The tragic/extraordinary archetype helps us understand the many creative, charismatic, talented people who have battled chronic depression, manic-depression, schizophrenia, or some other condition we label as mental illness. And yet, each of these people is oddly dehumanized when recalled as some inevitable force of nature, at once regarded as Superhuman Phenomenon and Uncontrollable Catastrophe.
Chat poses a constant negotiation of presence and absence. It’s ostensibly immediate but built on the invisibility of the interlocutor. Chat is about half-presence, half-engagement. I’m not ignoring you, of course not.
What’s especially interesting about Global Trends 2030 is that it includes four fictional “Alternative Worlds,” or four possible futures depending upon how current trends play out.
The literary marketplace has not been particularly welcoming to narratives about fictional rock’n’roll stars in the last several decades.
Human desires and intents are more complicated than what can be captured by quantifying costs and benefits. And sometimes our real choices are much simpler than the dozens of counter-factuals an economist might want to run to find the optimal course of action.
Somehow, even with the tousled hair and the cheap cigarettes, Anna Karina always managed to look every bit as dazzling as Audrey Hepburm, if not more so, simply by virtue of the fact that she knew how to match a gun with a pleated skirt, and would probably recite Marx with superb accuracy if you asked nicely and offered her a light.
Stoppard takes whichever elements please him and use them to assemble a fascinating Fabergé egg of a movie, an object to marvel at. Compressions in time express themselves in impossible spaces. Anna Karenina is as tightly wound as an old-fashioned clock, as carefully constructed as a music box.