Portside

In these early days of the Age of Trump, there is an upsurge of interest in Margaret Atwood's 1985 harrowing dystopian novel. Jennifer Helinek reminds us why this book has become a modern classic.

"As a Jew, and even more as a human being, I feel morally comfortable and politically responsible in calling upon Israel to dismantle its apartheid regime." - Richard Falk

Most fascinatingly, the film's coda features footage of the now 23-year-old Elian who still lives in Cuba and reveres the late Castro. Articulate and self-assured, he seems none the worse for his childhood trauma. Talking about the current state of relations between the two countries, he comments that Barack Obama’s history-making trip to the island country was important, but that it also “left much to be desired.”

The latest entrant to the superfood contest is Brazilian açaí, a purplish, antioxidant-rich stone fruit — though most call it a berry — foraged from trees in the Amazon River basin.Surprising parties become heroes and scoundrels as the coveted berry changes hands in different ways. Global consumption has further increased demand, but because of the high value of good vibes, some superfood exporters have an incentive to hew to best practices.

Here’s how the scene plays out. As the sharply dressed god paces back and forth in front of the believers who summoned him, he lays out a terrifying vision of what the future holds for them and their descendants: slavery, torture, death, and hundreds of years of being screwed over by structural racism.

The film's creators may have the best of intentions, but their plea for greater understanding will likely fall on deaf ears since they’ve only inadvertently confirmed Madoff’s self-pitying defense by portraying members of the working class as collateral damage in the Bernie Madoff story. By normalizing Madoff’s behavior, 'The Wizard of Lies' thoughtlessly asks us to sympathize with a devil we don’t want to know.

Fifteen years after she slammed the door, Nora returns to Torvald’s house as the Betty Friedan of 19th-century Norway. As created by Laurie Metcalf from the script by Lucas Hnath, she is smart, witty, sarcastic, tough and likely to make women cheer. I did!

The poet Jamaica Baldwin writes, “This piece was written in response to the daily lies espoused by the new president and his administration, the emergence of the phrase ‘alternative fact’ in the political lexicon, and the simple fact of Trump’s presidency.”

Piketty's radical and largely on-target critique of contemporary capitalism, the reviewer says, was mostly greeted with hostility by the economics establishment, when not simply ignored, stonewalling Capital in the Twenty-First Century, so it would not have the impact on economics research agendas that it merits, particularly in explaining inequality — in effect a dead zone in mainstream economic analysis. The reviewer thinks much can be gleaned from Piketty's work.

This new collection of essays offers an interesting glimpse into the work of this consistently interesting Marxist thinker and cultural critic.