Madeline may be about to celebrate her 75th birthday next year, but the beloved little girl never seems to grow up. After more than seven decades she's still having adventures donned in her coat and big yellow hat with a ribbon down the back.
Readers were first introduced to Madeline in 1939 by author and artist Ludwig Bemelmans. He would go on to write a series of stories that each began in the same way:
In an old house in Paris That was covered in vines Lived twelve little girls in two straight lines.
Before seeing Paul Greengrass' nerve-wracking, based-on-fact thriller Captain Phillips, I'd never been able to get my head around the logistics of Somali piracy. Enormous commercial freighters, captured and held for ransom by tiny bands of pirates — often teenagers — who always seem to overtake the freighters on the high seas in fishing skiffs smaller than the freighters' lifeboats.
I mean, you wonder: How on earth could four or five teenagers capture a freighter, subduing a far larger crew and extracting millions of dollars in ransom?
And finally this hour, we celebrate the 110th winner of the Nobel Prize in Literature, Alice Munro. She is the 13th woman to win the award. The Canadian writer was hailed by the Swedish academy as a master of the contemporary short story. Over her career, Munro has written 14 story collections and one novel. As NPR's Neda Ulaby reports, Munro began writing as a child in rural Western Ontario, raised in a family of tough Scottish Presbyterians.
Alice Munro, who won the Nobel Prize for Literature today, taught me something important and abiding and true about evil.
Specifically, she taught me about that singular species of evil we swim through all our lives. It's the evil to which we petty humans default, even — especially — as we reassure ourselves that we are blessed creatures, generous of spirit. It's the evil born of thoughtlessness and self-regard, and it crouches, waiting, in every conversation, every appraising look, every single human interaction that fills up our days.
Loose, lively and agreeably unsolemn, the alt-culture biopic CBGB is an account of thatManhattan punk-rock crucible whose audience will likely be even smaller than the crowd that actually went to the club in the 1970s.
That's because to really enjoy Randall Miller's film, viewers not only probably need to have experienced the club in its formative years; they'll also need not to be too terribly invested in their own versions of what happened there. This is not a film for purists or quibblers.
Originally published on Fri October 11, 2013 3:34 pm
By Ian Buckwalter
There's the strong silent type, and then there's the strong mute type. In Robert Rodriguez's Machete Kills, journeyman tough-guy Danny Trejo skews toward the latter. If the recurring catchphrase in these films is "Machete don't ____" — as in, Machete don't text, Machete don't tweet, Machete don't die — the fact is that what Machete mostly don't do is speak.
Escape From Tomorrow, a dystopian fantasy about a laid-off worker on the lam at Disney World, comes bloated with marketing bluster: The movie, as its PR people have been trumpeting for months, was shot guerrilla-style at Disney parks in Anaheim and Orlando.
Originally published on Thu October 10, 2013 5:12 pm
Fast-food giant McDonald's is set to become a publishing giant as well — at least temporarily. For two weeks next month, McDonald's says it will oust the toys that usually come in its Happy Meals and replace them with books it has published itself.
Photographer and video artist Carrie Mae Weems was having a tough day at the studio last month when she learned that she had been named a MacArthur fellow.
"My assistants weren't doing some things they were supposed to be doing. And so I'm screaming at them, and just in the middle of my rant the phone rang," she tells NPR's Michel Martin. "I sunk into my chair, put my head down on my desk, and cried and laughed for about five minutes."