familiar scenes from the middle portion of the river we sailed on last year. Almost the exact photo at right is in the book, called “The Church Above the Waters” and on Thorpe’s BBC page “an Orthodox monastery.” The rooftops have been restored and slightly redesigned–made rounder–since his earlier pictures, though, and the church has a new coat of whitewash.

Vukovar

Danube, VukovarI wish I’d learned more at the time about Vukovar, besieged by the Serbs in the early 1990s, and the memorial on the farm where patients and staff from Vukovar hospital were taken and murdered. The townspeople kept their damaged water tower as an ad hoc war memorial. A deteriorating water tower in my experience reflects economic hard times, but both meanings apply here. Thorpe says, “The doves of peace have taken over” the tower now. Pigeons, at any rate. And he describes, Vukovar’s most famous scene of rebirth: “In one of the houses near the (river) shore, still in ruins, purple flowers burst from the frame of an upstairs window.”

Thrilling First Sentences

homeless, dog

(photo: shiftfrequency.com)

Thrillerfest—the International Thriller Writers’ annual summer get-together—this year sponsored a first sentence contest, in which seven leading thriller writers looked through a pile of manuscripts submitted for critique and picked their favorite openers. Below is what some of the masters find gets them going. Let’s hope the authors polish up their manuscripts and deliver them into the hands of publishers soon! Watch for them! I marked my favorites—the more stars, the better. Yours?!

Wylde knew it was too early, but when the girl started screaming, he went in anyway. (Judith O’Reilly)

**Death couldn’t part us soon enough. (Katalin Burness)[I like the narrator’s tone already!]

Sophie was late—and naked. (Terry Rodgers)

Quizz Murphy propped himself against the cold facade of an office building and summoned a nearby sparrow to pluck the lice from his beard. (J. E. Fishman)

***I knew what I was doing; I just didn’t know what I was capable of. (Nathaniel Free)[lots of possible places to go after an opener like that. And a semi-colon. Whoa!]

Dad, are you and mom getting a divorce? (Ray Collins)

*Sleeping with a married guy was one thing, telling his wife he was dead was another. (Margaret Carroll)[OK, you got me. She could have borrowed the semi-colon, though.]

Is it “social” or is it just “media”?

social media, word cloud

(photo: c1.staticflickr.com)

Whether, as some surveys show, Americans who use social media really spend more time on it than on any other Internet activity—including email—they do spend a lot of time there. A 2013 survey pegged that at an average of 3.2 hours a day. Social media have become integral to the marketing strategies of many organizations and businesses, and marketing professionals spend the most time there. A free industry report says a quarter of marketers spend six to 10 hours a week on social media activities—finding and posting content, analyzing efforts, scoping out the competition—and a third spend 11 hours or more.

Small businesses, especially, struggle with the time commitment to social. They’d like to cut back. But how? This interesting article from Buffer has some suggestions, as well as revealing graphics. In total, their ideas add up to saving more than six hours a week. And, here’s where we find out how different the social media experience is for companies who embrace the “media” side of social media and small-time operators like me, who are still clinging to that word “social.”

Significant time-saving, they say, can be achieved by automating your social media posting, and they have some suggestions. This must be what the annoying people on twitter do who have posts every six minutes. Here’s the gist: “buy my book!” “my book is awesome!” “people say so!” I unfollow them. While I want my posts to prompt people to go to my website, yes, but because I wrote something that really captured their imagination, not because I wore them down.

They also suggest budgeting some time every day—maybe a half-hour—for finding content to post. “Setting a time limit makes you more productive,” they say. And they have specific suggestions: five minutes each on twitter, Facebook, and LinkedIn, five minutes Googling for news, and 10 minutes exploring top niche blogs and websites. There are some useful tips here, though my trolling through publishing, news, and writing websites is one of the greatest benefits of having my own website with its constant hunger for new material. Though sometimes I feel like I know more and more about less and less.

Off to a Good Start

cake, Hello Kitty

(photo: c1.staticflickr.com)

The delicious aspect of reading Chuck Sambuchino’s article in The Write Life article on the worst ways to begin your novel, is that you know these Outrageous Openings have been tried many times. You know that, because the opinions come from literary agents, who every month read hundreds of “first pages,” or maybe only first paragraphs, sentences, or words submitted by hopeful authors. Some of their advice is right up there with one literary agency’s strict warning to writers not to accompany their query letter with baked goods or anything hand-knit. (Your desperation is showing!)

Since, they say, everyone has a book in them, and since nearly everyone who finds out I’m a writer says, “I’ve always wanted to write a book,” there should be a ready audience for this advice.

1. Avoid prologues and lengthy first-chapter descriptions (“scene-setting”) and jump right into the action. (Thankfully, this wasn’t the preference in Dickens’s time, or we would have lost “It was the best of times, it was the worst of times . . .”) Get right to the plot, they say, characters’ backstory “is in their DNA.” It stays with them.

2. Agent Dan Lazar puts it a different way. He dislikes openers where characters are doing “essentially nothing. Washing dishes and thinking, staring out the window and thinking, tying shoes, thinking.” Perhaps such openers are meant to contrast with the many thrillers in which not much thinking is done.

3. Love this one: “The [adjective] [adjective] sun rose in the [adjective] [adjective] sky, shedding its [adjective] light across the [adjective] [adjective] [adjective] land.” Fail.

4. Similarly, “laundry list” character descriptions. I recently read one so long its parts had to be separated with semi-colons, including this bit: “porcelain skin, white as china; pale green eyes.” If only they’d been Wedgwood blue eyes, we’d have a whole place-setting. As writing coach Lauren Davis says, description should tell who your characters are, not just what they look like.

5. Cliché openers. In crime novels, a really bad hangover. In fantasy, a battle or (apparently this is common) herb-gathering. The battle thing seems to go against the advice to start with action, but this agent says the problem is, “I don’t know any of the characters yet so why should I care about this battle?” In romance, waking to find a stranger in the bed. More ill-conceived action.

Finally, one of the agents reveals what she actually likes in an opener—one that makes her curious about your characters and fills her with questions. You have the rest of the book for the who, where, when, and how.

The Alchemist

William Fettes Douglas The Alchemist

William Fettes Douglas, “The Alchemist” (photo: wikimedia.org)

You might think Ben Jonson doesn’t have anything to say to modern audiences, and that whatever he did have to say, he said 400 years ago. In the Shakespeare Theatre of New Jersey’s production of his “satiric masterwork” The Alchemist, the audience finds, as director Bonnie Monte says, “the one thing that hasn’t changed is human nature.” In a talkback after the show, a director who’d put on this rarely-produced play free outdoors in Manhattan in 2008 said it made an almost painfully apt commentary on 21st century greed in the midst of the economic crisis.

Every variation on wanting something for nothing is displayed by the Londoners who visit the den of the Alchemist and his confederates. The marks are blinded by their fantasies, their lust for gold and, while they’re at it, the favors of one particularly comely young widow. We laugh out loud at their ridiculous and sybaritic pretensions, mainly because we recognize them.

For this production, much of the language was updated so modern ears could catch the lightning-fast and witty dialog, and the whole play was cut in about half by eliminating secondary characters and scenes, for modern attention spans (and bladders). It’s still two and a half fast-moving hours. All the acting is excellent, but special mention should be made of the three principal actors Jon Barker (Face), Bruce Cromer (Subtle: the Alchemist), and Aedin Moloney (Dol Common). Brilliant. In Madison through August 31.

Ed Snowden: Hero or Traitor?

This post is not going to settle that question for you, and it’s not one I thought I’d be writing about, a recent resurgence in coverage of Snowden has made me think more deeply about him, now that the original panic and dismay have subsided. Most of the coverage is prompted by reporter James Bamford’s recent article, published in Wired. Bamford conducted the longest set of in-person interviews with Snowden since he went to ground in Russia a year ago. I’ve also been studying Stuart Taylor, Jr.’s, essay, published by Brookings, “The Big Snoop: Life, Liberty, and the Pursuit of Terrorists.”

Who Is Ed Snowden?

Ed Snowden, NSA, privacy, security, TED talk

Ed Snowden’s TED talk (photo: wikimedia.org)

Snowden’s position from the beginning has been that he is a patriot and a whistleblower, “bent on saving his country from becoming an Orwellian security state,” as Taylor puts it. Others have recorded his ambition, his highly visible, well-polished initial announcements and PowerPoints, and his more recent TED talk, which may suggest more complex and troubling motivations. Washington Post reporter and author David Ignatius (whose novel about a rogue CIA cyber-expert is reviewed on my home page) has said, “Snowden looks these days more like an intelligence defector, seeking haven in a country hostile to the United States, than a whistleblower.”

Ironically, given the current fractured state of U.S.-Russia relations, Snowden was offered asylum there only if he stopped his work aimed “at harming our American partners,” Russian President Putin stipulated. Snowden first withdrew his asylum application, but ultimately agreed not to release more intelligence secrets. The stolen National Security Agency (NSA) documents are no longer in his hands.

Security vs. Privacy

You will recall that in Snowden’s jobs, he accumulated evidence that the NSA was collecting and storing phone records, emails, and other private Internet activity of a great many American citizens, not just those suspected of terrorism, associating with terrorists, or even remotely connected to any—we “ordinary Americans.” This revelation led to retired NSA director Keith Alexander’s famous haystack analogy: If you want to find a needle in a haystack, you need the whole haystack.

In polls, the majority of Americans oppose this wholesale domestic spying, and the government has damaged its credibility as a result. Yet, Snowden worries the public will become inured to disclosures of mass surveillance, as the PBS News Hour reported. Our acceptance may be in part because Ordinary Americans feel privacy is already hopelessly lost, in part because we believe we are helpless to stop the spying, and in part because people tend to become numb to successive outrages and risks

By spying on foreign citizens and leaders, NSA also has damaged relationships abroad. What the public has heard most about, however, is the spying on German Chancellor Angela Merkel’s cell phone calls, while “the violation of 80 million Germans is a nonstory,” Snowden says.

A fundamental and inevitable tension Taylor explores is between national security and individual privacy and the irony that a security apparatus is needed in order to protect privacy. He covers, in a readable way, the basic tenets of relevant U.S. law going back to the Bill of Rights, in which the Fourth Amendment obligates the U.S. government to ensure that citizens “be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures.” Before the telegraph, before the telephone, before the Internet, securing one’s “papers and effects” was relatively simple.

Snowden Fallout

Today, we must entrust the transmission and disposition of our communications to third parties that may or may not have an interest in protecting them or be able to do so when the NSA comes calling. However, the bad publicity Snowden’s revelations generated for the telephone companies and Internet giants has prompted a rethinking of corporate policies and strengthening of encryption practices.

Those steps haven’t come cheap. Tech companies have been hit by both substantial additional expenses and loss of income, as foreign clients become wary of their products—a potential $180 billion revenue loss, according to Forrester Research analysts.

In addition, the State Department says Snowden has not only damaged U.S. intelligence-gathering, but also potentially endangered U.S. agents abroad, without citing specifics.

Evolution of Law

After Watergate, Fourth Amendment protections were purportedly strengthened by the Foreign Intelligence Surveillance Act (FISA), which put a layer of judicial review between U.S. citizens (or permanent resident aliens) and the intelligence agencies that want to spy on them. But post-9/11, the Senate outflanked the FISA mechanism, in the hurriedly adopted Patriot Act. That new law widened the government’s authority to conduct surveillance and investigations.

Although critics predictably labeled the sweeping reforms President Obama proposed last spring as “going too far” and “not going far enough,” the changes may have begun to move the needle. And, the US House of Representatives overwhelmingly voted to halt the NSA’s practice of conducting warrantless searches of its database containing millions of Americans’ emails and phone calls—“one of many proposed reforms that never would have happened had it not been for Snowden,” Bamford claims.

Evolution of Technology

The “exponential leap” in authority under the Patriot Act coincided with greatly increased technical ability to collect, store, and monitor electronic communications data, a combination that, in Taylor’s words, has “run roughshod over laws, standards of conduct, and international norms,” jeopardizing the desired balance between national security and individual privacy contained in the Fourth Amendment.

NSA’s new million-square-foot data storage facility in Bluffdale, Utah, potentially can hold “upwards of a yottabyte of data, some 500 quintillion pages of text,” Bamford says. Every hour, billions of phone calls, faxes, emails, computer-to-computer data transfers, and text messages from around the world flow through this facility. “Some flow right through, some are kept briefly, and some are held forever.”

Then, there are the leaks. And, as Bamford points out, evidence suggests that Snowden is not the only leaker, because some media reports cite documents that apparently did not come from him. This put NSA in a real bind: “accused of rogue behavior in its snooping,” Taylor says, “and of incompetence in protecting the information it had collected.” Snowden says NSA cannot seem to tell which documents he just electronically “touched” and those he actually stole, though he says he left digital clues to enable them to be differentiated. “I figured they would have a hard time,” he told Bamford. “I didn’t figure they would be completely incapable.”

Solutions?

A second major tension, is “the severe limit on the degree to which transparency can be reconciled with functions of government that must be opaque — that is, secret — in order to be effective,” Taylor says. Certainly, the solutions Snowden himself suggests do nothing to reconcile that tension. In Bamford’s article, he suggests, for example, “making encryption a universal standard—where all communications are encrypted by default.” Regarding future leaks, he says, “The question for us is not what new story will come out next. The question is, what are we going to do about it?”

Further Information

Check out the upper left corner of the Brookings article to see what its computers are tracking about you, as you read.

NSA surveillance capabilities allow it to map your movements by monitoring the unique identifiers emitted by your cell phone, computer, and other electronic devices. You can get the flavor of this by checking out what Google can do, unless your device has this feature turned off (how to turn it off).

Read about the MonsterMind, a real? program designed to counter international electronic threats. It poses two dangers: the ability to wage autonomous retaliatory attacks that have unanticipated consequences; and, to the privacy point, the system’s need to monitor virtually all communication between people in the United States and those overseas, as Snowden says, “without a warrant, without probable cause or even a suspicion of wrongdoing. For everyone, all the time.”

Experts’ views on the future of the Internet, in light of a range of security concerns, reported in July 2014 by the Pew Internet & American Life Project.

Your Brain Has Priorities

typo, misprint

(photo: David Sim, CC & cropped)

My second novel. 78,000 words. Respectable length, not one that would panic an agent or publisher. (Unless you’re Stephen King or Dona Tartt, forget the 700-page doorstops. ) I’ve read all the advice to new writers: get an editor (I’ve been editing people’s stuff for . . . a long time—skip that step), have it proofread (pfout! I can spot a typo like Annie Oakley nailing the ace of spades). Hit the send button, set the big envelopes on the postage scale, and trundle them out to the mailbox. Done!

Except. Except that every time I look at my perfect manuscript, I find, horrors!, a typo. A word missing. An editing faux pas. Have I blown it? Big time? Nick Stockton’s recent Wired article on why we miss our own mistakes sheds some light on the problem. “Typos suck,” he says. “They are saboteurs, undermining your intent, causing your resume [or the novel you’ve spent two years writing] to land in the ‘pass’ pile.” Spotting other people’s errors, no problem. Like the LinkedIn blurb I saw today for a job-seeker who wrote, “I also have string organizational, self-management and interpersonal skills.”

Our own typos elude us, Stockton says, not “because we’re stupid or careless,” quite the opposite. He quotes psychologist Tom Stafford from the University of Sheffield who says it’s because writing “is a very high level task,” and our brains focus on creating meaning and conveying complex ideas, not dealing with more mundane things. Homonyms and spelling being two. (I’ve noticed my alarming recent tendency to type even the most absurd homonym when I mean something entirely different—the kind of error that makes me howl when I read it in print.) When we read our own stuff, we skip over these mistakes because we know what we mint.

Touch typing was one of the most useful high school courses I took—that and driver’s ed—and I have always made certain errors, typing “d” when I mean “k,” and vice-versa. Or, when I type “Bethesda,” it takes real effort to stop myself from adding a “y” at the end. What I’ve noticed is that those mechanical errors are now so embedded that I make them even when I’m writing longhand. I go through two or three envelopes to get a birthday card out to any of my Bethesday friends.

And let’s not even start talking about numbers. Hopeless. I almost never enter a whole phone number without transposing something. I am a person for whom speed-dial is a godsend. The only thing that prevents matters from being much worse is that, as Stockton reports, “proofreading requires you to trick your brain into pretending that it’s reading the thing for the first time.” That’s where my vanishing attention span is a big plus.