by Eric Bies

Jules Verne sent Lidenbrock and Axel over—to crawl down the throat of a dormant volcano.
W. H. Auden visited between wars and found the place wanting for souvenirs. “Of course,” he wrote, “one can always bring home little bits of lava for one’s friends—I saw the Manchester school-teachers doing this at the Great Geysir—but I am afraid I have the wrong sort of friends.”
William Morris went twice: once in 1871, again in 1873. To what purpose he did, his daughter, May, elucidates in her introduction to the Journals he kept during those journeys:
not to shoot their moors and fish their rivers but to make pilgrimage to the homes of Gunnar and Njal, to muse on the Hill of Laws, to thread his way round the historic steads on the Western firths, to penetrate the desert heaths where their outlaws had lived…. The whole land teems with the story of the past—mostly unmarked by sign or stone but written in men’s minds and hearts.
In the summer of 1627, a decade after the death of Shakespeare, a trio of ships appeared off the southern coast of Vestmannaeyjar. The people of the island—the Einars, Helgis, Gudrids, and Sigrúns—assisted by nearly eighteen hours of sunlight, kept their eyes fixed on the horizon for close to an entire day, during which they convened and debated; they watched and waited, weighing their options. In the end, they threw up a meager bulwark of stone and went to bed.
The following day, just when it seemed they could stand the menacing presence no longer, the ships dispatched a fleet of boats: then the boats disgorged a mass of men ashore—pirates—who descended on the town with spears drawn. Those who were quick on their feet managed to flee over hills and down through the caves that dotted the erupted landscape. The rest were captured or killed. Among the former was a man in his sixties, the Reverend Olafur Egilsson, who was taken together with his wife and children. Read more »



Blanchett’s performance has been much praised, and it is indeed a tremendous thing: she must be near the head of the queue for an Oscar this year. It’s a great performance in a genuinely worthwhile and absorbing film. I don’t think it really expands our understanding of the themes it features: power and the exploitation young hopefuls by the (seemingly) all powerful star, the question of great art and flawed artists and so on, but it’s possible to come out of the movie thinking that it has. Blanchett’s performance has a lot to do with that. So a great performance in a very good rather than great film (assuming such categories can really be employed so neatly). 

In
For the last several years, elected Republicans, full of anti-trans zeal, have challenged their opponents to define the word “woman.” They aren’t really curious. They’re setting a rhetorical trap. They’re taking a word that seems to have a simple meaning, because the majority of people who identify as women resemble each other in some ways, then refusing to consider any of the people who don’t.
Let’s get the humble-bragging out of the way first: I’ve always had a remarkable memory. 







