
Heehee. Cute but freaky concept art by Tim Burton. Kind of like the way Quentin Blake illustrates for Roald Dahl.

In 1843, a 16-year-old Canadian housemaid named Grace Marks was tried for the murder of her employer and his mistress. The sensationalistic trial made headlines throughout the world, and the jury delivered a guilty verdict. Yet opinion remained fiercely divided about Marks--was she a spurned woman who had taken out her rage on two innocent victims, or was she an unwilling victim herself, caught up in a crime she was too young to understand? Such doubts persuaded the judges to commute her sentence to life imprisonment, and Marks spent the next 30 years in an assortment of jails and asylums, where she was often exhibited as a star attraction. In Alias Grace, Margaret Atwood reconstructs Marks's story in fictional form. Her portraits of 19th-century prison and asylum life are chilling in their detail. The author also introduces Dr. Simon Jordan, who listens to the prisoner's tale with a mixture of sympathy and disbelief. In his effort to uncover the truth, Jordan uses the tools of the then rudimentary science of psychology. But the last word belongs to the book's narrator--Grace herself.

Okay, I may not have gotten the Sanuk shoes I wanted yet (operative word being 'yet'), but I got a nice unexpected gift this Christmas--a Starbucks Seattle city mug!


I'm having one of those lazy Saturdays in which the only decision-making that takes place is which fastfood to order for home delivery. McDonald's usually wins, because of its hot fudge sundaes..... I had two titles and couldn’t choose between them: Midnight’s Children and Children of Midnight. I typed them out one after the other, over and over, and then all at once I understood that there was no contest, that Children of Midnight was a banal title and Midnight’s Children a good one. To know the title was also to understand the book better, and after that it became easier, a little easier, to write. I have written and spoken elsewhere about my debt to the oral narrative traditions of India; also to those great Indian novelists Jane Austen and Charles Dickens — Austen for her portraits of brilliant women caged by the social convention of their time, women whose Indian counterparts I knew well; Dickens for his great, rotting, Bombay-like city, and his ability to root his larger-than-life characters and surrealist imagery in a sharply observed, almost hyper-realistic background, out of which the comic and fantastic elements of his work seemed to grow organically, becoming intensifications of, and not escapes from, the real world....
.... In the West, people tended to read Midnight’s Children as a fantasy, while in India people thought of it as pretty realistic, almost a history book. (“I could have written your book,” one reader told me when I was lecturing in India in 1982. “I know all that stuff.”) But it was wonderfully well liked almost everywhere, and changed its author’s life. One reader who didn’t care for it, however, was Mrs Indira Gandhi, and in 1984, three years after its publication — she was Prime Minister again by this time — she brought an action against it, claiming to have been defamed by one single sentence. It appeared in the penultimate paragraph of Chapter 28, A wedding, a paragraph in which Saleem provides a brief account of Mrs Gandhi’s life. This was it: “It has often been said that Mrs Gandhi’s younger son Sanjay accused his mother of being responsible, through her neglect, for his father’s death; and that this gave him an unbreakable hold over her, so that she became incapable of denying him anything.”
Tame stuff, you might think, not really the kind of thing a thick-skinned politician would usually sue a novelist for mentioning, and an odd choice of casus belli in a book that excoriated Indira for the many crimes of the Emergency. After all, it was a thing much said in India in those days, had often been in print, and was indeed reprinted prominently in the Indian press (“The sentence Mrs Gandhi is afraid of” read one front-page headline) after she brought her action for defamation. Yet she sued nobody else. Before the book’s publication, Cape’s lawyers had been worried about my criticisms of Mrs Gandhi and had asked me to write them a letter in support of the claims I was making. In this letter I justified the text to their satisfaction, except with regard to one sentence which, as I said, was hard to substantiate, as it was about three people, two of whom were dead, while the third would be the one suing us. However, I argued, as I was clearly characterising the information as gossip, and as it had been printed before, we should be all right. The lawyers agreed; and then, three years later, this one sentence, the novel’s Achilles’ heel, was the very sentence Mrs Gandhi tried to spear. This was not, in my view, a coincidence.
The case never came to court. The law of defamation is highly technical, and to repeat a defamatory rumour is to commit the defamation oneself, so technically we were in the wrong. Mrs Gandhi was not asking for damages, only for the sentence to be removed from future editions of the book. The only defence we had was a high-risk route: we would have had to argue that her actions during the Emergency were so heinous that she could no longer be considered a person of good character, and could therefore not be defamed. In other words, we would have had, in effect, to put her on trial for her misdeeds. But if, in the end, a British court refused to accept that the Prime Minister of India was not a woman of good character, then we would be, not to put too fine a point upon it, royally screwed.
Unsurprisingly, this was not the strategy that Cape wished to follow — and when it became clear that she was also willing to accept that this was her sole complaint against the book, I agreed to settle the matter. It was after all an amazing admission she was making, considering what the Emergency chapters of Midnight’s Children were about. Her willingness to make such an admission felt to me like an extraordinary validation of the novel’s portrait of those Emer-gency years. The reaction to the settlement in India was not favourable to the Prime Minister. A few short weeks later, stunningly, she was dead, assassinated on October 31, 1984, by her Sikh bodyguards. “All of us who love India,” I wrote in a newspaper article, “are in mourning today.” Despite our disagreements, I meant every word.


I love this film and everything that it stands for.
I love this film! Awesome performance from Matt Damon. Gnomes vs. the Noldor, Trotter vs. Aragorn
[Tolkien] was stubborn to the point of pig-headedness about sticking to names, apparently in total incomprehension of their likely effect on contemporary readers. He kept using the term 'Gnomes' for the Noldor till at least 1937, in confidence that 'to some "Gnome" will still suggest knowledge', through its connection with Greek gnome, 'intelligence' (see Book of Lost Tales 1, pp.43-44). To some, possibly. However, to all but a vanishingly small proportion of English speakers, 'gnome' has lost all connection with its Greek root, and means instead a small, vulgar garden ornament, very hard to take seriously. Similarly, as remarked above, p.95, Tolkien stuck to the name 'Trotter' while the character who bore it changed from a wandering hobbit to a hobbit-Ranger to a human Ranger to the last descendant of the kings of old. Very late in the construction of The Lord of the Rings, Aragorn, or 'Strider' as he eventually became, is still declaring (War of the Jewels, p.390), 'But Trotter shall be the name of my house, if ever that be established; yet perhaps in the same high tongue it shall not sound so ill...' Wrong! For 'trot', as the Oxford English Dictionary rightly says, implies 'short, quick motion in a limited area,' and is quite inconsonant with dignity when applied to a tall Man.
- Shippey, The Road to Middle-earth, p. 293.
On Macbeth and The Lord of the Rings
It is thus quite clear that whatever he said about Shakespeare's plays, Tolkien read some of them with keen attention: most of all, Macbeth. Motifs from this play are repeated prominently in The Lord of the Rings. The march of the Ents to Isengard makes true the report of the frightened messenger to the incredulous Macbeth in Act V Scene 5: 'As I did stand my watch upon the hill / I looked toward Birnam and anon methought / The wood began to move.'
.... When Denethor says that stewards do not come to be kings by the lapse of a few centuries in Gondor, but only 'in other places of less royalty', the remark is true of Scotland, and of Britain--though not of Anglo-Saxon England, ruled from the legendary past of King Cerdic to 1065 by kings descended in paternal line from one ancestor. The Return of the King is in a way a parallel, in another a reproach to Macbeth.
Tolkien, however, used the play for both more and less than motifs. There is a flash of minute observation in chapter 6 of The Two Towers. What shall we do about Saruman, asks Theoden. 'Do the deed at hand,' replies Gandalf, send every man against him at once. 'If we fail, we fall. If we succeed--then we will face the next task.' The jingle of 'fail-fall' echoes a famous crux in Macbeth, where the hero falters in front of his wife. 'If we should fail?' he asks. 'We fail?' replies she--in the Folio punctuation. Actresses have tried the line different ways: as a sarcastic question, a flat dismissal, a verbal slap. They were all wrong, implies Tolkien; it was a misprint, the word was 'fall,' meaning 'die', and it is a straight answer to a straight question.
....However, the final and strongest influence of Macbeth on The Lord of the Rings is quite obviously in theme. If there is one moral in the interlacements of the latter, it is that you must do your duty regardless of what you think is going to happen. This is exactly what Macbeth does not realise. He believes the Witches' prophecy about his own kingship, and tries to fulfil it; he believes their warning about Macduff and tries to cancel it. If he had not tried to cancel it (and so murdered Macduff's family), Macduff might not have killed him; if he had not killed Duncan, he might conceivably have become king some other way. Macbeth is a classic case of a man who does not understand about the cooperation between free will and luck. Galadriel's warning about the events in her mirror, 'Some never come to be, unless those that behold the visions turn aside from their path to prevent them,' would have been well said to him. But he had no Galadriel. The only mirror he sees is controlled (Act IV Scene 1) by the Witches.
- Shippey, The Road to Middle-earth, p. 182-184.
On the Fate of the Elves
The future fate of the elves is often mentioned in The Lord of the Rings but never becomes quite clear. Some will leave Middle-earth, some will stay. Those who stay, says Galadriel, will 'dwindle to a rustic folk of dell and cave, slowly to forget and to be forgotten.' 'Dwindle' could have a demographic meaning; there could be fewer of them. It could be physical too, looking forward to the 'tiny elves' of Shakespeare, and even moral, making one think of the detached, cruel, soulless elves of Scottish and Danish tradition. The best fate for the elves who stay, perhaps, would be to turn into landscape.
....It's hard to say, declares Sam Gamgee of the elves of Lothlorien, 'whether they've made the land, or the land's made them' (p.351). And his perceptions are often deep, even if his education has been neglected. His further explanations may be taken to refer to The Lord of the Rings as well as to Lothlorien: 'Nothing seems to be going on,' he says, 'and nobody seems to want it to. If there's any magic about, it's right down deep, where I can't lay my hands on it, in a manner of speaking.' Yes, agrees Frodo, complementing Sam's style as often with his own. Still, 'You can see and hear it everywhere.'
- Shippey, The Road to Middle-earth, p. 133-134.
Statement by UNICEF Executive Director Ann M. Veneman on the death of 12-year-old child bride from Yemen
NEW YORK, 14 September 2009 - "It was with great sadness that we learned of the untimely death of 12-year-old Fawziya Youssef from Yemen. Fawziya was forced into a child marriage with a man at least twice her age. She became pregnant and she and her baby both died after struggling for three days in protracted labor, according to media reports.
“Child marriages violate the rights of children in the most deplorable way. The younger the girl is when she becomes pregnant, the greater the health risks for her and her baby. Girls who give birth before the age of 15 are five times more likely to die in childbirth than women in their 20s.
“Child marriage denies girls of their childhood, deprives them of an education and robs them of their innocence.
“Tragedies like these underscore the urgent need to better protect the rights of women and children, particularly girls. Child marriages are often a result of poverty and ignorance. More must be done to address the underlying causes in order to prevent tragic deaths like those of 12-year-old Fawziya and her baby.”