While I was reading All Over but the Shoutin (the book I just reviewed), I was also reading All’s Quiet on the Western Front. I did not expect two war novels–or, more accurately, two anti-war novels–but that is what I got, though the styles varied vastly….
Author: TC
Victor Hugo’s Les Miserables to Workers
President Hugo Chavez inaugurated Thursday the Second Venezuelan International Book Fair (FILVEN) with Cuba as its guest of honor….
President Chavez addressed the opening ceremony after having handed out copies of a massive edition of Victor Hugo’s Les Miserables to workers of the “Negra Hipolita Mission,” a social program aimed at helping Venezuelans in situations of extreme poverty.
The Venezuelan leader said: “The Empire sows death with its weapons. In contrast, these are our guns: books, ideas, culture.”
Earlier, participants had attentively listened and applauded the reading of the poem “Che,” by its author Miguel Barnet, to start off the tribute that the Book Fair will pay to the historical legacy of Ernesto Che Guevara…..
UPDATE:
Venezuela Book Fair Wraps Up with Tribute to the Cuban FiveHavana, Nov 21 (ACN) Venezuela’s Second International Book Fair
(FILVEN) came to an end in Caracas Sunday with a presentation of books
related to the case the five Cubans serving long-term prison sentences
in the United States for having uncovered terrorist activities being
planned against Cuba.Several books written by the Cuban Five men were presented at the Cuba
pavilion with family members of the five revolutionaries and Venezuelan
Minister of Culture Francisco Sesto. The books included Gaviotas
blancas (White doves), the latest book of poems by Cuban Five member
Ramon Labanino; Inseparables an essay by fellow Cuban Five member
Antonio Guerrero; and La pequena nina y el hombre boa (The little girl
and the human boa), dedicated to Ivette, the daughter of their comrade
Rene Gonzalez.FILVEN organizers noted that the 2007 edition of the book fair will
focus on the United States, where books by authors excluded by the
large US publishing houses will be sold.Ramon Medero, president of the National Book Center, said: “We hope to
bring together writers with a history of resistance from the
Afro-American and Hispanic communities who have struggled within a
repressed and muzzled society. We hope to give them the space they are
denied in that empire in decline.”While the fair came to a close in Caracas, it now spreads out to the
rest of the country as well as neighboring Cucuta, Colombia through
November 30, with poetry readings and book presentations scheduled.
Homeland by Paul William Roberts — a political novel
Homeland
A Novel
Paul William Roberts
The year is 2050. The US is by now a global empire, sealed off from an outside world that has been reduced to a series of wars against several Chinese factions. America is little more than a wasteland. The great cities have disintegrated into memories of a bygone glory. New York has become a tourist haunt and theme park. Washington is the hub for central command operations, and only those on official business ever visit the capital. The president and Vice President, along with the Secretaries of State and Defense, are no longer identified for reasons of national security. There is no sense of the past. History, as we know it, ceases to exist….
Eric Ambler and the Spy Novel
Beyond the Balkans
Eric Ambler and the British Espionage Novel, 1936-40
by
Brett F. Woods
While completing Journey into Fear, Ambler correctly presumed that, when faced with the scenario of World War II, he would almost certainly not be able to finish another novel if he began it. And while he did indeed continue writing after the cessation of hostilities, Ambler’s most significant contributions to the evolution of espionage fiction rest in the publication of his prewar novels. Accordingly, we perhaps owe more to Eric Ambler than to any other espionage novelist because he rescued the spy novel from the kind of slough into which the detective novel had fallen. At a time when most spy writers were congenital Tories, he applied his enlightened intelligence to the political background of espionage. And, without Ambler, it seems highly unlikely that either Le Carré or Deighton would have emerged.
As suggested by an interview conducted some three years before his death, Ambler was not only aware of the extent to which world political affairs held sway over the genre, but also the importance of maintaining some measure of neutralism while writing an espionage novel:
Early in my life and books, I was a little to the left. I voted Labour in 1945, but that was the extent of my political involvement. What I believe in is political and social justice. I’m of the same generation as [Graham] Greene. While he was hostile to America, he was never rude about it. I never put the Cold War in any of my books. Never took sides during the Cold War, not that I was a closet Communist. I always found the Cold War distasteful. For my wartime generation, it meant taking the best years of your life and turning them around. After the war, nobody wanted to return to prewar conditions. They had dreams of an improved way of life. Unfortunately, the Cold War did not help those dreams.
“Propaganda” and the Novel — on Michael Crichton’s State of Fear
by M. Cooper
There’s nothing wrong with a “propaganda novel” — a work of fiction intended to influence the reader in a political sense. In fact, propaganda novels have a long and honorable traditions, with some prime example being Hemingway’s _For Whom the Bell Tolls_ and Malraux’s _Man’s Fate_. But, and here’s the kicker, the propaganda novel must also work as a novel, with plot and characterization.
State of Fear is a disappointment. Cardboard characters and an unconvincing Swiss-cheese plot interspersed with footnotes, graphs, and documentation. Crichton could have done better. In fact, Crichton *has* done better. But, this time, his agenda seems to have gotten the better of him.
By the way, the graph on page 468 (of the paperback edition) is a cheat. It’s a bar chart of hurricane strikes decade by decade. Only the final bar doesn’t represent a decade, but only three years. And, it omits the very active hurricane seasons of 2005 and 2005. The result is misleading . . . deliberately? Readers of this book would be well advised to pick up a copy of Darrell Huff’s book, _How to Lie With Statistics_.
Election Day Work Strike — 2008?
Election Day Work Strike — 2008?
If there is ever time for a highly organized national general work strike in the US, it’s on Election Day — a one or two day strike to raise awareness and participation. It seems to me that progressive organizations across the country would do well to get together to encourage a strike — one that would help drive voter turnout, create educational opportunities, and also highlight the need to have Election Day be a general holiday.
A strike on Election Day could help highlight the ever increasing threat and reality of vote theft, vote suppression, and vote “stuffing” by way of electronic ballot machines, by way of under-resourced polling places, and by the many other means currently employed for eliminating votes and discouraging voters.
A successful progressive-led strike on and before election day could show badly needed progressive national leadership and action, unity and power — the value of grassroots democracy asserting itself.
The fact is that both the Democrat and Republican parties are deeply unpopular — as the polls and the voting rate make clear. Is it inconceivable that in the near future both parties may partially collapse and be forced to merge into one Owners Party that may then be fully challenged for power, and hopefully overwhelmed, by truly popular democracy parties? The polls show that on the vast majority of issues, a clear majority of Americans favor a far more progressive social democracy than today’s corporate rule.
Eliminate corporate money and corporate media and corporate culture — and it seems likely that the two dominant political parties of the owners would all but evaporate instantly. Easier said than done, of course. Corporatism is big power. But so was feudalism, and the serfs emancipated themselves from that — less than 150 and 100 years ago in places — and wrote off some of their monetary debt, so-called, in some cases all of it. Is it debt if individuals are forced to pay, and pay in the extreme, for the public goods and human rights that are health care and education and housing — in addition to many other cases where illegitimate and exorbitant charges are forcibly imposed, money which should not have to be forked over in the first place?
Every two, four, and six years it seems we have the opportunity to vote away our power to make decisions for ourselves. Every couple years we vote to let the two parties of the Owners wreak their will on the vast majority, while actual democracy parties are snuffed out by sheer financial force.
A progressive led general work strike on Election Day may be a good way to show the ability of people to act together as people of a democracy rather than as people who are owned.
Related Articles:
“How They Stole the Mid-Term Election” by Greg Palast
“Election Night Guide” by Michael Schwartz
Related Action:
Youth Walk Out to Get Out of Iraq
With options so limited—the only choice for young people has been to educate, organize, and mobilize. The National Youth and Student Peace Coalition (NYSPC), the largest youth/student anti-war coalition in the country, is helping to organize what will be a powerful display of the youth and student movement for peace and justice. On November 7th, the day of the mid-term elections, young people across this country will “Walk Out to Get Out” of Iraq. NYSPC is calling for young people to walk out of their schools, their campuses, and their jobs, not only to go out and vote and to help others vote, but also to show the people in power that the youth and students of this country will not stand aside while they prioritize war and profit over our needs.
In the lead up to November 7th, students across this country organized educational events to highlight how this war is affecting young people. Through a variety of creative means, young people are spreading dissent from the northeast to the south. In New York City, a group called, Uptown Youth for Peace and Justice organized an open—microphone night, entitled “Politics, Poetry, and Peace” that focused on the poverty draft and military recruiters in our school through poetry and spoken word. In Fayetteville, Arkansas, a coalition of youth groups organized a march and rally to protest the war. And throughout the Midwest, members of Iraq Veterans Against the War told the truth about the war through their own personal experiences.
Orhan Pamuk on the Novel and Politics
Against Silence by Shelley Walia
Power of Film and Literature In France
The Power of Film and Literature in France
by Mohammed al Mazyoodi
Nathaniel Herzberg of the French newspaper ‘Le Monde’ believes that the film ‘Indigenes’ is not the only example of artwork that has had an impact upon politics. Victor Hugo’s ‘Le Notre Dame de Paris’ contributed to the establishment of an investigative body for historical monuments and Mervyn LeRoy’s film ‘Escape’ played a significant role in the criminalization of penal labor in the United States. Herzberg stated that the production team and the crew of ‘Indigenes’ have “defeated policies and is a reminder that film can change the world in difficult times.”
…
Art and Politics — Zola, Trumbo, and the Dixie Chicks; Anarchist Fiction; Radical Novel; and more
The Time of the Toad by Louis Black
On anarchist fiction by Bill Whitehead
Heart Beats on the Left: Radical Strategies for the Novel by Eric Darton
More on Uncle Tom’s Cabin, from “Ben and Alice”
Film made of Jose Saramago’s political novel Blindness
Good interview with socially engaged Kenyan novelist Ngugi wa Thiong’o
An old note on the Radical Novel Reconsidered series
Edward Abbey and The Monkeywrench Gang
Autobiography — Jose Saramago
Linklater, Sinclair, Fast Food — new film
Bicentenaire by Lyonel Truillot — a Haitian “committed novel”
The Silences of David Lodge by Terry Eagleton
On The Ragged Trousered Philanthropists by Robert Tressell
On Creators by Paul Johnson
Progressive Novels, Fiction — old and new
Howard Fast — “Prolific radical novelist who championed the cause of America’s common people” also see this Howard Fast page.
Gayle Brandeis — “Walk in Their Shoes” and Self Storage
The American Way of Gore by Pierre Tristam
Pierre Tristam
“On the next floor below are the abdominal and spine cases, head wounds and double amputations. On the right side of the wing are the jaw wounds, gas cases, nose, ear, and neck wounds. On the left the blind and the lung wounds, pelvis wounds, wounds in the joints, wounds in the testicles, wounds in the intestines. Here a man realizes for the first time in how many places a man can get hit.”
The passage is from Remarque’s All Quiet on the Western Front. Paul Bäumer, the hero, also reflects about death: “We have almost grown accustomed to it; war is a cause of death like cancer and tuberculosis, like influenza and dysentery. The deaths are merely more frequent, more varied and terrible.”
In the United States, the dead and wounded of the Iraq war haven’t been so fortunate as to be grown accustomed to. They’ve been ignored. Chalked up to an abstraction indistinguishable from the kind of “dead” Americans see on their nightly television shows and in Shwartzenegger movies. “In any given period during prime time viewing hours,” the Boston Globe once reported, “there are at least 50 people killed, shot, maimed, or raped across the spectrum of broadcast and cable television channels.” The dead and wounded of the Iraq war are barely visible because they can’t compete with the numbers in prime time”neither in factual numbers nor in dramatic effect. Prime time’s dead are more interesting. They’re simple. They usually have no names, make no emotional demands, and they’re excellent props for plots that us! e them as means to obvious ends: within forty-eight minutes”if it’s an hour-long drama and the ads for vagina l lubricants and other orificial commodities are excluded””justice” has been done, the dead have been avenged, usually by killing those who killed them, and wisecracks have been exchanged all around. The credits, as they roll, are as meaningless as the names on a war memorial. The 11 o’clock news, local as it is, won’t even mention the real dead in those real war zones far, far away.
When an American soldier dies his story is written up in his hometown paper, powerfully enough usually, but the story’s effect is limited to that newspaper’s readership zone. There is no totality in the reporting of war casualties, no sense that one soldier’s death, no matter where from, affects the whole nation. A town in Montana will ache for a lost son by itself, as if it alone is experiencing loss. What mourning and suffering does take place is solitary because inherently isolated. Existentialism at its bitterest, though don’t expect our information society ever to touch on the subject more than gingerly. It’s an aspect of that sickness of compulsive “localism” in American journalism: if it’s not local, it’s not relevant. If twelve Americans from other states are killed in a single day, your state, should !
….
“Novel of Ideas”: Odds and Ends, Old and New
Updike on Stowe’s Uncle Tom’s Cabin
The Rise of the Info-Novel by Peter Lurie
A novel of the times?: on Jonathan Rabin’s Surveillance
A poor review of Mary McCarthy’s thoughtful Ideas and the Novel
Gospel of George Bush by Denise Giardina
Gospel of George Bushby Denise Giardina
AND HE TAUGHT them, saying:
1. Blessed are the rich, for they have more than they need and still they take with such joy.
2. Blessed are those who mourn, for their numbers shall multiply.
3. Blessed are the meek, especially the liberals, for they will not stand up to me.
4. Blessed are those who hunger for righteousness, for they may wish in one hand and spit in the other and see which one fills the fastest.
5. Blessed are those who are not merciful, for they shall laugh upon those without health insurance.
6. Blessed are the pure in ideology, for they shall promote religious fascism.
7. Blessed are the warmongers, for they shall control the world’s resources.
8. Blessed are those who persecute, for they shall trample upon the First Amendment.
9. Blessed are you when you are an abject failure, yet people still think you’re doing a fine job.
10. Blessed are you when you base your policies upon a fundamentalist interpretation of scripture. You violate the consciences of millions of Americans. But they’re going to Hell anyway.
11. Blessed are the undecided and those who don’t vote, for you allow me to get away with murder.
12. Blessed are the Americans, for God loves us better than anyone else.
13. Jesus said, “Do unto others as you would have them do unto you.” But I tell you, do unto others before they do unto you. And be sure to use cluster bombs.
…
The Uncomfortable Dead by Paco Ignacio Taibo II and Subcomandante Marcos
Macho Libre
Paco Ignacio Taibo II and Subcomandante Marcos’ joint crime novel, The Uncomfortable Dead
by Marc Cooper
Two years ago, the masked, pipe-smoking leader of the Zapatista army — Subcomandante Marcos — sent a hand-carried proposal from his jungle headquarters to one of his favorite writers. “El Sup,” as Marcos is called by his admirers, invited Paco Ignacio Taibo II, an internationally celebrated crime-fiction writer, to co-author a mystery novel. But not just a run-of-the-mill whodunit. This one would be written pingpong style, each writer pursuing his own storyline without consultation and the two bound together only by the promise that their respective protagonists would meet up about two-thirds of the way through the book.
Taibo, a devilishly provocative literary anarchist who relishes spurning the cultural establishment, immediately agreed. Within weeks, the chapters came cascading out and started appearing in serial form, as a work in progress, inside the pages of Mexico City’s leftist daily La Jornada (which experienced a 20 percent growth in its Sunday readership as a result). Now translated into English, The Uncomfortable Dead reads as an uproarious, dizzying, purposefully incoherent plunge into the multiple ironies, absurdities and injustices of present-day Mexico.
No one who knows Taibo’s previous work — now spanning several dozen mysteries translated into almost as many languages — really expects to be able to follow his storylines. As with a Handel opera, you dive into a Taibo novel not for the baroque plot but for the all-consuming music. And with El Sup as his sideman, Taibo blasts us with a dissonant take on the wall-to-wall corruption that defines Mexican politics.
Taibo resurrects his trademark Mexico City detective, the lame, one-eyed Hector Belascoaran Shayne, a chain-smoking, weary but relentless gumshoe prone to sailor-level swearing, who — like his creator — is addicted to guzzling industrial-size doses of Coca-Cola. This is more like hallucinatory than magical realism as Shayne pursues the case of a dead ’60s revolutionary, who suddenly appears in the form of rambling, philosophical messages on some bewildered bureaucrat’s answering machine.
Taibo’s grumpy sleuth eventually teams up with El Sup’s lead character, a Zapatista peasant investigator, Elias Contreras, who is sent to the Mexican capital to hunt down a notorious killer named Morales. Oh, yeah, Contreras tells us early on that though he’s narrating the story, he’s already dead. But who’s keeping score? Also appearing in the novel are an entire cast of real-life Mexican pols, several of Taibo’s real-life friends (full disclosure: I appeared as a character in one of his earlier novels), and Subcomandante Marcos writes himself into the storyline as well as a couple of other characters who seem to know that they are, indeed, characters in the book.
The central mystery of the intertwined stories is ostensibly about the brutal treatment of dissidents by the Mexican government during the so-called “dirty war” of the ’60s and ’70s. But in between the plot points, ample license is taken to passionately (and mirthfully) denounce just about everything, from the oppression of Chiapas Indians, massive robbery and extortion by the Mexican state, homophobia, gringos, neoliberal economic policies, encroaching globalization, and homicidal taxicab drivers…
Nigerian Novelists, Politics
Conflict and corruption, exile and loss. The new novelists chronicling modern Nigeria and its place in the world shy from none of it….
“I set out to write books about Nigeria, and Nigeria happens to be a country in which politics plays a major role,” Adichie — now splitting her time between public readings for her new book and graduate classes at Yale — said in a telephone interview from her New Haven, Connecticut home.
Politics and literature are often linked. For Nigerians, the model is Soyinka, a larger than life figure with an actor’s flair for drama — he has appeared in his own plays — and shock of white hair to complete the image of passionate intellectual. Soyinka once single-handedly stormed a Nigerian radio station to try to prevent a corrupt politician from claiming an election victory. These days, Soyinka speaks out against what he sees as the dictatorial ambitions of Olusegun Obasanjo, a former military ruler turned civilian politician. Habila, who counts Soyinka among his influences, notes the Nobel literature laureate is “in his 70s and he’s still carrying placards in the streets of Lagos. “Most writers would have given up by their 70s — certainly given up on Nigeria. But not Soyinka. That’s a great lesson for people like me,” Habila said in an interview at the University of East Anglia in England….
Policing the Writers of Fiction
In “State Pulse: Maharashtra: Books as crime“
‘Writers’ Police’ gives details of the way in which greatest writers of late 18th century who were living in Paris at that time were kept under surveillance….
…the Parisian police had a very specific agenda.
It was clear to these protectors of internal security of a tottering regime that the renowned literati then viz Victor Hugo, Balzac or Charles Dickens, might be writing fiction, but their sharp focus on the hypocrisy of the aristocrats or the livelihood issues of ordinary people is adding to the growing turmoil in the country. They knew very well that they might be writing fiction for the masses but it is turning out to be a sharp political edge that hit the right target and is becoming a catalyst for change.
While the Parisian police was engaged in tracking down the daily movements of the writers, its present day counterparts in Maharashtra especially from the Chandrapur-Nagpur region have rather devised some ‘easier’ and ‘shortcut routes’ to curb the flow of ideas. And for them it is also immaterial whether the writer in question was alive or dead.
The recent happenings at a book stall put in by a well known publisher ‘Daanish Books’ at the Deeksha Bhoomi of Dr Ambedkar in Nagpur are a case in point. A random list of books which the police perceived to be ‘dangerous’ and which it duly confiscated from their book stall makes interesting reading….
Coming back to the ‘Writers Police’, it is clear to everyone how all those meticulous efforts put in by the police to curtail the free flow of ideas proved futile. And how French revolution of those times emerged as a beacon of hope for thinking people across the world. Rather it could be said that all those efforts at surveillance became a precursor to the storming of the Bastille.
Can it then be said that India is on the verge of similar transformatory changes and the Maharashtra polices’ efforts at ‘criminalising writing’ are an indication that ruling elite of our times is fast losing ground.
Literature in Prison
On the effect of literature in prison:
Dinitia Smith writes:
Mr. Richter, 56, who has been working in prisons for 33 years, has no statistics testifying to the program’s success or its effect on recidivism rates. But, he said: “When we first began there were lots of incidents of violence. It was nothing for somebody to walk into that unit and see three or four kids waiting in shackles to be put in disciplinary lockdown.” Nowadays, he said, “we have very few incidents of violence. We may have a fight once every three months.”
For Tyler, charged with armed robbery, the program, “brings you into a whole new life for a brief period. Whatever you’re facing here, you can put it aside.”
The boys stay at the jail for an average of four to eight months. Eighty-five percent are convicted and go to adult prisons where there are few programs like this. What’s the point of offering them this brief look at literature? “If there is a salvageable lot, it’s these kids,” Mr. Richter said. “You can see it after they’ve been here a while. Their eyes grow a little less hard. They begin to believe there is hope for them.”
Uncle Tom’s Cabin — New Edition
A new edition of Uncle Tom’s Cabin and the novel reassessed.
Edward Rothstein writes:
In one early chapter, for example, the fictional Senator Bird of Ohio, who had voted for the Fugitive Slave Act, is brought face to face with just such a fugitive in desperate need. His abstract political conviction is suddenly challenged by the suffering human being before him. “The magic of the real presence of distress — the imploring human eye, the frail trembling human hand, the despairing appeal of helpless agony — these he had never tried. He had never thought that a fugitive might be a hapless mother, a defenseless child.”
This is just what Stowe tries to do again and again: to force the imagination to shift from abstractions to the concrete.
Xican@ Demiurge: Chicano Art Today — Mark Vallen
From “Xican@ Demiurge: Chicano Art Today?”
http://www.art-for-a-change.com/blog/2006/10/xican-demiurge-chicano-art-today.html
by Mark Vallen
Historically, the Mexican American population in the western states of the U.S. endured the pains of a suffocating discrimination. In the mid-1960s, they rose to claim equality with the larger society, a struggle that entailed the right of self-identification – leading to the use of the term, “Chicano.” As a cultural identity and signifier of ethnic pride, “Chicano” is today more or less accepted by the mainstream, though the term is still evolving. Currently a number of Chicanos spell the word with an “X”, connecting their identity to ancient indigenous roots – in the Nahuatl language, the Aztecs called themselves Mexica (pronounced: meh-Shee-ka). Also, the gendered structure of the Spanish language has been rejected by some, who favor the written plural forms “Chicano/a” or “Chican@”.
Now that those basic facts have been made somewhat clear, allow me to open another can of worms – exactly what is Chicano art and how shall it be defined? Xican@ Demiurge attempts to form a definition, but as a survey it is stilted and woefully incomplete, in part because it’s extremely difficult to present the totality of Chicano aesthetics with a single exhibit. Chicano art necessarily arose from the tumultuous 60’s as a combative aesthetic in opposition to a system of racial, cultural, and political oppression – a cultural renaissance that took place concurrently with the Mexican American community’s political awakening. The California Ethnic and Multicultural Archives of the University of Santa Barbara, California (CEMA), describes the aesthetic in the following manner: “Chicano art is a public and political art, proclaiming and expressing public and social concerns in its themes and subjects.” That is not a description I’m inclined to argue against, though in all fairness it is one in need of further elaboration.
In their curatorial statement, the organizers of Xican@ Demiurge wrote: “Art that is innovative and aggressive in its approach is critical to developing a contemporary aesthetic that is representative of the 21st Century Xican@ artist. The cultural climate influencing this particular group today is not the same as the one that triggered ‘El Movimiento Chicano’ of the 1960’s.”
I’m left wondering how the art presented in this exhibit could be considered “aggressive in its approach”, unless the direction is one of insistent self-absorption, political retreat and apathy. The curators of Xican@ Demiurge take pains to point out that conditions currently facing Chicanos are not those of the 60s, which is true enough – but this seems an excuse not to address current realities more than anything else. Of the twenty-one artists in the exhibit, only one displayed a work addressing an overt political issue – and that attempt was not very engaging. The show nearly exists in a vacuum, as if one million Latinos did not march in the streets of Los Angeles to protest repressive immigration laws on May 1st, 2006, or that Latinos in the U.S. armed forces are not being wounded and killed in huge numbers in the pointless occupation of Iraq. The powerful tradition of Chicano art as an irrepressible force for social justice is almost nowhere to be found in this exhibit.
Henry Louis Gates Jr. on Uncle Tom’s Cabin by Harriet Beecher Stowe
by Henry Louis Gates Jr.
“Uncle Tom” had become such a potent brand of political impotence that nobody really cared how far its public usages had traveled from the reality of its literary prototype.
When I returned to “Uncle Tom’s Cabin” not long ago, it struck me as far more culturally capacious — and sexually charged — than either Baldwin or the 60’s militants had acknowledged. Half a century after Baldwin denounced it as “a very bad novel” in its “self-righteous, virtuous sentimentality” and promotion of feminine tears and anguish as a form of political protest, both the novel and Baldwin’s now canonical critique are ripe for reassessment.
A Practical Policy 