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Smith ties up the characters’ story arcs into a neat little bundle at the end of the book. She contrives to unite the old and young in one room. Every main character attends the launch of a genetically engineered mouse with something to prove, whether in protestation or celebration. By putting them together to duke it out, Smith purposefully offers a chance for redemption and closure unavailable in real life. This conclusion is an unsatisfying end, but the point of the book is not the plot. Her rich, realistic portrayal of the characters and their view of London...
...other advanced democracies, it need not promote any specific artists, but rather serve as an economic engine and revitalize the national spirit broadly. The department could directly invest in arts education, museums, libraries, public radio, and public television. It could create special task forces—for example, a young “artist corps” for low-income schools and neighborhoods, an original Obama campaign idea. It could establish federal writing projects to promote cultural literacy and historical memory. As a bonus, culture department officials could serve as popular diplomatic emissaries...
France, Germany, Brazil, Japan, and the UK all have ministries of culture. Some might say that’s all fine and good, but those countries are not America—where the government generally refrains from interfering with our sense of who we are. Young Republicans may see little worth in more red tape—even if it’s wrapped around reinvigorated national pride. Young Democrats—who have ironically paid less attention to public culture over the last decade than Republicans—may fear the purview of the state over something as precious...
...midst of one of the station’s more stressful crises, The Count muses that “all over the world, young men and young women will always dream dreams and put those dreams into song.” While at times overly sentimental, “Pirate Radio” and its sprawling soundtrack capture the freewheeling spirit of a transformational...
...Half of the show is established names. This year we have Vera Wang, Derek Lam, Guiliano Fujiwara, and Andrew Gn, who are four of the biggest names in the industry. We always invite edgy, young designers. The other half of the show is composed of student designers. We invited 10 designers from Parsons and two RISD designers. We want the audience to look at the clothes and say, “Wow I never knew you could do that with clothes.” There are some really wild things. The bigger names are less avant-garde in their designs...