Boomerang: Travels in the New Third World by Michael Lewis
This is the second Michael Lewis book I have read, with a previous review of Moneyball.
Lewis is a bestselling author and journalist, specializing in business journalism. His forte from the two books that I’ve read is transforming complex economic and business issues into easy-to-understand prose. Lewis also displays a wicked sense of humor in this book, sometimes veering toward scathing, but always entertaining. The title alone demonstrates his sense of the absurd. Look at the table of contents and the countries covered—the new Third World includes Iceland, Greece, Ireland, Germany and the United States.
If you’ll notice, three of the five countries Lewis includes in his list have already experienced severe financial meltdown, and some would probably argue that all five are headed in that direction, which is why Lewis considers them part of the new Third World.
This book details his travels into this new Third World to discover why financial meltdown has occurred or is occuring.
Boomerang shows a top-notch reporter’s skills at their best. Using statistics and personal anecdotes, this book details the economics behind the global financial meltdown and the cultural imperatives that drove it.
Whether it was the unregulated ability for Icelanders to become investment bankers—the overconfidence of the traditional fishermen to learn anything quickly—or the idea that Irish from throughout the world would find their way back to Ireland to buy the massive numbers of second homes being built, it’s easy to see how cultural imperatives, lax loan standards and just plain delusion led many of these countries and to financial disaster.
While this book wasn't on the CMA list of books journalists should read, I think it should be added. Lewis tells a compelling story, using great reporting and clear analysis. If that isn't a great example of good communication, especially for young journalists, I don't know what is.
Up next, the previously promised review of Joan Didion’s Slouching Towards Bethlehem.
Showing posts with label kay colley. Show all posts
Showing posts with label kay colley. Show all posts
Tuesday, September 4, 2012
Monday, March 19, 2012
Books Journalists Should Read, Not Really
Never Let Them See You Cry: More from Miami, America's Hottest Beat by Edna Buchanan
This book is a continuation of Buchanan's life as a police beat reporter with the Miami Herald and all of the strange tales she experienced in America's Hottest Beat. A reminder: I am an Edna Buchanan fan.
Buchanan wrote this book after the publication of her first novel, so this book is likely designed to play on the popularity of The Corpse Had a Familiar Face, her first nonfiction book about life as a police beat reporter in Miami.
And Buchanan doesn't disappoint, providing some of the trademark razor-sharp writing and observations that keep her the reigning queen of the police beat despite more than two decades of absence from her domain.
In describing a victim of crime:
"Ethel Lottman, a no-nonsense Miami Beach widow, seventy-two, handled her heart condition, her arthritis and a homicidal maniac with the same aplomb."
A description of the new South Beach:
"Sleepy South Beach, once famous for its senior citizens, now throbs through the soft nights with a healthy and and youthful energy, more lusty and alive than it has ever been."
While this book covers familiar ground in stories of murder and mayhem in Miami, it does break new ground. The last chapter also goes into Buchanan's struggle to embrace her new life as a novelist and drop her old journalistic habits.
This book marks the end of Buchanan's nonfiction, journalistic writing as she becomes what she had always dreamed of--a writer. A great loss for journalism.
The Corpse Had a Familiar Face was vintage Edna Buchanan at her journalistic best. Never Let Them See You Cry doesn't reach that level of journalistic technique in writing, analysis and reporting. It does foreshadow the crime novel career of Buchanan, one that is still going.
Never Let Them See You Cry is a must read if you are an Edna Buchanan fan. Otherwise, stick with The Corpse Had a Familiar Face. It provides more journalistic juice from the world's best police beat reporter, which is a crying shame.
This book is a continuation of Buchanan's life as a police beat reporter with the Miami Herald and all of the strange tales she experienced in America's Hottest Beat. A reminder: I am an Edna Buchanan fan.
Buchanan wrote this book after the publication of her first novel, so this book is likely designed to play on the popularity of The Corpse Had a Familiar Face, her first nonfiction book about life as a police beat reporter in Miami.
And Buchanan doesn't disappoint, providing some of the trademark razor-sharp writing and observations that keep her the reigning queen of the police beat despite more than two decades of absence from her domain.
In describing a victim of crime:
"Ethel Lottman, a no-nonsense Miami Beach widow, seventy-two, handled her heart condition, her arthritis and a homicidal maniac with the same aplomb."
A description of the new South Beach:
"Sleepy South Beach, once famous for its senior citizens, now throbs through the soft nights with a healthy and and youthful energy, more lusty and alive than it has ever been."
While this book covers familiar ground in stories of murder and mayhem in Miami, it does break new ground. The last chapter also goes into Buchanan's struggle to embrace her new life as a novelist and drop her old journalistic habits.
This book marks the end of Buchanan's nonfiction, journalistic writing as she becomes what she had always dreamed of--a writer. A great loss for journalism.
The Corpse Had a Familiar Face was vintage Edna Buchanan at her journalistic best. Never Let Them See You Cry doesn't reach that level of journalistic technique in writing, analysis and reporting. It does foreshadow the crime novel career of Buchanan, one that is still going.
Never Let Them See You Cry is a must read if you are an Edna Buchanan fan. Otherwise, stick with The Corpse Had a Familiar Face. It provides more journalistic juice from the world's best police beat reporter, which is a crying shame.
Friday, March 9, 2012
Books Journalists Should Read, Definitely
Moneyball: The Art of Winning an Unfair Game by Michael Lewis
Disclaimer: I have not watched the movie Moneyball, but I did pick up this book because of the movie. Let me explain.
I was reading books that had been made into movies just for pleasure-reading, when I saw this book in my local library. It was near Friday Night Lights, which is a brilliant book. I saw the cover for Moneyball, so I picked it up. What a great idea, because this book is a wonderful example of great reporting. Another plus--it's a great example of good reporting, and it's about sports, tapping into a student journalist audience that often needs some push to read books.
But this book is about more than just baseball--this book is about how different views, new ideas and a move from the "tried-and-true" to the "cutting edge" can provide surprisingly effective results (stereotypical sports cliches aside now.)
Michael Lewis, a journalist of Blind Side fame, which I did watch, Lewis tells the story of the Oakland As and their management Billy Beane-style. Yes, he tells the story, which is one reason why this book is so compelling--it's great storytelling, often at its best.
We see Beane stalking around the locker room, wheeling and dealing for undervalued players from his office, talking with and dismissing the wisdom of old-school scouts, and relying on the new wizardry of computer analysis and massive amounts of statistical data to maximize the little bit of salary monies the As have.
At heart, this is an economics book, no different than many of Lewis' other economics books, just don't tell the sports nuts. But in practice, Moneyball is a great story, brilliantly told, with colorful and vibrant characters. It's clear that exhaustive reporting and hours of research went into this book, including much detail about the history of baseball statistics. It's also clear from the critical reviews by sports junkies that this book hit a nerve.
I read this book after reading Geoff Colvin's Talent is Overrated, which I will review next week. So I read Moneyball through that filter, a filter that had me thinking about talent quite differently. Maybe that's why I found Moneyball so powerful--because it chronicles the new way that Billy Beane viewed baseball. It reminds me of how other industries need some new thinking, in particular two of interest to me: journalism and higher education.
While this book wasn't on the CMA list of books journalists should read, I think it should be added. Lewis tells a compelling story, using great reporting and clear analysis. If that isn't a great example of good communication, especially for young journalists, I don't know what is.
Disclaimer: I have not watched the movie Moneyball, but I did pick up this book because of the movie. Let me explain.
I was reading books that had been made into movies just for pleasure-reading, when I saw this book in my local library. It was near Friday Night Lights, which is a brilliant book. I saw the cover for Moneyball, so I picked it up. What a great idea, because this book is a wonderful example of great reporting. Another plus--it's a great example of good reporting, and it's about sports, tapping into a student journalist audience that often needs some push to read books.
But this book is about more than just baseball--this book is about how different views, new ideas and a move from the "tried-and-true" to the "cutting edge" can provide surprisingly effective results (stereotypical sports cliches aside now.)
Michael Lewis, a journalist of Blind Side fame, which I did watch, Lewis tells the story of the Oakland As and their management Billy Beane-style. Yes, he tells the story, which is one reason why this book is so compelling--it's great storytelling, often at its best.
We see Beane stalking around the locker room, wheeling and dealing for undervalued players from his office, talking with and dismissing the wisdom of old-school scouts, and relying on the new wizardry of computer analysis and massive amounts of statistical data to maximize the little bit of salary monies the As have.
At heart, this is an economics book, no different than many of Lewis' other economics books, just don't tell the sports nuts. But in practice, Moneyball is a great story, brilliantly told, with colorful and vibrant characters. It's clear that exhaustive reporting and hours of research went into this book, including much detail about the history of baseball statistics. It's also clear from the critical reviews by sports junkies that this book hit a nerve.
I read this book after reading Geoff Colvin's Talent is Overrated, which I will review next week. So I read Moneyball through that filter, a filter that had me thinking about talent quite differently. Maybe that's why I found Moneyball so powerful--because it chronicles the new way that Billy Beane viewed baseball. It reminds me of how other industries need some new thinking, in particular two of interest to me: journalism and higher education.
While this book wasn't on the CMA list of books journalists should read, I think it should be added. Lewis tells a compelling story, using great reporting and clear analysis. If that isn't a great example of good communication, especially for young journalists, I don't know what is.
Wednesday, March 7, 2012
Books Communicators, Not Just Journalists, Should Read, Absolutely
The Old Man and the Sea by Earnest Hemingway
On the College Media Advisers list of books journalists should read, this book falls under the category, "Anything by Earnest Hemingway."
A short tale of bad luck, good luck and love, this story is too long to be a short story, but too short to be a true novel, yet it is perfectly told. Young and not so young journalists will see the importance of good storytelling, tight writing and clear direction when they read this novella.
Critics and literature professors have picked this story apart, much like the sharks pick the meat off the Old Man's monstrously large catch. One theory is that the story of the Old Man and his wondrous catch is about Jesus Christ, a parable of sorts written by Hemingway. An interpretation easy to see as Hemingway alludes to crucifiction in the tale as the old man's hands become torn and bloody as if hammered with nails.
Another theory is that in the story, Hemingway is the fish, being torn apart by critics, who were literally picking apart every piece of writing he produced.
There may be other theories as well, but Hemingway himself said the story was about an old Cuban fisherman and the giant fish he caught then lost to scavengers as he was adrift at sea.
No matter what the true intent, The Old Man and the Sea is a wonderful story, in and of itself. This little book sealed Hemingway's fame as a master storyteller and writer. I would agree even though I have never been a real Hemingway fan.
The Old Man and the Sea is a must-read book for aspiring communicators, not just journalists. It shows how clarity of thought, focus, tight writing and superb storytelling can be accomplished with limited adornment. And how a story, well told, stands the test of time. The Old Man and the Sea is as fresh today as it was the day Hemingway finished it.
Next up, a veer from the CMA list as I review Michael Lewis' Moneyball on Friday.
On the College Media Advisers list of books journalists should read, this book falls under the category, "Anything by Earnest Hemingway."
A short tale of bad luck, good luck and love, this story is too long to be a short story, but too short to be a true novel, yet it is perfectly told. Young and not so young journalists will see the importance of good storytelling, tight writing and clear direction when they read this novella.
Critics and literature professors have picked this story apart, much like the sharks pick the meat off the Old Man's monstrously large catch. One theory is that the story of the Old Man and his wondrous catch is about Jesus Christ, a parable of sorts written by Hemingway. An interpretation easy to see as Hemingway alludes to crucifiction in the tale as the old man's hands become torn and bloody as if hammered with nails.
Another theory is that in the story, Hemingway is the fish, being torn apart by critics, who were literally picking apart every piece of writing he produced.
There may be other theories as well, but Hemingway himself said the story was about an old Cuban fisherman and the giant fish he caught then lost to scavengers as he was adrift at sea.
No matter what the true intent, The Old Man and the Sea is a wonderful story, in and of itself. This little book sealed Hemingway's fame as a master storyteller and writer. I would agree even though I have never been a real Hemingway fan.
The Old Man and the Sea is a must-read book for aspiring communicators, not just journalists. It shows how clarity of thought, focus, tight writing and superb storytelling can be accomplished with limited adornment. And how a story, well told, stands the test of time. The Old Man and the Sea is as fresh today as it was the day Hemingway finished it.
Next up, a veer from the CMA list as I review Michael Lewis' Moneyball on Friday.
Monday, March 5, 2012
Books Journalists Should Read, Yes
The Year of Magical Thinking by Joan Didion
So I'll make a confession: This is the first Joan Didion book I've read. Ever.
I know, I know. Hard to believe for someone who teaches journalism courses, but there it is. I've said it.
Now on to more important things. Didion's The Year of Magical Thinking is a literary memoir following Didion for the year after her husband's death. As a good journalist, she copes with the grief by searching for knowledge and then writing about that knowledge and analyzing what happens.
This book plumbs the depths of grief and mourning. In this case, the grief and mourning for a spouse of many years, 40 to be exact. You see the true partnership through Didion's eyes, and how great love and great friendship can cause the greatest pain when a partner dies.
As Didion goes through the year researching grief and mourning, she also lives it, giving this book the raw emotion and insightful deductions that oftentimes clarify and confuse as you see things through Didion's confused mind. But through the year, the clarity with which Didion illuminates the acts of death and grief touches anyone who has experienced the death of someone close.
An example of some of Didion's magical thinking:
"We do not expect this shock to be obliterative, dislocating to both body and mind...we do not expect to be literally crazy, cool customers who believe that their husband is about to return and need his shoes."
While the book provides a thorough investigation of the literature on grief and death, it also explores the more personal nature of the subject, coming to some startling, yet inevitable conclusions:
"Grief turns out to be a place none of us know until we reach it."
And in the final chapter and final pages of the book:
"I know why we try to keep the dead alive: we try to keep them alive in order to keep them with us. I also know that if we are to live ourselves there comes a point at which we must relinquish the dead, let them go, keep them dead."
As a must read book for journalists, this book tackles a difficult subject, uses beautiful language and style, clear description, strong reporting, and insightful analysis that demonstrates the kind of critical thinking we all want our students to understand and practice. For this, The Year of Magical Thinking won the National Book Award.
As a must read book overall, I'd recommend this book for it's thoughtful, brutal, sensitive and frank portrayal of grief and mourning.
We may not truly know grief until we get there on our own, but The Year of Magical Thinking can certainly help us understand the passage a little bit better and not feel so alone as we take the journey.
Thursday, March 1, 2012
Books Journalists Should Read, Yes Indeed
The Corpse Had a Familiar Face by Edna Buchanan
Another one of the books recommended by the CMA listserv members as it falls under the category any book by Edna Buchanan.
Again, a reminder, I’m an Edna Buchanan fan. I've used parts of her stories in my classes as examples of thorough reporting. I've used her philosophy as what makes a great journalist, and I’ve read this book before.
With all of that said, I was again floored by Buchanan’s thorough review of her crime reporting. This book is a page-turner with lots of great examples and pithy one-liners. That’s what I really enjoy about Buchanan’s journalism—the thoroughly distilled yet crisp writing that makes you think: “Where did she ever come up with that line?”
Some examples:
When referring to the an editor's insistence that Buchanan report only 'major murders':
"Every murder is major to the victim."
Why she gets the urge to empty out her purse, glove box and dresser periodically:
"It is not because I am basically neat--I am not--but I am reminded from time to time that if I am hit by a bus or gunned down by some irate reader, the cops will routinely inventory the contents of my handbag. I don't want them to find the aging granola bar at the bottom..."
Of course there are others, but I don't want to ruin the entire book for you.
I must say, however, I was a bit distressed by a few comments regarding gays and lesbians. While Buchanan’s sympathetic mantra for families seems to be genuine, her view of gays and lesbians seems to be a bit dated and stereotypical. While Buchanan was a practicing journalist during less enlightened times, she was a practicing journalist in Miami, a veritable haven of homosexuality. I expected more.
While this book is clever and readable, I would never recommend it as a textbook. I know some universities have used it as a text; however, it doesn’t really give you the practical tips needed to use as a text.
It is a great read and a great example of how one reporter, probably the best at what she did, actually did her job. For that, I’d say The Corpse Had a Familiar Face is a must-read journalism book. So go out and read it my journalism friends. You won’t be disappointed.
See also Never Let Them See You Cry, the second installment of Edna Buchanan’s reporting books, and see my previous review on Legally Dead, also by Edna Buchanan.
Another one of the books recommended by the CMA listserv members as it falls under the category any book by Edna Buchanan.
Again, a reminder, I’m an Edna Buchanan fan. I've used parts of her stories in my classes as examples of thorough reporting. I've used her philosophy as what makes a great journalist, and I’ve read this book before.
With all of that said, I was again floored by Buchanan’s thorough review of her crime reporting. This book is a page-turner with lots of great examples and pithy one-liners. That’s what I really enjoy about Buchanan’s journalism—the thoroughly distilled yet crisp writing that makes you think: “Where did she ever come up with that line?”
Some examples:
When referring to the an editor's insistence that Buchanan report only 'major murders':
"Every murder is major to the victim."
Why she gets the urge to empty out her purse, glove box and dresser periodically:
"It is not because I am basically neat--I am not--but I am reminded from time to time that if I am hit by a bus or gunned down by some irate reader, the cops will routinely inventory the contents of my handbag. I don't want them to find the aging granola bar at the bottom..."
Of course there are others, but I don't want to ruin the entire book for you.
I must say, however, I was a bit distressed by a few comments regarding gays and lesbians. While Buchanan’s sympathetic mantra for families seems to be genuine, her view of gays and lesbians seems to be a bit dated and stereotypical. While Buchanan was a practicing journalist during less enlightened times, she was a practicing journalist in Miami, a veritable haven of homosexuality. I expected more.
While this book is clever and readable, I would never recommend it as a textbook. I know some universities have used it as a text; however, it doesn’t really give you the practical tips needed to use as a text.
It is a great read and a great example of how one reporter, probably the best at what she did, actually did her job. For that, I’d say The Corpse Had a Familiar Face is a must-read journalism book. So go out and read it my journalism friends. You won’t be disappointed.
See also Never Let Them See You Cry, the second installment of Edna Buchanan’s reporting books, and see my previous review on Legally Dead, also by Edna Buchanan.
Wednesday, February 29, 2012
Books Journalists Should Read, Maybe Not
Legally Dead by Edna Buchanan
This book is another one of the books recommended by the College Media Advisers listserv members as it falls under the category any book by Edna Buchanan.
I must admit that I was a huge fan of Edna Buchanan the crime reporter. I've used parts of her stories in my classes as examples of thorough reporting. I've used her philosophy as what makes a great journalist, but I don't think I'd use her crime novels as an example of either one of those things or as an example of a great crime novel.
In particular, Legally Dead has an interesting premise and some good writing, but it seems to have an ending that doesn't really fit with the intricate plot line. There's a great buildup of tension then a very unlikely bad guy with an even more fantastical reason as to why the bad guy is doing what he's doing. I just don't buy it.
None of that means that my opinion has changed about Edna Buchanan the journalist. She's one of the best and likely the best crime reporter. Some journalists are just better with the literal, and in the case, I would say Legally Dead could benefit from a dose of reality.
See also The Corpse Had a Familiar Face, Never Let Them See You Cry and Nobody Lives Forever also by Edna Buchanan.
Look for an upcoming review of The Corpse Had a Familiar Face.
This book is another one of the books recommended by the College Media Advisers listserv members as it falls under the category any book by Edna Buchanan.
I must admit that I was a huge fan of Edna Buchanan the crime reporter. I've used parts of her stories in my classes as examples of thorough reporting. I've used her philosophy as what makes a great journalist, but I don't think I'd use her crime novels as an example of either one of those things or as an example of a great crime novel.
In particular, Legally Dead has an interesting premise and some good writing, but it seems to have an ending that doesn't really fit with the intricate plot line. There's a great buildup of tension then a very unlikely bad guy with an even more fantastical reason as to why the bad guy is doing what he's doing. I just don't buy it.
None of that means that my opinion has changed about Edna Buchanan the journalist. She's one of the best and likely the best crime reporter. Some journalists are just better with the literal, and in the case, I would say Legally Dead could benefit from a dose of reality.
See also The Corpse Had a Familiar Face, Never Let Them See You Cry and Nobody Lives Forever also by Edna Buchanan.
Look for an upcoming review of The Corpse Had a Familiar Face.
Books Journalists Should Read, Maybe But Probably Not
The Executioner's Song by Norman Mailer
Last semester, a wonderful listserv that I'm on through College Media Advisers, was abuzz with the books that you must have read if you're a journalist. It wasn't just the books, it was authors as well. So being the dutiful student of journalism that I am, I undertook some of this list.
Here are some of my comments on some of these books and authors. I'll be posting the list as well, just in case you want to become a dutiful student of journalism too.
I finally finished reading The Executioner's Song by Norman Mailer. I started this before Christmas, but had to take a break, since the book was hurting my hands it's so weighty. I went back to it after the first of the year, and finally finished it in February. Whew...
What can I say about this book: Plodding...In need of editing.
Pulitzer Prize-winning author and major motion picture aside--the microscopic look at the execution of Gary Gilmore, the state of Utah and the Mormon Church were just as weighty as the book that left me pushing to stay involved. Not that I don't like weighty material...I do. However, there are some portions of this book that just need to be tightened.
The beginning is where I'd start the whittling. Take out some of the interminable description of Gilmore and his family. One or two anecdotes could really tell the tale. The number of anecdotes and details left me not even liking these people much less wanting to go on reading the book.
The ending did whiz by a bit better, but still, I could find some room to edit here as well.
While Mailer's writing is strong, he needed a more critical editor. Good writers really need good editors so they can continue to be good writers.
That may sound a bit confusing, but writers love their writing so much, it's often difficult to kill a single word, much less thousands of words.
While my CMA colleagues might differ with me on this--some may even call for my ban from the listserv for saying this, I'd say this book isn't a must-read book for aspiring journalists.
It does give great examples of exhaustive research, but what it doesn't do is show aspiring journalists, especially young ones, the importance of picking and choosing really stirring information that tells your story. This story seems to air it all. Not my idea of well-written and well-edited journalism. But then again, I'm an editor at heart.
Up next: a quick veer from the CMA list of books journalists should read: A review of Joseph Conrad's Heart of Darkness.
Last semester, a wonderful listserv that I'm on through College Media Advisers, was abuzz with the books that you must have read if you're a journalist. It wasn't just the books, it was authors as well. So being the dutiful student of journalism that I am, I undertook some of this list.
Here are some of my comments on some of these books and authors. I'll be posting the list as well, just in case you want to become a dutiful student of journalism too.
I finally finished reading The Executioner's Song by Norman Mailer. I started this before Christmas, but had to take a break, since the book was hurting my hands it's so weighty. I went back to it after the first of the year, and finally finished it in February. Whew...
What can I say about this book: Plodding...In need of editing.
Pulitzer Prize-winning author and major motion picture aside--the microscopic look at the execution of Gary Gilmore, the state of Utah and the Mormon Church were just as weighty as the book that left me pushing to stay involved. Not that I don't like weighty material...I do. However, there are some portions of this book that just need to be tightened.
The beginning is where I'd start the whittling. Take out some of the interminable description of Gilmore and his family. One or two anecdotes could really tell the tale. The number of anecdotes and details left me not even liking these people much less wanting to go on reading the book.
The ending did whiz by a bit better, but still, I could find some room to edit here as well.
While Mailer's writing is strong, he needed a more critical editor. Good writers really need good editors so they can continue to be good writers.
That may sound a bit confusing, but writers love their writing so much, it's often difficult to kill a single word, much less thousands of words.
While my CMA colleagues might differ with me on this--some may even call for my ban from the listserv for saying this, I'd say this book isn't a must-read book for aspiring journalists.
It does give great examples of exhaustive research, but what it doesn't do is show aspiring journalists, especially young ones, the importance of picking and choosing really stirring information that tells your story. This story seems to air it all. Not my idea of well-written and well-edited journalism. But then again, I'm an editor at heart.
Up next: a quick veer from the CMA list of books journalists should read: A review of Joseph Conrad's Heart of Darkness.
Books Journalists Should Read, Maybe
Heart of Darkness by Joseph Conrad
Heart of Darkness by Joseph Conrad follows a similar story-line as Francis Ford Coppola's Apocalypse Now. Instead of someone going to kill Kurtz, as is the case in Apocalypse, the company has sent a steamboat to retrieve Kurtz in Heart of Darkness.
Conrad's Heart of Darkness is at the same time the jungle that surrounds the river and the person that Kurtz has become in the wilds of Africa, miles from civilization. Africa itself becomes a verifiable character in the book, closing in on the crew, killing those with a weak resistance and coming alive with sound, light, darkness and deadly natives hidden in its depths.
While Marlon Brando's hoarse mumblings of the phrase, "The horror. The horror;" make for a much quoted part from the movie Apocalypse Now, the setup or interpretation of that famous quote comes later than when the quote is uttered in the book.
Kurtz has just died, and the narrator Marlowe is commenting on life:
"Droll thing life is--that mysterious arrangement of merciless logic for a futile purpose. The most you can hope from it is some knowledge of yourself --that comes too late-- a crop of inextinguishable regrets. I wrestled with death. It is the most unexciting contest you can imagine. It takes place in an impalpable grayness, with nothing underfoot, with nothing around, without spectators, without clamor, without glory, without the great desire of victory, without the great fear of defeat, in a sickly atmosphere of tepid skepticism, without much belief in your own right, and still less in that of your adversary. If such is the form of ultimate wisdom, then life is a greater riddle than some of us think it to be."
Marlowe contends that he was within the last breath of life and realized that he would have nothing to say, which is why he admired Kurtz, who uttered the famous line before dying. When Marlowe visits Kurtz's intended, he lies and tells her that Kurtz's last words were her name. In this exchange, we see that Marlowe has escaped the heart of darkness, taking into account another person's feelings instead of the dark truth, providing Kurtz's intended with the humanity with which Marlowe protected Kurtz's image.
In the end, is the heart of darkness within the geographical heart of Africa, or is it within each of us? Conrad seems to say that the latter is the case,but each of us also has the capacity to spread light, much like Marlowe did in the conclusion of the book, sparing Kurtz's intended's feelings and preserving Kurtz's image.
Heart of Darkness by Joseph Conrad follows a similar story-line as Francis Ford Coppola's Apocalypse Now. Instead of someone going to kill Kurtz, as is the case in Apocalypse, the company has sent a steamboat to retrieve Kurtz in Heart of Darkness.
Conrad's Heart of Darkness is at the same time the jungle that surrounds the river and the person that Kurtz has become in the wilds of Africa, miles from civilization. Africa itself becomes a verifiable character in the book, closing in on the crew, killing those with a weak resistance and coming alive with sound, light, darkness and deadly natives hidden in its depths.
While Marlon Brando's hoarse mumblings of the phrase, "The horror. The horror;" make for a much quoted part from the movie Apocalypse Now, the setup or interpretation of that famous quote comes later than when the quote is uttered in the book.
Kurtz has just died, and the narrator Marlowe is commenting on life:
"Droll thing life is--that mysterious arrangement of merciless logic for a futile purpose. The most you can hope from it is some knowledge of yourself --that comes too late-- a crop of inextinguishable regrets. I wrestled with death. It is the most unexciting contest you can imagine. It takes place in an impalpable grayness, with nothing underfoot, with nothing around, without spectators, without clamor, without glory, without the great desire of victory, without the great fear of defeat, in a sickly atmosphere of tepid skepticism, without much belief in your own right, and still less in that of your adversary. If such is the form of ultimate wisdom, then life is a greater riddle than some of us think it to be."
Marlowe contends that he was within the last breath of life and realized that he would have nothing to say, which is why he admired Kurtz, who uttered the famous line before dying. When Marlowe visits Kurtz's intended, he lies and tells her that Kurtz's last words were her name. In this exchange, we see that Marlowe has escaped the heart of darkness, taking into account another person's feelings instead of the dark truth, providing Kurtz's intended with the humanity with which Marlowe protected Kurtz's image.
In the end, is the heart of darkness within the geographical heart of Africa, or is it within each of us? Conrad seems to say that the latter is the case,but each of us also has the capacity to spread light, much like Marlowe did in the conclusion of the book, sparing Kurtz's intended's feelings and preserving Kurtz's image.
Thursday, July 1, 2010
Animoto Slideshow of Newsplex Week 2
Create your own video slideshow at animoto.com.
The final week of Newsplex is coming to a close. A great group of folks attended for the second week as well. It's been a great way to meet and learn about new people, including two international journalists/professors.
Because many of the exercises from this week were the same as last week, I didn't do most of them; however, I did do some additional exercises using some of my own content.
I also did this great exercise today--a stand up, on-camera response to a news anchor. I have a more profound respect for my broadcast friends. Wow--remembering what to do and say and listen to that person in your ear is tough! I'll definitely need more practice on this, and now I have a great exercise to subject my students to. I know you're all looking forward to that. And so am I, but I'll tough it out with you and get the practice as well.
Monday, June 28, 2010
Week 2 Newsplex Training 2010
Today starts my second week fo training at Newsplex at the University of South Carolina in Columbia, South Carolina. This week focuses on teaching and researching convergence.
I spent the weekend touring a couple of cities--Charleston, SC, and Savannah, GA, so I'll be posting content from those whirlwind trips shortly. You all will be subjected some more multimedia storytelling techniques when I'm posting this content so that I can continue to practice some of the software programs that I learned last week.
A couple of great tips from last week's seminar:
I spent the weekend touring a couple of cities--Charleston, SC, and Savannah, GA, so I'll be posting content from those whirlwind trips shortly. You all will be subjected some more multimedia storytelling techniques when I'm posting this content so that I can continue to practice some of the software programs that I learned last week.
A couple of great tips from last week's seminar:
- Adrive allows you 50GB of free storage space. Sign up for an account and begin backing up your data. Too bad I hadn't discover this until one of my external drives had a meltdown. Unfortunately for me, this is the drive that has, or rather had, most of my content. I'll be checking with the good folks at Texas Wesleyan's IT department to see if anything can be recovered--I hope; I hope.
- GimpShop provides a toned down, free version of Photoshop, so for those of you who can't afford Photoshop, download the software and play.
- Audacity also provides free audio software. Just download the software, and you can edit digital recordings, add effects, etc. before associating the ditigal recording with a slideshow.
Friday, June 25, 2010
Flash Animation Exercise from Newsplex
This is my final Newsplex post for this week--a brief Flash animation that we created. Now I'm off to Charleston.
My Newsplex Video with My Awesome Group
Thursday was video day at Newsplex, and my team shot this video using a Kodak Zi8 and MovieMaker. It was a good learning tool and a really basic video. Hopefully, I can remember how to do this for a movie of Charleston and Savannah. Check back after my worldwind tour this weekend, and thanks to everyone for their suggestions of sites to see in Charleston.
Thanks to Sue and Warren. You two are awesome!
Thanks to Sue and Warren. You two are awesome!
Adobe Photoshop Allows for the Kay Colley iPhone
It's amazing what you can do with Photoshop. As you can see, my face now appears on the iPhone. Not really. But at least on this iPhone it does.
The IT department at Texas Wesleyan will be upgrading The Rambler's Photoshop software this summer, so don't forget to check us out in fall. You'll never know what you might see.
The IT department at Texas Wesleyan will be upgrading The Rambler's Photoshop software this summer, so don't forget to check us out in fall. You'll never know what you might see.
My Newsplex Journey Using Google Maps
This week has been a week for Convergence Software bootcamp at Newsplex, including use of Google Maps. One of my students did an awesome Google Map for murders of journalists in Mexico, but this is my first Google Map. I'll update it as my weekend between Newsplex training sessions progresses.
View South Carolina June 2010 in a larger map
View South Carolina June 2010 in a larger map
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