Dominic Green in Spectator:
In Western democracies, literature no longer matters to politics. Once, literature and politics could co-exist on the same typewriter or in the same person: George Orwell in Britain, André Malraux in France. But that was a long time ago. Still, the powers of politics remain linguistic, whether bureaucratic or rhetorical: the war criminal at his desk, the elected representative on her Twitter. Amos Oz, the Israeli novelist who died today aged 79, was living proof of the political powers of literature. In Israel, which is a Western democracy most of the time, Oz is seen as a great writer but a failed politician. In the West, he is seen as the still-living conscience of a political failure. Nothing shows us both sides of a story so well as a novel. And nothing occludes the quality of literature like politics.
Oz was the Everyman of Israel’s founding elite. There were elements of necessary imposture in this persona, but that is what fiction needs. As he eventually described in his autobiography, A Tale of Love and Darkness (2002), Oz, the global face of kibbutz socialism and Peace Now, was born into a prominent Revisionist family. The Revisionists were followers of Ze’ev Jabotinsky, who mixed liberal politics with the ‘Iron Wall’ approach to the Arabs. In the one-party state-in-the-making of Mandate Palestine, Labour Zionists already held the balance. In 1949, when the new state of Israel held its first presidential election, Amos Klausner’s great-uncle Joseph Klausner, a historian and literature professor, ran and lost as the candidate of Menachem Begin’s Herut party. In 1951, Amos’s mother committed suicide; in his telling, she was a delayed victim of the Shoah. Two years later, aged 14, he turned left, moved to a kibbutz, and extracted a new surname from the heart of his old one. ‘Oz’ means ‘strength’.
More here.

Hans Rosling
My parents’ generation, lucky enough to pass the biblical three score and 10, would describe themselves as living on “borrowed time.” Susan Gubar has been granted a longer credit line than most. In 2008, in her mid-60s, she learned she had ovarian cancer. It spread. After the cruelties of chemo, she was subjected to “debulking” — surgical evisceration. Gubar described the procedure unflinchingly in her 2012 book,
Victor Hugo
Rachel M. Cohen in The Intercept:
Joseph Stiglitz in Project Syndicate:
Edmundson’s project is a religious (or spiritual) attempt to discover alternatives to the everyday world of late-modern capitalism. No dogma is involved, save the premise of the book itself: namely, that ideals matter profoundly, and we can discover and use them through reading great literature. This is, one might say, the religion of ideals, a holding space between pure secularity and traditional religion. Its sole purpose is to say that somethingmatters more than our petty concerns with self-advancement, and through openness to that something we might encounter ways of life worth living.
The Met’s permanent collection can tell you much about the Greeks and Romans, the Babylonians and the Assyrians, medieval Japan and the many dynasties of China, but it does not have as much to say about more marginal peoples. History, here, gathers at the center. If one wants to see peripheries, one must look for them. Wandering the galleries, one rarely get a sense of the vast mosaic of peoples who lived within and often long past those great empires of stone, paper, and capital. The presence of so many Armenian works, directly beside sculpture from Pergamon and Rome, offers an alternative view of history, one in which time eventually pulls down the mighty from their thrones and sometimes lifts up the lowly. The margins come into focus.
Around 1730 Johann Sebastian Bach began to recycle his earlier works in a major way. He was in his mid-forties at the time, and he had composed hundreds of masterful keyboard, instrumental, and vocal pieces, including at least three annual cycles of approximately sixty cantatas each for worship services in Leipzig, where he was serving as St. Thomas Cantor and town music director. Bach was at the peak of his creative powers. Yet for some reason, instead of sitting down and writing original music, he turned increasingly to old compositions, pulling them off the shelf and using their contents as the basis for new works.
“There’s a question I get asked a lot,” Jimmy Kimmel
When the news broke that
On Friday afternoon, a text arrived from Israel letting me know of
Is Allah, the God of Muslims, a different deity from the one worshiped by Jews and Christians? Is he even perhaps a strange “moon god,” a relic from Arab paganism, as some anti-Islamic polemicists have argued? What about Allah’s apostle, Muhammad? Was he a militant prophet who imposed his new religion by the sword, leaving a bellicose legacy that still drives today’s Muslim terrorists? Two new books may help answer such questions, and also give a deeper understanding of Islam’s theology and history.
In his classic 1923 essay, “
Every time we look at a face, we take in a flood of information effortlessly: age, gender, race, expression, the direction of our subject’s gaze, perhaps even their mood. Faces draw us in and help us navigate relationships and the world around us.
Hugh Ryan in The Boston Review: