“The whole lesson of this pandemic, and the whole lesson of 9/11, is we can’t ignore the world, or if we do ignore the world, it’s at our peril,” Haass says. “These oceans that surround us are not moats. We’ve got to pay attention to the world and we’ve got to fix things here at home.”
The ambition of Richard Haass’s new book is clear from its title: “The World: A Brief Introduction.” In just 400 pages, Haass, who has been the president of the nonpartisan Council on Foreign Relations since 2003, offers a primer on world affairs. On this week’s podcast, Haass talks about why he wrote it. (Read more)
Richard Nathan Haass is an American diplomat. He has been president of the Council on Foreign Relations since July 2003, prior to which he was Director of Policy Planning for the United States Department of State and a close advisor to Secretary of State Colin Powell.
Butterflies are one of the world’s most beloved insects. From butterfly gardens to zoo exhibitions, they are one of the few insects we’ve encouraged to infiltrate our lives. Yet, what has drawn us to these creatures in the first place? And what are their lives really like? In this groundbreaking book, New York Times bestselling author and science journalist Wendy Williams reveals the inner lives of these “flying flowers”—creatures far more intelligent and tougher than we give them credit for.
In this stunning but sinister visual universe, beasts and birds are not mere aesthetic objects but dynamic actors in allegorical struggles: a wild turkey crushes a small parrot in its claw; a troupe of monkeys wreaks havoc on a formal dinner table; an American buffalo is surrounded by bloodied white wolves. In dazzling watercolor, the images impress as much for their impeccable realism as they do for their complex narratives.
“Shadowplay” opens in Dublin in the winter of 1876, with O’Connor painting that ravishing city with a soft lyricism that Stoker himself might have envied: “Smacks heading down the estuary, trailing petticoats of nets, out towards the expanse of the sea.” Stoker, a government clerk who moonlights as a theater critic, is reeling from the visceral intensity of Irving’s performance in Dublin as Hamlet. “Eyes glowing red in the gaslight,” Irving terrifies the audience, “slinking towards the lip of the stage, left hand on hip, wiping his wet mouth with the back of his sleeve. Sneering, he regarded them. Then he spat.” (
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In his paintings we see books on their own, or books in the company of people or other objects; small, lonely ziggurats of books, or a book beside a candle. That last juxtaposition is telling in the extreme. Vincent had a reverence for books. They were sacred ground. They have a kind of inner glow about them.
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