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...time when China's authorities appear to be continually increasing censorship of the Internet, it's remarkable that Han has not been muzzled. But there apparently are limits even for rebels with no particular cause. Han's latest project is a literary magazine that remains nameless following a rejection by the government of Han's proposed title, Renaissance of Art and Literature. Asked why the title was rejected, he blurts an expletive and launches into a characteristic rant: "Oftentimes [the authorities] are just messed up in the head. No one knows what they are thinking." Least of all Han. "Lots...
...modern foreign language is meant to be spoken," Sarkozy said in his latest assault on the kinds of tradition-bound practices that he believes are holding the country back economically. "Pointing something that obvious out isn't futile in a country where Latin is an oral exam on the baccalaureate, while the leading modern language is evaluated in written form." (See pictures of Sarkozy celebrating Bastille...
...Thousand,” set throughout the early and mid-60s, are retellings of such events as the assassinations of President Kennedy and Martin Luther King Jr., with rotating chapters containing each of three narrator’s points of view. Ellroy continued this three-narrator formula in this latest novel, following the ex-cop and mob affiliate Wayne Tedrow Jr., FBI Special Agent Dwight Holly, and burgeoning private investigator Don Crutchfield through their increasingly intersecting journeys in the political and social climate of the final phase...
Like much of Ellroy’s fiction, “Blood’s a Rover” is at least in part homage to pulp literature—a genre whose mandate is one of instant gratification. But at 640 pages, Ellroy’s latest dwells too often and for too long on aspects of the plot that, for their sheer monotony, never seem important. The truth behind the robbery and Joan Klein’s identity are both revealed so slowly that the value of surprise is squandered. None of the three protagonists are ever completely...
...through writers, directors, characters, and plot devices with the inhuman precision of one of John Kramer’s grisly traps. The formula is so powerful (read: profitable) that it exists outside any single creative mind; it is clearly a product of a studio, rather than an author. The latest installment shows that while “Saw’s” appetite for mutilation and dismemberment is unlimited, its supply of original material...