Alison Flood in The Guardian:
It has long been claimed that there are somewhere between three and 36 basic plots in all forms of storytelling. Three years ago, academics fed nearly 2,000 stories into a computer analysis and concluded that there were six “core trajectories” for all stories. None of these common plots, however, include a character called Jack who passes off the Beatles’ music as his own on another planet (Milligan’s Enormity and Boyle’s new film), or an alcoholic, agoraphobic woman who watches a crime play out in the house opposite her own (Finn’s bestseller and British author Sarah A Denzil’s Saving April).
Milligan told Guardian Australia last week that he felt the similarities were “probably just a horrible coincidence and they mean me no disrespect”. As for Finn and Denzil, the similarities came to light this month after the New Yorker ran an exposé about Finn, a pseudonym for the publisher Dan Mallory, who has a history of lying about his professional history and health, including a brain cancer diagnosis.
Finn’s thriller was published in January 2018; Denzil’s novel was self-published in March 2016. Reviews on Amazon and Goodreads have pointed out the similarities between the two books for months. “Almost the same thing” says one Goodreads reviewer on Saving April. “Seems so similar to Girl in the Window. Feels like I just read a different version of that,” runs an Amazon review of Denzil’s book.
More here.
There are at least two Diderots, both controversial, both remarkable Enlightenment figures. The first was a renowned philosophe and atheist associated with Voltaire and Rousseau but often thought their inferior in accomplishment. He was known chiefly as the major author and editor of the 
Why do we so often believe that secrecy must necessarily mask transgression? Busch unravels that association in How to Disappear. The laborious, sometimes caustic recipes for invisibility ink and potion included in the book (some from mythology, some from military history) themselves suggest something nefarious. Take for instance the hulinhjalmur, an invisibility-granting symbol from ancient Iceland that had to be smeared on a person’s forehead with a mixture of “blood drawn from your finger and nipples, mixed with the blood and brains of a raven along with a piece of human stomach.” Busch writes that our tendency “to associate [invisibility] with wrongdoing, degeneracy, malice, even the work of the devil” is not accidental. It is inscribed into many of our oldest myths, including the Ring of Gyges, retold famously by Kristin Scott Thomas’s character in The English Patient. Gyges, a simple shepherd who discovers a ring that confers invisibility, uses his newfound power to kill the king, marry his wife, and take the throne for himself. This idea, that invisibility can lead “an otherwise ordinary and honorable person to commit transgressions and behave unjustly,” has stubbornly stayed with us.
In the Indian and Islamic cultures, then, we have what should be uncontroversial examples of sophisticated and long-lasting philosophical traditions. Then there is the culture dearest to Van Norden’s own heart, namely that of China; Baggini also devotes much attention to this, as well as to Japanese philosophy. Though these traditions are arguably not quite as given to the kind of scholastic, dialectical debates so beloved of Indian, Islamic and contemporary analytic philosophers, it seems pretty uncontentious that there is philosophical material here too, notably in the field of ethics with Confucianism and its critics. More open to debate would be the case of various “indigenous” cultures around the world. Neither of our authors ventures far in this direction, though both are optimistic that it would be rewarding to approach traditional African cultures, say, as a repository of philosophical insight. Distinctive methodological challenges arise here, since for indigenous African societies we largely lack traditions of argumentative writing. Work on African philosophy has instead drawn mostly on living oral traditions and on the studies of ethnographers, anthropologists and archaeologists. Similar issues are raised by, among others, Native American, Inuit and Australian aboriginal cultures, and further back in history, ancient Mesoamerica. All of these have, to varying degrees, been subjected to philosophical analysis. For example there is a substantial literature on African conceptions of the person, and on the causal theories underlying the wide range of healing practices found in traditional African societies. Then too, the very notion of locating philosophy in an oral tradition rather than in the writings of brilliant individuals is itself an intriguing one.
“[T]here is in fact nothing that can alleviate that fatal flaw in Darwinism” says Professor Behe, 
rapture, claiming that “Michael Behe’s Darwin Devolves Topples Foundational Claim of Evolutionary Theory” and that “Anyone interested in knowing the truth about the design/evolution debate will find Darwin Devolves a must read.”
I wonder whether Behe’s most vociferous supporters actually understand his position. Unlike them, he 
I was lugging several superheavy boxes of dishes up the concrete stairs from the sidewalk to the front door when a guy in a silver suit materialized in front of me. The first rule of moving is that when you pick something up, you don’t put it down until you have it where it goes. This is because picking it up and putting it down are half the battle. So, I tried to go around him.
The Alps are much grander this morning. I like to think they tiptoed closer in the night, but it’s only an optical illusion created by a local high-pressure system called föhn, which magnifies them and everything else on the horizon. Sitting outside in the loggia, a spacious recessed balcony that resembles a box at the opera, I am audience to many forms of entertainment—weather theater, rainbow theater, sunrise theater, moonrise theater, but best of all, avian theater with its motley cast of bird species performing their life cycles like variations on a theme, in full view.
When one makes an artwork, something flows from artist to audience. The thing flowing is actually several: concepts, ideas, aesthetic experiences, duration itself, beliefs, attitudes, and probably much more. Artworks work in a similar way to language, although it would be foolish to believe that artworks are language. Their similarities to language end at the transmission from one to another of the things flowing. That’s how language works as well. But for art, as with something like emotion, the flow is vague in how it is sent and received. It seems to me that the best linguistic analogy for what artworks do is located in assertion. Artworks assert a position. Of course it is entirely possible, and even the norm, that their version of assertion is cryptic to the point of being sometimes unintelligible. But assertions don’t need to be crystal clear. One can assert their dominance over another through a series of non-linguistic subtle bodily movements. Likewise, artworks can make assertions through their physical presence.
Nobody would have the balls today to write The Satanic Verses, let alone publish it,’ the writer Hanif Kureishi told a journalist in 2009. Salman Rushdie’s notorious novel, like Kureishi’s figure of speech, is indeed looking like a relic of a bygone time. When it was published 31 years ago, the global furore was unprecedented. There were protests, book-burnings and riots. Iran’s leader Ayatollah Khomeini called on Muslims to kill Rushdie, a bounty was placed on his head, and there were murders, attempted and successful, of supporters, publishers and translators. The author spent years in hiding.
I spent much of this week reading and trying to absorb the new and devastating book by one Frédéric Martel on the gayness of the hierarchy at the top of the Catholic Church, 
In 1964, during a lecture at Cornell University, the physicist Richard Feynman articulated a profound mystery about the physical world. He told his listeners to imagine two objects, each gravitationally attracted to the other. How, he asked, should we predict their movements? Feynman identified three approaches, each invoking a different belief about the world. The first approach used Newton’s law of gravity, according to which the objects exert a pull on each other. The second imagined a gravitational field extending through space, which the objects distort. The third applied the principle of least action, which holds that each object moves by following the path that takes the least energy in the least time. All three approaches produced the same, correct prediction. They were three equally useful descriptions of how gravity works.
My favourite thing is to go where I’ve never been’ wrote the photographer Diane Arbus, the poor little rich Jewish girl who walked on the wild side. Though the journeys she took were not just physical adventures along the boardwalks of Coney Island or to gender-bending night clubs but those in which she explored the rocky terrain of self-definition. From the start of her career she saw the street as a place full of secrets and reflected her subjects – whether children, the rich or poor, it didn’t matter – as isolated and adrift, remote from society and the world around them, caught up in their own reveries and physical space. Her caste of characters appear like metaphors for themselves; each striving to make him or herself the starring role in their own private psychodrama.