Alasdair Lees in The Independent:
What would Shakespeare have made of Trump? It’s one of the impish and fascinating questions at the heart of this nimble and intriguing study of the Bard’s lurid gallery of vicious despots. Greenblatt is the Harvard Shakespeare expert who co-founded new historicism, the lit-crit practice that seeks to place works in their historical context. The 45th president is not mentioned anywhere by name in Tyrant, but the analogies are clear.
Shakespeare, Greenblatt explains, had to speak of authoritarianism in code, lest he lose his head on charges of treason. The Elizabethan period was a “fragile” era politically, haunted by the shadow of Roman Catholic terrorism. Greenblatt’s strategies, though, are transparently forthright, perhaps to the point of being a little forced, but they are never less than illuminating. Tyrant was borne out of a New York Times article Greenblatt wrote just before the 2016 US election; he confesses to having been moved to extend it into a book after the election result confirmed his “worst fears”. The ogres Greenblatt focuses on – Macbeth, Richard III, Lear, Coriolanus and Leontes from A Winter’s Tale – unsurprisingly exhibit a checklist of the obvious Trumpian traits: narcissism, impulsiveness, indecency, incompetence. They peddle in lies and, in the case of Coriolanus, collusion with foreign powers.
These parallels, though, while playfully toothsome, are less striking than Greenblatt’s other preoccupations. These include the role of the masses in the tyrant’s rise, the opportunistic and self-deceiving “enablers” in his court (who are invariably swiftly dispensed with), and how for the despot there is “remarkably little satisfaction”, or serenity, once the throne is taken. In a passage that could equally be applied to the Brexit vote, Greenblatt hones in on the complicity of the masses, those who “take vicarious pleasure in the release of pent-up aggression, in the black humour of it all, in the open speaking of the unspeakable”. The masses for a period share the tyrant’s “gleeful contempt” for the common good. “Something in us enjoys every minute of his horrible ascent to power,” Greenblatt argues.
More here.

Refashioning history to include its countless heroines is essential work, long overdue. But what of the future? Will these books, as the introduction to Herstory implores, truly encourage young girls to “take inspiration from these . . . amazing women and girls and shake things up!”? Perhaps. Last year, Science magazine published research investigating the age at which girls begin to think that they are less intellectually brilliant than boys. The study involved reading two stories to children between the ages of five and seven. One, they explained, was about a “really, really smart” person; the other, a “really, really nice” one. Afterwards, the children were asked which was about a girl, and which about a boy. At five, the boys were sure the “really, really smart” character was a boy, the girls equally adamant it was a girl. By six, however, something had changed. In the space of twelve months, the girls had become 20 per cent less likely to think that a clever character could share their gender. According to Dario Cvencek, a research scientist at the University of Washington, the results would be more depressing still had the hero of the book been a mathematician. Children absorb the gender prejudices on display in their environments and reading matter from the age of around five, he says – especially the idea that girls don’t do numbers. The stereotypes portrayed in their reading material become their own stereotypes and, worse still, the limits of their ambitions. The most powerful way to combat this, as the psychologist Nilanjana Dasgupta has found, is through providing successful female role models to small girls before the disease sets in, as a form of “stereotype inoculation”.
It is not uncommon that I lie about what I do for a living. When meeting strangers, basic introductions quickly turn into conversational quicksand for me. Whether posed for identification, categorization, assessment of social status, or to fill an empty conversation, inquiries about work are difficult to avoid. I know that such questions are innocent attempts to situate me somewhere in the atmosphere; we use the occupational compass to direct us toward an identifiable point in each other’s lives. I know this, and yet the job question, when it comes, often has me squirming for answers. My eyes dart away from the pair in front of me expecting a straightforward reply.
A few months into a cushy postdoctoral fellowship at Princeton, where the walls were a soothing yellow and poached salmon was a staple, it dawned on me that I could reasonably be considered an arsehole. This wasn’t the first time the thought had occurred to me: after all, I am the kind of Brit who insists on the difference between a donkey, otherwise known as an ass, and a backside, otherwise known as an arse. But on this occasion my reflection was prompted not by looking in the mirror or by hearing a recording of my voice but by the experience of being a philosopher in a non-philosophical setting. Calling yourself a philosopher already makes you sound a bit of an arse, but the fact remains that I have spent most of my professional life studying, discussing, writing and teaching philosophy—and it is this, I submit, that has made me liable to appear a right royal arsehole.
Few subjects have afforded more room for doubt, or caused more harm through false certainty, than heredity. In She Has Her Mother’s Laugh, an illuminating survey of the concept through history, science writer Carl Zimmer shows that scientists have often clung to travesties of the truth — and that we are still in danger of doing so.
If you wanted to feel the full force of the intellectual whirlpool that is American politics in 2018, the place to go on April 2 was the Village Underground, a nightclub beneath West 3rd Street, where Alan Dershowitz, the longtime Harvard Law professor and civil liberties lion, was debating the future of American democracy on the side of President Donald Trump.
Of course, I am happy for those I have never met. Prince Henry (Harry), who lost his mother at twelve—lost her to monarchy, and the occasionally murderous intrusions that now define it—found a woman to hold him and, I think, he laid his heart before her. She was touched by him—Harry is a lonely prince, a semi-mythical being—and she picked it up. It looked real. I hope it is real, even as I resent having an opinion on a stranger’s love. That this was televised in an event as emotionally grasping as the funeral that incited the very need we thought we saw sated on Saturday should be obvious, but it was not mentioned. It should be the final, impolite word on the royal wedding.
Read a few lines of a talented poet charged with God—from the otherworldly lines of Gerard Manley Hopkins on forward to Akbar himself—and you see what faith can do to language. There’s a lift. A particular lean. A curious mixture of confidence and humility. A strangeness borne of awe. Peter O’Leary’s book of criticism,
Wolfe’s preposterous clothing was a constant reminder of a core journalistic truth: to be an observer requires distance, and a writer’s alienation from his subject is not to be annihilated but managed and, most often, treasured. His was a much better pose. There are few worthwhile memoirs of the space program or the High (in at least two senses) Counterculture. But The Right Stuff and The Electric Kool-Aid Acid Test are as close to imperishable as journalism ever gets. In both cases, Wolfe examined a scene with a subjectivity and style exclusive to himself. He saw things as Tom Wolfe, with his own gift of studied by playful detachment.
The Tale is one of the bravest and smartest movies I’ve ever seen. Writer-director Jennifer Fox dives into the sexual abuse she suffered as a teenager, and proceeds to interrogate her own memories with unflinching clarity. Furthermore, rather than simply stick to her background as a documentary filmmaker and try to tell her story in that medium, she wisely decides to make a narrative feature that gives her the tools to more effectively dive into both the abuse she suffered and the investigation to find the truth behind her own memories. With an outstanding cast, led by the incomparable Laura Dern, at her disposal, Fox weaves a captivating and gut-wrenching story about the lies told to us, and the lies we tell ourselves. Documentarian and professor Jennifer (Dern) comes home from working on a project to get a frantic series of voicemails from her mother Nettie (Ellen Burstyn). While cleaning out some boxes, Nettie discovered a story Jennifer wrote when she was thirteen recounting a romantic relationship she had with her running coach Bill (Jason Ritter) and riding instructor Mrs. G (Elizabeth Debicki). Although Jennifer acknowledges she had a relationship with an older man, it isn’t until she starts reading her own story closer that she starts to discover her own flawed assumptions, thinking she was more mature when pictures show a small, plain 13-year-old Jenny (Isabelle Nélisse). Rattled by how her memories may have betrayed her, Jennifer starts an investigation to uncover the truth behind her original story.
Bertrand Routy earned a lamentable reputation with Parisian oncologists in 2015. A doctoral student at the nearby Gustave Roussy cancer centre, Routy had to go from hospital to hospital collecting stool samples from people who had undergone cancer treatments. The doctors were merciless. “They made fun of me,” Routy says. “My nickname was Mr Caca.” But the taunting stopped after Routy and his colleagues published evidence that certain gut bacteria seem to boost people’s response to treatment
There is nothing solid or pragmatic about happiness, grief, love. A successful business, however, has to be run along sensible lines, and a businessman must be able to count on his employees just as he can count on the food on his plate actually being there. It is at this junction of reason, driven by the evidence of one’s physical senses, and the other, intangible, unbelievable world that Tabish Khair places his new novel.
The past month has seen quite a few events and articles celebrating the 100th anniversary of Richard Feynman’s birth (see for example
When will Muslims step up and reform Islam?” asked the self-identified “progressive and intersectional” college student, following a presentation of my book,
It’s not possible to justify my liaisons with married men; I won’t even try. I’m not proud that, for a few years while living near London, I entered into casual relationships with married men. But I don’t regret it. What I learnt from these men warrants discussion, even though I’ve recently been publicly condemned for doing so in The New York Times.