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BOOKS:

The Wind-Up Bird Chronicle, by Haruki Murakami {A Japanese detective story/war novel/Kafka rip-off. It's great.}

Love, Poverty, and War: Journeys and Essays, by Christopher Hitchens {First drafts of history, second thoughts on received wisdom, versatile meditations on great works of literature -- all by a man who can write about anything.}

The Code of the Woosters, by P.G. Wodehouse {The Rise and Fall of the "Black Shorts," and the best of Bertie and Jeeves. You'll need Wodehouse in your life eventually. Start here; you've 89 or so more to go.}

The Prophet Armed: Trotsky 1879-1921, by Isaac Deutscher {Magnificient biography finally back in print, along with Volumes II and III. But better start before the revolution -- and Deutscher's conscience -- was betrayed.}

Satan: His Psychotherapy and Cure by the Unfortunate Dr. Kassler, J.S.P.S., by Jeremy Leven {A sorely forgotten modern classic. Leven has since swapped the galley for the camera, directing such keepers as Don Juan Demarco and The Legend of Bagger Vance. Satan has relapsed.}

Colossus, by Niall Ferguson {Why the U.S. can't hack neo-imperialism, much to Niall's chagrin.}

Reflections on a Ravaged Century, by Robert Conquest {Don't even try to have an opinion about the twentieth century without reading him.}

Scoop, by Evelyn Waugh {One of the funniest books, ever. Shrinks the remainder of the "innocent abroad" genre to the vanishing point.}

Put Out More Flags, by Evelyn Waugh {Lapidary prose on the frisson between the wars. Basil Seal riding low before he rides again; Auden and Isherwood lampooned as "Parnsip and Pimpernell."}

The Complete Stories of Evelyn Waugh, by E.W. {Nasty, brutish and short, in short form.}

The Origins of Postmodernity, by Perry Anderson {Terrific writer from the London Review of Books and New Left Review, who ought to be more famous than he is, tackles lucidly the abstruse bloodhound gang -- from Habermas to Jameson -- of Theory.}

Saul Bellow: Novels 1944-1953: Dangling Man, The Victim, and The Adventures of Augie March, [Library of Congress Hardcover Edition] {Look: it's his world, we all just live in it.}

The Counterlife, by Philip Roth {How Portnoy learned to stop complaining and write a brilliant postmodern novel.}

Rise of the Vulcans, by James Mann {Probably the only low-blood pressure source on Bush's brain trust. Valuable for charting the progression of neo-neo-conservatism, and how Cheney and Rumsfeld and Wolfowitz contravened, and then dismantled, the Kissinger realpolitik foreign policy machine.}

Money, by Martin Amis {Forget Bonfire and Psycho. It took the English author of The Moronic Inferno: And Other Visits to America to effectively chew up the Reagan era -- largely by reminding us that it was also the Thatcher era. A fine lesson in history repeating, too: Di and Charles were TV's original Ben and J. Lo; the Self-on-Massi sex tape is where Paris (if she can read) might have learned her stuff; and the cavalier cash flow in this soft-boiled checkbook who-dun-it tale rivals that of any West Coast dotcom monkey a decade later.}

The War Against Cliche and Experience, by Martin Amis {If Amis kept on doing what he did in his award-winning collection of critical essays, James Wood would lose more hair. It's saying quite a lot that his non-fiction exceeds his fiction. Experience is by far the best memoir to appear in the last decade: a more muscular Speak, Memory, it's a midlife nostalgia trip pureed out of chronology, though somehow more cohesive than a stream-of-consciousness hodgepodge. Guaranteed to pluck at the coronary sinews for anyone dealing with the loss of a father.}

Lucky Jim, by Kingsley Amis {A comic genius on academia, Amis is the pitch-perfect representative of postwar male rage. None of that Angry Young Man, stuff, though. His apoplexy is hilarious at any age. The faces: "crazy peasant," "sex life in ancient Rome," "shot-in-the-back." Moo, by Jane Smiley, The Straight Man, by Richard Russo and everything by David Lodge seem impossible without this Platonic key ring to rule them all, and on the campus, bind them.}

The Letters of Kingsley Amis, edited by Zachary Leader {Pay close attention to the letters to Philip Larkin -- together with Larkin's Collected Letters (try eBay, sorry), these constitute the documentation of one of the most rewarding and hilarious literary friendships to date. Amuse yourself by guessing the exact page number where Kingsley abandons Communism.}

The Stories of Vladimir Nabokov, by V. Nabokov {I'm way underqualified, with my mean years on the planet, to state critical opinion. Still in larval adulation, which I understand is a longterm afflication. Read Anthony Lane's review in Nobody's Perfect. And M. Amis on Nabokov in toto in the prenominate War Against Cliche. And get a dictionary.}

The Moral Obligation to Be Intelligent, edited by Leon Wieseltier {The style is dated and stilted, but the insights are not. Especially worthwhile: the Orwell essay, the Mansfield Park burn, and "The Situation of the American Intellectual at the Present Time" (i.e. "What Do They Know of America, Who Only the Upper West Side Know?"}

The Irresponsible Self: On Laughter and the Novel, by James Wood {The bling to Dale Peck's blah.}

A Supposedly Fun Thing I'll Never Do Again, by David Foster Wallace {Self-indulgence and the consequences of a missing-in-action editor never had it so good. The state fair, cruise ship and TV pieces are the best. But also read the Lynch essay: it'll make you want to re-watch Blue Velvet, which you can conveniently buy below.}

Collected Poems, by Philip Larkin (edited by Anthony Thwaite) {Poetus mirabilis and, after Auden, the occupant of a near empty Hall of Metrical Wonders in the Postwar Anglophone wing of the museum. Master ironist and curmudgeon you least want to bludgeon.}

Paris 1919: Six Months That Changed the World, by Margaret Macmillan {A dryly told account of global dust-settling after what was then myopically known as "the Great War." Explores the follies of Wilson, Lloyd George and Clemenceau, which helped bring about WWII.}

Doomed, Bourgeois, In Love: Essays on the Films of Whit Stillman, edited by Mark Henrie {Discreet charms of the bourgeoisie given the scholarly treatment by the kinds of New Criterion-y people who liked Grosse Pointe Blank because John Cusack's assassin refused to unionize. Don't let the pedantry taint your judgment of Stillmania, though.}

Reading Lolita in Tehran: A Memoir in Books, by Azar Nafisi {A beautiful paean to Western literature from an Eastern scholar living under Islamic statism; the Gatsby trial and Jane Austen dance chapters are particularly enjoyable.}

The Persian Mirror: The Elusive Face of Iran, by Elaine Sciolino {For those with short odds on the next war of choice.}

Nobody's Perfect: Writings from The New Yorker, by Anthony Lane {He needs to stop it with the creepy drooling over Natalie Portman, but Lane is still the best around for losing it at the movies.}

The Collected Short Stories of Roald Dahl {Adult stories, less like his childrens stuff than what O. Henry would have been like if his ironic plot twists had involved wife-swapping, cannibalism, or turning infants into superhuman bee-monsters. Might be fun for the kid who never reads, actually.}

The Chicago Manual of Style, by the University of Chicago Press Staff {and the ghost of Allan Bloom.}

The Brothers Karamazov, by F. Dostoevsky, translated by Pevear and Volokhonsky {Incest! Murder! Theodicy!}

Collected Non-Fictions, by Jorge Luis Borges {A prose impresario short-winded enough to keep beside the toilet -- especially if your john is in a labrynith that transcends spacetime.}

Love and Hydrogen: New and Selected Stories, by John Shepard {Stories narrated by John Ashcroft, John Entwistle, Nazi rocket riders, the creature from the black lagoon, and others.}

My Life and Hard Times, by James Thurber {Think of David Sedaris, in turn of the century Columbus, Ohio. And without the gay schtick, or even a pretense at respect for his family.}

ALBUMS:

You Are the Quarry, by Morrissey {He's back! And almost paid off the deficit incurred by Maladjusted. A few gripes: "America Is Not the World" never fulfills the promise of its title. It's an unwieldy blunderbuss, not a rapier -- and the use of "hamburger" as synecdoche for our national obesity problem is a new hackneyed low for the Oscar Wilde of the microphone. "I Have Forgiven Jesus" ultimately works, but I can't help but feel that that one was just too easy.}

Weightlifting, by The Trashcan Sinatras {Remember them from your college radio daze? A brisk homecoming track, appositely named "Welcome Back" ("Everyone survived / Everyone's alive!" -- well, thank goodness) kicks off this highly accomplished return to musicmaking for an alt-pop band that shouldn't have stayed away so long.}

Strange Bird, by Augie March {With a name like Augie, it has to be good. It is. Analogs fail me.}

Evergreen, by Echo and the Bunnymen {Best 80's Band Comeback Album. No contest.}

Mermaid Avenue, by Billy Bragg and Wilco {A fucking classic. Ukanian bloke Billy Bragg manages to capture the rhythms of dustbowl Americana better than Dylan -- the obvious disciple/witch doctor to perform a Woody Guthrie resurrection -- ever could do. All lyrics by Guthrie, music by Bragg and Wilco.}

Don't Try This at Home, by Billy Bragg {Most people who hear Mermaid Avenue invariably want more of the man who brought it to them. This is Bragg's most "accessible" solo album, though not without the politics that's defined his career. "Accident Waiting to Happen" is a punk snarl against cultural fascism.}

Galore, by Kirsty MacColl {May this earth angel charm the knickers off the winged principalities. MacColl died a few years ago in a boating accident, but I can only imagine how well-attended her funeral must have been by the panoply of musicians guilty of "sampling" her Celtic nightingale voice. This album consists mainly of covers, but that's more than all right for someone generous enough to never ask for top billing, despite consistently stealing the show.}

These Are the Vistas, by the Bad Plus {"Smells Like Teen Spirit," the jazz standard. No kidding. Comes off not just better than you'd expect, but brilliantly.}

SMiLE, by Brian Wilson {Reviewed here. Check to the right.}

The Soft Bulletin, by the Flaming Lips {And the hard singing voice to take, but worth it anyway.}

It Takes a Nation of Millions to Hold Us Back, by Public Enemy {More complicated rhymes and denser loops than have been on the radio before or sense, plus the guy with the big clock.}

Who Will Cut Our Hair When We're Gone?, by the Unicorns {Morbid, tinny, wildly innovative and beautiful.}

Loaded: Fully Loaded Edition, by the Velvet Underground {Funny, Lou Reed doesn't usually look this happy. Must be Laurie Anderson's doing.}

Traitor In Our Midst, by the Country Gazette {What you always thought bluegrass was supposed to sound like.}

The Modern Lovers, by the Modern Lovers {Speaking of Lou Reed, remember the guy with the guitar who gets shot in Something About Mary? Imagine that guy redoing "White Light/White Heat," but with lyrics about aging with dignity and eschewing drugs. That sounds like a snark, but its actually the SAM guy, and John Cale produced.}

The Queen Is Dead, by The Smiths {I can't believe you don't own this already. The summa of the Moz/Marr collaboration.}

The Boatman's Call, by Nick Cave {The Prince of Darkness may have been afraid to board a plane after 9/11, but this "New Testament" sound is proof of moisture's sustainability in Hell. "Into My Arms" is sweet enough to play your girlfriend on Valentine's Day, leaving the oldie-but-dreary "Deanna" to blast at her when she dumps you.}

No Cities Left, by The Dears {The lead singer cried when Morrissey asked the band to open on the "You Are the Quarry" tour. That kind of gone-to-pieces sentimentalism can only lead one place: straight down. Get 'em while they're new and good.}

The Boy With the Arab Strap, by Belle and Sebastian {Might as well order that black V-neck sweater, Rimbaud's Collected Poems, while you're at it. "Theoretical" bisexuality not a requisite, despite what angry twee detractors say.}

FILMS & TV:

Cannibal! The Musical. {Trey Parker's college thesis, a feature-length movie musical about the only American ever convicted of cannibalism. Not for all markets, but better than most of his later stuff.}

Before Sunset, directed by Richard Linklater {The sequel that doesn't feel like one. Why thirtysomethings who chat are more interesting than twentysomethings who do likewise. Some sluggish moments, but all made up for by a luminous final scene that made me fall in love with Julie Delpy once more. Bet it made Anthony Lane "spill [his] Sprite" again, too.}

Collateral, directed by Michael Mann {Tom Cruise has always been a hard-working, as opposed to naturally gifted, actor. This part was his pension come early. Michael Mann is the Richard Avedon of the moving Los Angeles image. And Jamie Foxx ain't too shabby, either.}

The Unbelievable Truth, directed by Hal Hartley {Surreal-ish debut from a master indy filmmaker and satirist. Yes, that is Edie Falco as the diner waitress.}

Henry Fool, directed by Hal Hartley {Hartley's masterpiece. Probably the only movie about writers that's ever worked. Barton Fink, anyone?}

Metropolitan, directed by Whit Stillman {Downwardly mobile 60's college jet set. Making a film about this demographic is like trying to play matchmaker to a Republican leper in Northampton, Mass. That the dialogue (and it's all dialogue) stays liquid-tongued is a monument to Stillman's talent... dare I say, genius?}

Barcelona, directed by Whit Stillman {Anti-Americanism when it was more funny than scary. The "subtext" speech belongs in Bartlett's. The DVD commentary is, as someone from the earlier film might say, "priceless."}

The Last Days of Disco, directed by Whit Stillman {An assault on 70's cliche in the best possible way -- the anti-54. Also known as Yuppies: A Defense. Chloe Sevigny gives grace to the one night stand, instead of head to Vincent Gallo.}

Mr. Jealousy, directed by Noah Baumbach {Who wouldn't hunt down the ex-boyfriends of Annabella Sciorra? Eric Stoltz had fewer difficulties with girls in Mask. Chris Eigeman from the Stillman flicks swaps Mayflower pedigree for facial hair (modeled on David Foster Wallace's Infinite Jest jacket photo), to varying degrees of success. An underrated romantic comedy, but don't say I didn't warn you: this film may engender awkward relationship conversation. It may also plant supersleuth-stalker seeds in frail men's heads. Or so I've heard.}

Blue Velvet, directed by David Lynch {So many epigones, so far from this mark.}

Father Ted: The Holy Trinity {BBC TV series about three priests on an island. No, not that kind of series, you sick fuck.}

The Office - The Complete Collection (First And Second Series Plus Special) {Creator, writer, director and star Rick Gervais used to manage Suede and now this. That's enough laurels for one lifetime. He can die now.}

Arrested Development - Season One {To think that Teen Wolf Too was just a glimpse of Jason Bateman's potential.}

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The Tragedy of John McCain

[Note: To read this post with embedded links and proper formatting, go here.]

In the last few weeks, I've seen an admirable conservative newspaper fold, a favorite writer hang himself, and a presidential candidate I assumed I'd be voting for tomorrow disappoint me in ways I hadn't anticipated. As to that dead writer...

The fact is that John McCain is a genuine hero of the only kind Vietnam now has to offer, a hero not because of what he did but because of what he suffered -- voluntarily, for a Code. This gives him the moral authority both to utter lines about causes beyond self-interest and to expect us, even in this age of Spin and lawyerly cunning, to believe he means them. Literally: "moral authority," that old cliché, much like so many other clichés -- "service," "honor," "duty," "patriotism" -- that have become just mostly words now, slogans invoked by men in nice suits who want something from us. The John McCain we've seen, though -- arguing for his doomed campaign-finance bill on the Senate floor in '98, calling his colleagues crooks to their faces on C-Span, talking openly about a bought-and-paid-for government on Charlie Rose in July '99, unpretentious and bright as hell in the Iowa debates and New Hampshire Town Hall Meetings -- something about him made a lot of us feel the guy wanted something different from us, something more than votes or money, something old and maybe corny but with a weird achy pull to it like a whiff of a childhood smell or a name on the tip of your tongue, something that would make us think about what terms like "service" and "sacrifice" and "honor" might really refer to, like whether they actually stood for something, maybe.

David Foster Wallace was one of the sincerest members of his generation (which also, by nice coincidence, happens to be Barack Obama's generation), and an encomium like this should not be discounted for its slightly hedged conclusion. Being wary of a person's honor and selflessness only means you've been on the planet long enough to know what to expect. Cynicism can be a snare, but pessimism is the scar on a broken heart. Still, it did once seem, long ago, as if John McCain would rather lose an election than compromise himself by stooping to the level of his opponent, whose "patrician smirk and mangled cant," as Wallace so aptly put it, was outdone by his base insinuations as to where McCain's dark-skinned daughter had really come from.

I don't consider the Vietnam War a great hour for our republic, and I don't go for flap-flapping nostrums in lieu of moral and intellectual arguments. On foreign policy, I want a president who won't allow his pragmatism or approval rating to eclipse the necessity of calling a thug a thug and a tyrant a tyrant. On many issues such as capital punishment, gay marriage and the role of religion in the public sphere, I'm to left of the Democratic establishment. I believe the last eight years have been a period of disastrous misrule and demoralization, out of which two unambiguous goods have managed to emerge: the end of Saddam Hussein, and the gasping chance for parliamentary democracy in Iraq.

Conservatism at its best means not being a "maverick," but taking principled stances when popular opinion is ranged against them, putting yourself in the path of history, which you know is likely to mow you down and your feckless little Stop sign. "I am a man who, reluctantly, grudgingly, step by step, is destroying himself that this country and the faith by which it lives may continue to exist." That's how Whittaker Chambers, a true patriot of Dostoevskian complexity, explained his choice to become a national pariah rather than allow the dangers of international Communism go unnoticed. If McCain held my attention this year, it wasn't only because of his Chambers-like willingness to destroy himself for his country in a southeast Asian prison cell long before I was born. It was also because of his willingness to destroy his political career by advocating an unpopular military policy designed to save a country other than his own, one that had been written off as lost to Hobbesian chaos. No revisionism, in light of the squalidness of his general campaign, will alter the fact that, had the surge failed, so too would have McCain in this year's primaries. He was at his most presidential in risking his chance to become president. He was also at his most conservative.

It would take a Sophocles or a Shakespeare to map the degeneration of a man who had got a handle on being "post-partisan" before it was fashionable or electorally remunerative. If I had to unearth the whole offence, I would say the trouble began in South Carolina, in 2000, when McCain witnessed just how nasty the game had got to be played, and just how badly he lost by choosing not to play it that way. Christopher Hitchens is wrong to say that McCain's late turn into a merchant of anything-goes innuendo is the result of creeping "senility." It's classical political resentment: in his mind, he's still losing to George W. Bush, just as Nixon thought he was losing to John F. Kennedy--in 1972.

I've defended McCain where I thought he'd been unjustly or hysterically maligned, but there's no arguing the point that his choice of a running mate has effectively squandered the public trust. What a blunder, and what a wasted opportunity. Does anyone now think the Republican "base," whose tendency to froth and foam has led to absurd but familiar analogies to fascism, would have voted Democratic this year had it been deprived of a cultural reactionary with a socialite's wardrobe? Rush Limbaugh would have declared for the man he calls the "Magic Negro"? Really? The bloc McCain needed to persuade was that of independents--his natural constituency--who would have found the combination of experience and integrity too alluring to pass up. We needed an Eisenhower with a steady hand, not a Preston Sturges of "right-wing screwball," as Leon Wieseltier unimprovably phrased it.

Here's another Greek misfortune of his own making: McCain's age and questionable health would have been overshadowed by his apparent energy on the stump had his VP been less of a Halloween costume and more of an insurance policy. Instead, these concerns became the stuff of actuarial office bets, and a disturbing aura of death and decrepitude has surrounded him during his final laps around the country.

As for Barack Obama, I'm worried his supporters are too ecstatic, and not chastened for the challenges he's about to face, which some of them, judging by conversations I've had, can't imagine to be worse than Hillary Clinton. I find his personality winning, and his intellect impressive. For good reason did Weber define charisma as one criterion of authority. I've recoiled in horror at the paranoid and sinister accusations leveled against Obama from the fever-swamps of blogland. Isn't it amazing how this charming young man manages to divide his time between battleground states and a cave in Waziristan?

When I hear the word "socialism," I remember the lonely, prophetic radicals who screamed bloody murder about the Soviet Union before liberals and conservatives stopped referring warmly to Uncle Joe. Until and unless the DNC espouses the belief in the government ownership of the means of production, then the rejoinder belongs to the author of Das Kapital himself, who famously demeaned the non-revolutionary varieties of redistributionism by saying, "If that is Marxism, then I am not a Marxist."

Actually, some of the most astute observers of this election have been Marxists, or recovering New Leftists. Sol Stern, former editor of Ramparts, has rightly assailed William Ayers as a greater immediate danger to the American education system than he ever was to the Pentagon. Paul Berman, echoing his hero Irving Howe, has reminded us that 60's left-wing authoritarianism is no alternative to the timeless right-wing brand, and that an unrepentant mad bomber does not need or deserve a burnished reputation or friendship society. In these very pages, Phyllis Chesler has shown how Sarah Palin has brought out the worst in modern feminism, causing cracks in the glass ceiling, and crack-ups in the movement.

Tellingly, however, none of these critics has rushed to denounce Obama as the second coming of Abbie Hoffman or Franz Fanon. Why is that, do you suppose, if he's as recondite and unreconstructed as some of my inbox material maintains? I find the graying 68ers more reliable in their judgments of sign-posted ideology than the collective wisdom of the National Review editorial board. In fact, one prominent black detractor, Professor Adolph Reed, has made the most salient case against Obama in the Progressive, arguing that the candidate isn't anything as glamorous as a secret radical, but rather a standard-issue opportunist who talks out of both sides of his mouth and is always looking to a cut a deal to advance his career. What more could we want from a graduate of the Daley machine of Chicago, that noble city? The Saul to consult to understand Obama's baptism in picaresque urban realities isn't Alinsky. It's Bellow.

Where I have covered Obama's policy prescriptions - namely for Iraq - I've found him improvisational and half-cocked. He doesn't confuse Sunni and Shia, but as late as May 2008 he thought Iraqis would bow to the constitutional re-drafting authority of the United Nations, the body responsible for a decade of immiserating sanctions, and which has not had a presence in their country since Al Qaeda blew up its headquarters in Baghdad in 2003. He also labored under a misapprehension that Iraq's parliament had not, as of last spring, passed laws for de-Baathification, political amnesty, and provisional elections when in fact it had passed them, and he had made the non-fulfillment of these and other "benchmarks" established by the Bush administration a major talking point of his antiwar rhetoric.

Nevertheless, Obama shows no sign of letting up on Al Qaeda where it still presents a lethal menace to civilization, and it's unlikely--given the price he's had to pay for even suggesting it--that he would now meet with the mullahs of Iran without preconditions. Verbal Vesuvius though his own running mate may be, Joe Biden has seen Russia by standing on its soil, not through magic binoculars; he has a proven record of doing something about genocide; and he has kept abreast of the headlines in Iraq enough to recommend a three-state solution that, however misguided in my view, has been endorsed by Peter Galbraith, a scholar and diplomat who ranks as one of the most serious American experts on Iraqi Kurdistan. Given Obama's likely appointment of Richard Holbrooke, advocate of Kosovo independence, to a high-level position in his cabinet, there is every expectation that muscular interventionism will indeed have a fighting chance in the next four years. My friend Eli Lake, a prominent neoconservative, has written cogently that Obama's foreign policy, judging by the people crafting it, would more resemble Ronald Reagan's than it would Jimmy Carter's. That means escalating dirty wars and black ops, ladies and gentlemen. Yes, we will.

Perhaps most important, given the way Americans are said to vote, Obama has demonstrated an equanimity during the financial calamity that, while not a sufficient condition for keeping the country out of a depression, is surely a necessary one.

Nothing would have pleased me more than to have been able to say that of his rival, under different circumstances.

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Evil Will Always Win Because Good Is Dumb: Episode III
By Michael Weiss {Darth Vader rises in the search for more money.}

Peer Review: The Aristocrats, In Theory and Practice
By Michael Weiss {You'd rather wait for Godot than the punchline, but that's the point.}

Larry & Anna & Dan & Alice: Closer, But No Cigar
By Michael Weiss {Mike Nichols' swing and a miss.}

In The Gloaming: Before Sunset on DVD
By Michael Weiss {Julie Delpy phunks with my heart.}

Sniffing The Exhalation of Their Own Herd: Bright Young Things
By Michael Weiss {Jazz Age espieglerie made live-action.}

In Vino Gravitas: Alexander Payne's Knockout New Film Sideways
By Michael Weiss {Worthy of the hype.}

Michael Moore and Fahrenheit 9/11
By Michael Weiss {He was more convincing as the suicide bomber in Team America.}


The Dirge Urge: The Arcade Fire's Funeral
By Nic Duquette {Melancholia and the finite sadness.}

Good Music for People Who Like Bad Music: the new Modest Mouse album is better than their old stuff, but it still sucks.
By Nic Duquette {Nic holds back.}

Nouvelle Vague: Putting the High-Concept Into "Concept Album"
By Nic Duquette {You get this album when you sign a lease in Williamsburg.}

Overweight: Polyphonic Spree's Together We're Heavy
By Nic Duquette {Hippies... Hippies all around me... Hippies everywhere.}

Good Egg: Wilco's A Ghost Is Born
By Nic Duquette {Remarkably unscrambled after the anxiety of follow-up to a legendary album.}

Taken for Lost, Gone and Unknown for a Long, Long Time: SMiLE and the resurrection of Brian Wilson
By Nic Duquette {And they haven't even started dying yet.}

The Face of Catholicism
By Orli Sharaby {The magic eye belongs to Jesus.}

Czechs and Balances: One Year After the EU Moved East
By Orli Sharaby {Mitteleuropa shrugs over continental integration.}

Shiny, Happy Praguers Clapping Hands
By Orli Sharaby {The latest (two-year-old) Prague fashions: Vaclav Havel brought back the "moist smudge moustache."}

The Prague Fall: Communism's Death Hasn't Stopped the Self-Inflicted Kind
By Orli Sharaby {The unbearable state of being.}

The Beverly Hills of the East: Plastic Surgery in Prague
By Orli Sharaby {From DiaMat to Nip/Tuck.}




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