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New Title, Art for Peikoff’s First Book

TCOHGOn November 25, Penguin gives a new title, cover art (pictured here) and author’s preface to Leonard Peikoff’s brilliant first book, The Ominous Parallels: The End of Freedom in America.

The book, The Cause of Hitler’s Germany, is an exhaustive philosophical study of what caused Nazi Germany. As the publisher’s new promotional material promises, Dr. Peikoff examines self-sacrifice, Oriental mysticism, racial “truth,” the public good and doing one’s duty—seductive catchphrases that circulated in Weimar Germanyand he demonstrates how unreason and collectivism led a seemingly civilized society to become Nazi Germany. Peikoff, who grew up in western Canada, lives in southern California and teaches a writing course in which I am enrolled, worked closely with Ayn Rand for 30 years. The preeminent Rand scholar and estate heir taught philosophy at Hunter College and New York University. Here, he offers a breathtaking comparative study and analysis of the rise of fascism in the United States. This was the first book by an Objectivist author other than Rand that I read and I found it utterly absorbing, like taking an intellectual odyssey in a style distinctly different from Rand’s non-fiction in the form of a cogent and captivating lesson in the modern history of philosophy culminating in the Nazi atrocities while ingeniously integrating what the author warns is the impending meltdown of the New Left. I was fascinated to learn that most Germans possessed, read and accepted Hitler’s Mein Kampf and to see how the ideas of Schopenhauer, Hegel and Kant continue to spread and influence the world around me. Philosopher and podcaster Peikoff, who was Ayn Rand’s long-time associate, has written two other books, Objectivism: The Philosophy of Ayn Rand and The DIM Hypothesis: Why the Lights of the West Are Going Out.

This volume includes the original introduction by Rand, who endorsed The Cause of Hitler’s Germany as “[a] truly revolutionary idea…. Clear, tight, disciplined, beautifully structured, and brilliantly reasoned.”

We the Living in 2014

Ayn Rand was asked to adapt her first novel, We the Living, which was published 78 years ago this week and has sold 3 million copies since, for the theatre and I recently learned that two never-before published versions of her stage play will be published this fall.

UncconqueredPalMacmillanAccording to Amazon’s book page for The Unconquered: With Another, Earlier Adaptation of We the Living, the hardcover volume by Rand will feature “the first and last versions (the latter entitled The Unconquered)…[w]ith a preface that places the work in its historical and political context, an essay on the history of the theatrical adaptation … and two alternative endings…” The new work is edited by philosophy professor Robert Mayhew, whom I interviewed five years ago about the novel. He also teaches at OCON.

WetheLivingWe the Living is a bitter tale of a triangle in Soviet Russia and an epic story of ideas, love and life. The 1936 novel, which I wrote about for an article distributed by Scripps Howard and again in a review of the movie adaptation, is haunting, unforgettable and helpful to living everyday life.

Book Review: I Never Knew That About New York

I-Never-Knew-That-About-NY-1The first cafe to serve cappuccino in America, Cafe Reggio, established in 1927 and featured in 1970s movies such as Shaft, Serpico and The Godfather Part II, is among the scads of trivia in the always enjoyable if not comprehensive I Never Knew That About New York by Christopher Winn, whose I Never Knew That… series is also nicely illustrated by his wife, Mai Osawa. The book goes on sale today.

For first-time visitors, longtime residents or those like me in between who have had an on-again, off-again relationship with America’s greatest city, this $16 paperback packs facts, stories and information into its pages. Lord & Taylor was the first store to introduce Christmas window displays, for instance, which one learns in an entry on Fifth Avenue. Most bits are included as stand alone paragraphs, though the book is separated by geography and includes essays, sidebars and longer but still short histories such as the bit on the New York Public Library.

I Never Knew That About New York contains morsels that may inform even the lifelong New Yorker. Did you know, for instance, that the Statue of Liberty’s real name is “Liberty Enlightening the World” and that Statue of Liberty is a nickname? You may know that Columbus Circle is the point from which all official distances to and from New York are measured, as Winn writes here, but do you know that the world’s first cinema opened in New York inside a converted shoe store? Among my favorites is a listing with online and physical addresses of places that are open to the public, from the J.P. Morgan Library and Columbia University to the New York Federal Reserve Bank and the Empire State Building. Neither encyclopedia nor travel guide, this hybrid of condensed histories is useful and interesting to everyone who loves New York

Movie Review: Catching Fire

CF posterLionsgate’s second installment in the series based on the young adult fiction literary series by Suzanne Collins, The Hunger Games, is not as satisfying as the first movie, which I reviewed here. The film, a two and a half hour episode titled Catching Fire, is too static. There are fine moments, scenes and themes – how could there not be with the West being on track toward dictatorship and the studio bringing on top talent to create this movie? – but the story is promised more than it is delivered.

Catching Fire is transitional, given the planned and hyped four-picture deal, but that doesn’t mean it shouldn’t stand on its own. Here, writers Michael Arndt (Toy Story 3) and Simon Beaufoy (Slumdog Millionaire), directed by Francis Lawrence (the atrocious I Am Legend), whom I suspect is partly the cause of the problems, take too long and convey too little. It’s not a bad movie. Fans will want to see it and should. But it is lacking in key parts.

Catching Fire fails to depict the full grip, scope and magnitude of totalitarianism. This pervaded the first picture in the capable hands of director Gary Ross. The death cannon lingered. Gray skies closed in. Every part of every person’s existence reeked of control by the state. By shifting focus to the personal after-story of heroine Katniss (Jennifer Lawrence again), who suffers post-traumatic stress disorder and psychological damage, the feeling of the dystopia’s chronic, constant control is dissipated. All the players return and they’re in fine form as Katniss is threatened and ordered back to the death hunt in an all-star, prior victor “Quell”. But a subtle approach by Gary Ross is replaced with more generic, overstuffed direction. This film is less cohesive.

Without a strong, integrated theme of oppression, the story’s rising demand for revolt feels unearned, episodic and tacked on. Action happens too fast. Relationships are abbreviated. Too much is stuffed. The need for revolt is taken for granted.

With so much going on, as hunting partner Peeta (Josh Hutcherson, who is very good) steps up again, too, one gets a sense that society should be moving toward revolution in an organic, grass-roots movement to quell – a term which originates with kill – the totalitarian state. And there are signs of rising opposition, such as when an old man defiantly whistles a tune or the people of District 12 unite to voice support for the good. These moments, and counterbalancing scenes of brutality, such as slave-whipping and black-bagging people’s heads, are well done. They drive Catching Fire in the first hour. The power of ignition is even in the government’s torching of people’s private property.

So we should see sparks. Beyond the deepening bond between the leads, we don’t.

Katniss is too caught up in PTSD, despite tender moments with her true love Gale (Liam Hemsworth) and her sister Prim, who has observed her sister’s acts of bravery and chooses to act on what she’s learned. The government’s monopoly on the use of force and constant threat to use it is spoken more than depicted, with President Snow (Donald Sutherland) personally confronting Katniss. In spite of missing elements, by the time the Quell gets underway, with predictable developments and usual Capitol freaks in tow, we’re ready to witness an unwinnable game and hungry for the rise of the resistance.

The game comes with a new batch of misfits. Here, too, there are good scenes. Director Lawrence is more comfortable expressing the script in action sequences than in depicting the cause of the action – rule by brute force – in all its insidiousness. Giant waves and lightning strikes are more interesting to the director than the forces behind both – statism – which diminishes the power of the writing. In one crucial scene, an old woman demonstrates without words how love of life is what matters – more than life itself – and the theme that the old and young are interlinked in camaraderie against the omnipotent state, as both persecuted groups are in reality under the fascist ObamaCare, filters through Catching Fire. The best aspects are muted by excessive, nonessential material.

Jeffrey Wright portrays an intelligent character in the jungle-set game. His character figures out a key point that could alter the course of history and power the revolution. It’s a metaphysical fact that he abstracts and, as played in the picture, it’s brilliant and original. Even better is his character’s insight that the state-sponsored “Quell was written into law by men – and, certainly, it can be unwritten.” This goes to the core of what satiates about this series: the individual transforming government-dictated hunger into hunger for rebellion, revolt and resurgence for life. However, the revolutionary theme is treated as a twist, not as a logical swell of the Wright character’s radical philosophy.

What might have been another work of art comes off as synthetic, like the artificial arena where people are pitted against one another – another metaphor for the deathtrap ObamaCare – and forced to fight for life. The story of one woman’s revolt against tyranny advances in Catching Fire. This time, it is less powerful.