Who would have thought – Stamps?

February 26, 2009

sarkozyIf this is not just a PR stunt, then you have to hand it to him keeping it a secret for so long… Sarkozy a philatelist! The wonders have not left this world! A born again stamp collector unearthed in the heart of the boyishly hyper-active president? Although he seems to be winning some hearts with his latest craze, this is beyond belief! To make the whole thing credible, he even set up an Elysee Philatelist Club, whose spokesperson quickly threw in that President Sarkozy’s collection is already spectacular, in part thanks to gifts from the British queen and California Governor Arnaud  Schwarzenegger.

But really, stamps? We are talking about the man who broke-up with his wife in a public quarrel, and in whirlwind romance seduced and married the ex-top model Carla Bruni? The man who made that new relationship public at a trip to Disneyland, of all places. A man who wears Ray Bans and Rolex like he’s a Mafia top dog. This is the man who collects stamps? A man who seems to have more meetings a day than time to drink coffees, spends a quiet evening at home, next to the stunning Carla Bruni, sorting out his stamps?

Do not get me wrong, I do not think hobbies have to be an adrenaline rush, and of course Sarkozy can take on any hobby he wants to, but the calm dignity required for stamp collecting just does not seem to be a characteristic of our President. In the Carla-fueled makeover he seems to be enjoying, this is presumably another step in rendering him more aristocratic, or more sophisticated. It might help up his popularity a bit (37% according to IFOP’s latest poll), to seem less interested in splashing about in money as a baby in a bathtub.

If anything, maybe it just hurt the Elysée to find out that all of Paris has been talking about Yves Saint Laurent’s spectacular art collection at the Grand Palais (see: Christies), and with this latest stunt they can finally bring back the topic we’re supposed to be talking about: El Presidente. Just like in the good old days when he was Minister of Internal Affairs.


Kindling themselves out of the Market

February 25, 2009

kindleLast week Jeff Bezos, of Amazon, unveiled the Kindle 2 electronic reader. The new model mildly increases battery life, has a little more storage and is a little faster compared to the 2007 edition. Hardly a revolution. And at a price tag of $359 (€278) in the USA, the new owner has to be very motivated indeed, as he is only really purchasing a support for books and magazines he still has to buy form Amazon. Summed up like that, the Kindle has the makings of a disaster. Or is there something else going on?

When the Kindle was originally introduced in 2007, there were already a few ebook readers about, mostly just showing what electronic paper could look like – a screen without the backlit glare in your eyes, one which would be as tranquil on your eyes as ink on paper, or at least, sort of. Amazon’s reader was, and still is, a not so flashy gizmo with limited capabilities.

What makes it good, is that The Kindle allows people to download books or magazines on-the-go (using cellphone technology) from the Amazon database of 230 000 books. Add on to that the possibility to read newspapers, magazines and blogs and you have an all round reading tool in your hand. But, still, the Kindle has barely moved since release: it still has no coverage (US only, which is unbelievably restrictive for a travel companion), it is mono-lingual(!) although it can display foreign books and offers almost no side services (the worst is probably that there is no wifi). Surely this is all easy to beat by a competitor?

Consider the other corner: A 3-man company called Lexcycle has launched an application for book reading on the iPhone called Stanza. There are an estimated 35 million people walking around with an Apple iPhone or an iPod Touch, of which about a million have already downloaded the application (for free). Books can be currently be downloaded in 60 of the 75 countries in which the iPhone is sold and they offer the possibility of export to another platform (eg the Kindle or the Google Android phone). The Lexcylce approach seems a lot more promising than Amazon’s, not to mention that an iPhone is cheaper and filled to the rim with other amusing functions.

Consider these two platforms and the point of ebooks. An ebook is supposed to be for reading on-the-go. In a face-off, the Kindle, again, will fail. Even if reading is more pleasant on a Kindle than on a mobile phone, consider where this reading is taking place. In line at the post-office, in a crowded subway train, on a lunch break, in a cafe waiting for the friend to arrive. People already have the iPhone in their pocket, and a reader, such as Stanza, will grant people 15 or 20 minutes of reading at these dead times. That adds up to a lot of reading, even if it is in small bursts. The iPhone and the likes will easily dominate the electronic reading market – till someone designs some actually flexible, affordable electronic paper which can serve wider purposes than a reading-in-line iPhone.

Amazon has hinted that it will offer its book database to mobile users ‘in the near future’, but considering the speed of their innovations we should not expect much. As Amazon patiently waits for other companies to create and conquer the ebook market, Google recently made 1,5 million public domain books available for mobile users. That is already a lot of reading for a market with still plenty of growth potential, which will barely be scratched by Amazon.

The new Kindle is an expensive temporary product which distracts from the real development of ebook readers and a market for electronically delivered press. Hopefully, Apple or some other manufacturer will design a flexible electronic paper, and combine it with an iTunes-type press centre to make it useful. Producing electronic paper requires a vision of the future press market, and Amazon, like many big companies, shows itself incapable of leading. Basically Kindle is a half hearted experiment from a company which should know better. As far as I am concerned, their new Kindle can be shipped out with the old.

UPDATE (11 MAY 2009): Amazon releases yet another Kindle, the Kindle DX which is even more expensive than the previous one at $500. Nothing really worth mentioning, but you could read a sharp analysis by Jason Kincaid if you want to know more.


The silent death of the Pariscope

February 24, 2009

pariscopeDo you realize, that that little weekly compendium has been guiding us through Paris from our back pockets for 44 years now!  It is not only as if it seems that it was always there, but for most of us, it pretty much was. From lying on your parents coffee table, to half squashed in your backpack, the Pariscope has been around town as much as you have. But when was the last time you bought one, or worse still, actually read it?

The Pariscope lists everything that’s on around Paris, in one very long series of names, addresses and details spanning over 200 pages per edition. And it is not the only printed source, you could have seen the same list on the pages of their famous competitor the Officiel des Spectacles or to different degrees in the rest of the printed press (most notably in the Figaroscope). So is there still a point to buying a Pariscope?

Flipping through the pages anno 2009, the limitations just slap you in the face. There are descriptions of plays, but where is the commentary from the specialists and the ranting from the general public? How far is rue de Trévise actually from the Opèra, can I walk? Where is Google Maps and the GPS? Ah, Chekhov’s Uncle Vania is playing at the Bastille, but what was that other play of his called which we saw in spring? Francois Ozon’s new movie Ricky is playing all over town, but the neighbours says it is very disappointing, can I not see a preview?

It just seems that all your nightlife -and daytime- queries are no longer being answered by the Pariscope. The grouping together of the information is as timelessly important as ever, but it just is no longer good enough. The Pariscope needs to be an application on an iPhone, or a website in the least. And those are popping out of the ground all around us, websites offering more and more reviews, interaction and gimmicks. Similarly, the iPhone has been offering more and more nifty little tools to help you on your way to solving the dilemma of tonight’s programme.  So what is left for the old Pariscope?

Not much, I’m afraid, they have become the over-the-hill bachelor it has become uncomfortable to invite. If they do not find themselves a partner and launch themselves into the interactive world very quickly, it will all be over for them, out of pure futility of their magazine. Please, Pariscope, reinvent your format to save yourself so that a next generation can also proudly carry you around in their backpacks as we have done, even if for them it will be on their iPhone.


Le Cosi

February 23, 2009

cosi9, rue Cujas :: 75005 Paris :: Tel 01 43 29 20 20

Metro: RER Luxembourg

Open Monday to Saturday, noon to 2:30 pm and in the evening from 7:30 pm onwards

Located just off the busy rue Sufflot which takes you from the elegant Luxembourg gardens to the monumental Pantheon, this is a Latin Quarter which could go all ways, from a culinary and a clientele point of view. These are the crossroads of the students and professors of the Sorbonne, the editors of the academic publishing houses and a never-ending flow of tourists. Le Cosi presents itself as a southern breeze in an ivory tower, where an editor can be comfortably seated discussing a nouvelle vague next to a couple of lovers dreaming in each other’s eyes. The calm, refined interior lies under a high ceiling, with red and wood as the dominant flavours inter sped with southern paintings.

Le Cosi serves Corsican specialties, which takes on a sunny Provence-Italian country taste varying form game bird to cod to veal with olives. Partly creative cooking and presentation, and partly an honest grandmothers kitchen, there is not much which can go wrong here. Prepare yourself for a great treat and be sure not to miss out on their Fiadone (cheese cake) for desert – it’s delicious! As you might expect, they’ve gathered together a very appetising wine list, with a fair share of Corsican elixirs. The only reason not to go to Le Cosi would have to be the price… but perhaps that can be just an excuse to go for lunch. And what a lunch that will be!

Lunch Menu: Appetiser & main course 15€ // Main course & dessert 15€ // Appetiser &main course & dessert 20€

Evening Menu: Dinner is exclusively a la carte (about 40€ without wine)

www.paris-restaurant-cosi.com


Grolsch in Paris

February 19, 2009

grolschGrolsch has been around a while. Arguably the best Dutch beer, if not the best in the world, it was originally founded in 1615 by Williem Neerfeldt. You would think that after almost 400 years, it would be a breeze to pick one up in Paris… well, think again. The world is unevenly divided. London and New York have both become blasé about it, with Grolsch virtually becoming a broker’s trademark, but in Paris the exclusivity is still on. Although… there is a charm in being special, isn’t there? The Dorsser offers you a little guide to where to find a Grolsch, without leaving the City of Light. Just keep reading and enjoy!

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Download the Grolsch in Paris guide here

If you’re not happy about the limited number of salespoints… you know where to complain… Grolsch does not have to be available at every bar in town, but a better score than the current one is not too much to ask!

www.grolsch.com


Noussou la Dernière Victime

February 18, 2009
screen-captureTheatre :: Enam Ehe :: Théâtre Pixel & Compagnie des Aléas :: France :: 2009 :: 1h

No curtain. There is nothing to hide. As the audience takes its place, several musicians can be seen on stage holding African drums and painted faces, a soldier against the side wall and a few other still unidentified characters. They are all completely stationary for the long 20 minutes that it took to fill up the pocket-sized theatre in the bustling immigrant streets behind the Montmartre. The doors close behind you, blocking out the sounds of the street and you are left alone with the drums.

Ms Ehe uses her young theatre group to react to the unfolding power abuse in her native Togo, putting an emphasis on the late General Eyadéma. In the play, she places him up high on a pedestal as a statue still to topple. At times he plays the role of the soapbox politician, rallying with anything he can get, quoting freely from the battle slogans of Sarkozy and Obama. But he would presumably say anything he had to, just as we see he is willing to do anything he has to to cling on to his absolute power, even jailing his dissident brother. If the power actually procures him any pleasure, then he is the only one. When fate strikes him dead the people celebrate with joy, but ironically their prime moral defender, his brother, still rots in jail.

Although the title promises some optimism (‘the last victim’), the play is merciless, even too much so. The mix of physical and verbal violence, with the African rhythmic drums and visual imagery drives home the message of power abuse originally, but the audience could have been spared some. The music, both the drums and the singing narrator, is impressive, but the constant pain of the tragedy lies heavy.

Insisting to keep the pressure on, Ms Ehe could have balanced the production out intellectually. Power abuse, which is so central to the play, in shown here in an open manner, as if it is possible uphold a grip on a country without rewards being handed out to the abusers. This is false. Similarly, when the people rebel here, they are portrayed as completely ignorant to their needs – they want freedom, but can not elabourate it any further. But they should not have been blamed. Any philosophical discussion about what freedom or democracy is, should have been shown between the Mandela-type brother and the dictator. Mocking the rebellious people for their ignorance is uncalled for – they know they do not want to be abused and that should be enough. The brother should have been given the right words to explain the rule of law, or such. That was the right place for such an exchange.

Should the production be taken any further, the group will have to loose at least half its cast, perhaps converting the musicians into video projections, integrating the narrators’ roles and such to make the group leaner and fit to travel. I hope that will happen. I also hope the essential element, the originality of the presentation will remain well in tact. So when those doors fly open once again, and you are back on the busy boulevard, you will have the drums and images to take with you.

www.theatrepixel.com


Terre Natale, Ailleurs commence ici

February 15, 2009
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Exposition :: Raymond Depardon, Paul Virilio :: Fondation Cartier pour l’art contemporain :: Paris :: 2009 :: Expected to close on March 15, 2009

Raymond Depardon is a well known French photographer who does not shy away from documentaries and moving images. This exposition is about film, with human displacement the theme. When we walk in, we are shown a film, Donner la parole, which starts with the inverse: people talk who are firmly rooted in their country and language. We hear, amongst others, from Yanomani’s in Brazil, the Kawesqar in Chile and a Breton in France. They talk to us in their native tongue about their attachment to their land. Threats to their way of life come in different forms, from environmental (rising sea levels, pollution, deforestation) to socio-political issues with jobs or minority protection. Some of them are fearful of the future and others just angry. Watching them on this enormous screen in front of you makes you wonder what you, or they, can do to protect themselves. It will not be easy in this ever globalising world with issues which stretch out to every corner.

But the lesson in human responsibility is not over. In the next room, we get to see film images of a tour of the world in 14 days with 7 stops. Although it is unfortunately without the ambient sounds, which would have added a little more exoticism to the images, we get to see some perceptive photography mixed into the banal of the day-to-day lives of people around the world. The film is both superfluous and harmonising as a vision. The power of the film is not quite a strong as his pictures independently, as one can see them in his book. There is, however, a direct point with the follow-up of the exhibition: what Paul Virilio set up downstairs.

An empty space with monitors hanging from the ceiling showing images of world news, at times jumping from one screen to another, at times in union. Behind us we hear the voice of Virilio theorising about the forming ways of life in the world’s urban centres, as nomads skip about from one physical location to another with their lives mostly in a virtual realm. The cliché jet-set as the pioneers of a new society clashes with the images of refugees running from hunger and war on the screens, helping you realise the difficulty of prediction in the real world. But there is help. Mapping out the world’s issues makes it easier to deal with them, and in this world of excess data, actually using it, is surprisingly difficult. Paul Virilio makes a great attempt.

Seated on the floor in the next room, with a screen which encircles you for three quarters of the way, you are injected with an overkill of global statistics. What makes it interesting, is the novel presentation form, which even modestly could be described as an orgy of visual effects. The presentation opens with a representation of the passage of the half the world’s population from the rural areas to the urban, and where these cities are. We get to see  an overview of recent human migrations, mostly out of hotspots (war, famine) which look like invading armies moving around the world. You can not help but feel a doom loom over us.

Having shown which countries managed to attract the most immigrants, as flags, the video adds little flags below each large one to show the remittances when are sent back by the migrants to their home countries. Of course money is only part of the reason why people move anywhere, with a war raging (as is often the case with mass displacements), your top priority is safety. But to illustrate the migratory reality, Virilio plays around with the remittance concept. For France you will see, for example, the amount of money Moroccan immigrants send back home. After that, the little flags are shifted along, and you can see how much the Moroccans in The Netherlands have sent back home, and so forth with the money carrousel. Although it is hard to estimate how much money actually flows back into your country from those that leave, you are none the less given an idea. But, as mentioned, it is more an idea of contemporary migrational levels  rather than economics.

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Migration naturally increases with wars, famine and environmental factors when people flee. Wars can not really be predicted, but the presentation does an elabourate job of showing natural catastrophes around the globe and the future rising water levels due to climate change. This is taken on into the future, predicting the number of (coastal) cities which will be submerged provoking a mass exodus. Very upsetting, of course, but without explanation is this not just alarmist and one-sided?

And what is the point of all this in an art gallery? Statistics should be under the scrutiny of economists and social scientists and evaluated by theorists and politicians. For many people there is a large gap between our idea of our world and the reality, not in the least with an issue as tangible as migration. There has always been a lot of displacement and migration, just look at your own families, and is not a reason for panic. Rising water levels, on the other hand, and the consequences which can flow from that…

As far as art is concerned, the animations are impressive, to say the least. This is clearly the way forward of dealing with mass information aimed at a mass audience. But we should also be careful, as it is manipulative by virtue of its speed, not allowing you to critically evaluated what you are being fed. And that, even assuming that you have some kind of background knowledge you can test it to. Terre Natale asks questions in a somewhat paranoid way, but see it for what it is worth: the future of statistical presentation and an extension of your understanding of our diverse planet.

http://stewdio.org/work/terrenatale

NB There is a beautiful, related, project out there, for those who have a thing for statistics, in the Gapminder, which gives a thrilling image of human development.

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Fondation Cartier pour l’Art Contemporain

261 Boulevard Raspail, 75014 Paris
+33-14-218-5650
www.fondation.cartier.com

Advertising and the purpose of television

February 11, 2009
tvWatching your favourite television programme uninterrupted by perfume and soap advertisements is the dream of any viewer. In France, that dream has just become a reality for the 4 state-owned channels: all the advertising is banished to the private channels.

In the days of the all pervasive ostensible logos and defence of corporate interests, to what do the French viewers owe this honour of logo-free programmes? “If we keep commercials we are subjecting ourselves to the tyranny of audience ratings. And this always means the worst programming dumbed down to lowest levels,” Sarkozy argued last February. “(…) public television must be different. It must lift people up and excite their curiosity, conscience and intelligence.” President Sarkozy’s rhetoric sounds appealing enough, offering us better television, uninterrupted. Wow. At the risk of sounding cynical, is there a catch?

The End of French Television Advertising: Under President Sarkozy’s new media reforms, French prime time television has become free of all commercial breaks. Currently the programming in the evening from 8pm to 6am is uninterrupted, and by 2011 all 4 national channels will be completely advert-free.  The financial shortfall will be covered through taxation on private television channel advertising (1.5 to 3%) and internet and mobile phone operators (0.9% of revenue). ( Top: Humax television envisioned by Tej Chauhan. Below: President Sarkozy, courtesy AFP.)

The reform does indeed have its detractors. Some suggest that the move merely shifts more advertising revenue to TF1, France’s most popular private channel owned by Martin Bouygues, a friend of Sarkozy. Others see the reform as a way for the state to exert more power over the stations, compromising their independence. The former is a popular view, as testified by TF1’s share price shooting up. As for the loss of independence, that will only partly be the case. The state will have more control (as the reform includes the right to choose the director of France Televisions), but state television “should” not be steering against the interests of the country as it is. Independence, means that the channels can decide for themselves what that means, rather than having their mantra imposed on them by the state. Whether they will be more or less independent after reform is very hard to judge at this stage. What can be judged, is the friendship between Martin Bouygues (of the leading TF1) and the president,  which, in itself, is more worrying to television independence. TF1 is a private company and should certainly not be taking orders from the Elysée.

As the independence of the media is fundamentally important to the functioning of a democracy, it fuels the debate on whether or not to enact the media reform. In this case that it is certainly debatable. But there is something else which clouds our judgement: advertising. Does advertising actually influence programming? Yes, it does. A commercial TV channel is a profit seeking enterprise. It tries to attract as many viewers as possible to maximise its advertisement revenue. This tends to put game shows, American series and such on the air (as TF1 does). Such a channel is not necessarily all fluff around the adverts, as there is a point to making specialist shows as well (targeting a specific group of people) if there is a market for them. Teen music shows or gardening specials attract certain groups of people advertisers may want to target, as would some documentaries. It is worth noting that even with advertisements, the public channels held long philosophical debates which can only be followed by a small group of intellectuals.

sarkoThe president hopes the French public television will rival the British BBC. But why, really? It is perhaps not overly controversial to accept the superiority of the BBC over the French public channels, but what has it contributed to the UK? Or, what can it do for France? Does more quality television increase the general intellectual level of a country, the happiness or the political stability? Let us not forget that  these channels are state owned, so there must be some kind of common interest in keeping them afloat. But what? Is the president chasing an ideal of the active citizen, who, when more enlightened will not let himself be manipulated by his  elected leaders and can serve as the cornerstone of democracy? It sounds philosophically sound, so should this action be seen as an ideological reform. If this is so, does television actually contribute to the promotion of the enlightened citizen?

Television has some fundamental flaws for intellectual activity. Following any kind of argument on screen critically is near impossible, which is why “intellectual television” is an oxymoron. To be able to follow a programme, one has to let the images stream into one’s head. One has to accept each premise to be able to take in the next. Note that watching television is  a completely different experience to reading. The former is inherently passive while the latter is active. When you read a text, you can move backwards and forwards in the text as you see fit and as you consider the validity of what you are reading. The pieces have to be stuck together by the reader, encouraging the appropriation of the text, broadening his understanding. Television can never do this. But what can it do?

Television programmes can show you things you have never seen before, and otherwise might never see in real life. They can broaden your horizons. In an ideal world, you would be stimulated by something you see on television and then go outside to find out more. Television can open your mind to experiences of other people, making you more open-minded. Naturally, the programmes can also quite easily inspire fear, which can be abused for political gain. It is a tool which changes people (besides promoting obesity through inactivity). In the context of a country, television brings people together, convinces them to think alike, discussing similar issues in a similar manner. It is one of the greatest nation builders ever developed. Television promotes the use of a national language and promotes the national political outlook. Ideally, television supports the political leaders, but it has to be free to do so (or not) for democracy to work. Television is the backbone of national stability.

But surely advertising fits snugly in such a nation-friendly programme? A television station which supports national unity, promotes the national culture and (roughly) the political outlook, and at the same time encourages the population to consume more goods… how can that be a bad thing? Both in the sense that people are encouraged to discuss matters they are presented on television by the programmes, they may discuss (and buy) the goods shown. So, even if the programming is not spectacular and swamped under the perfume and soap breaks, the television will serve its purpose in the grand scheme of the nation.

There is also another, more subtle advantage to commercial television.   Advertisements help convince people they live in a free country, as it makes them feel like they have a say even at times when they might not (away from elections). Advertisements suggest choice (whether or not there is one), generating the illusion of being in control over both their lives and the society around them. It is perceived as the counterpart to democracy, or even as the price to pay for living in a free society. Inversely, programmes without advertising are now perceived as propaganda, people assume that it must have been paid for with some interest in mind.

To sum it all up: It would be the right time to ask what public television is for and if we need it. If it is really to promote intellectual advancement, as the President suggests, we could seriously doubt its effectiveness.  If it is to be in the interest of the country, we would probably be better served keeping those breaks in there. I think the president got the reform right, with a broader taxation base to reflect the future users of television (internet, mobile phones), but bluffs on the reasons. There are two reasons which would really hold up: some better programmes, presumably, which is great for the national prestige. And secondly, well, actually not having commercial breaks (!) – but do realise, that if you are invited to a talk-show now, you will actually be expected to finish your sentence…


Shall I buy a new Audi or 6 new Smarts?

February 10, 2009

object015-copyOf course there is not a person in the world who will be doubting between those two options. Recently embarrassed by an online competition, I realized that I knew nothing about car prices. But it did spark a curious thought wave for car buyers. Presumably because you never compare the prices of cars of different categories, you already have a benchmark car in mind, for instance a Smart, and will compare the other options to that one – one of which you will eventually buy.

But it is fun to think out of the category. Let us taken an example, starting high. It appears that you can buy a Ferrari (California) for 180 k€. Not too bad for a Ferrari you might think. Indeed, until you realize that you could also get both yourself and your spouse a Corvette (C6) for the same amount, and have enough left (50k€) to hire a butler for a year. But of course, that is not how people think. You want the Ferrari and you will stretch (or not) the finances for it.

But still, car purchasing is a curious game. Instead of that Ferrari, imagine you had your eyes set on a Bugatti (Veyron). You could get 9 Ferrari’s for the price of that one, or a whopping 25 Corvettes! Almost a Corvette for every day in month! Bear in mind that that does imply that finding that parking spot on your block is going to be a little more difficult…

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But say you are not in the market for a Bugatti or a Ferrari for that matter, and were rather looking at a Smart, a Fiat 500, or a little Peugeot cabrio to take you around town. These are all about the same price (18k€), as would have been a larger SUV, like the Nissan Qashqai. Of course you could still get 2 Logans at this rate and have enough left over for a simple scooter. They are all cars and our choice of vehicle will depend on some objective criteria (such as power, comfort or fuel consumption) and a whole lot of purely subjective ones (variations on “I like it”) which will determine your decision. Either way, it is a major expense.

Smart’s sales tactic, selling cars like milk cartons, encourages the practical and easy side of their vehicle. And they look like fun. But you are not the only one who thinks so. The Smart (Fortwo) is also the most stolen can in France today (2007, Auto Plus). Since theft is partly for resale (usually the more expensive cars) and mostly for parts, popular cars tend to be the ones which do well in the stolen car business as well. In the theft popularity contest, the Renault Twingo is next, followed by the Peugeot 306 and the Renault Cleo. They are all small and popular cars. Of course small cars are often left out on the street as well… so perhaps instead of that Smart for 18k€ you could consider that 12k€ Cleo and fork out for a garage with the remaining 6k€, if you can get a garage for that rate where you live… or perhaps you should just get the Smart… because it’s the one you had your eye on from the start. After all, arguments are just arguments.

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After Dark

February 5, 2009
afterdarkBook :: After Dark (アフターダーク ) by Haruki Murakami (Japan) :: Alfred A. Knopf (US), May 2007
In a contemporary Japanese urban setting, presumably Tokyo, Mari Asi, an introverted young 19 year old, misses her last train home on purpose, preferring to spend the night reading in the anonymity of the night. Mari suffers under the weight of a secret, one she can not deal with. Throughout the night, she is confronted with others who all bear a cross. Through the common loneliness of the night, she finds some solace, some strength to deal with the reality of day.

What is remarkable about After Dark, is the uncommon narrative – not only does the novel follow the night chronologically in “real-time” (roughly, depending on the speed of your reading), but the author addresses the reader personally, taking him or her by the hand into the scene, as if our eyes are fixed to a floating camera which can be moved around. He does not hesitate to remind us of our helplessness as a fly-on-the-wall investigating the scenes but powerless to help the characters. We are taken along a tour of details both relevant and not, finding clues as to the scenes we are witnessing. The narrative-form has both an intimate and distant effect, as we find ourselves in the story but somewhat removed from the characters. These scenes are alternated with metaphysical scenes, which conjure the fear and estrangement of the hidden mirror-world of Mari. These scenes are not the uncompromising success of the book, but they do bring us closer to the thoughts and worries of Mari.

On her nightly escapade, Mari bumps into a vague friend of her sisters, the skinny, trombone-playing Takahashi who, at his turn, has her help-out the big ex-pro-wrestling love-hotel manager Kaoru. The night-time exposes the roughness of life and the kindness of strangers as only a tired darkness can. The night is portrayed as that slow time in which reality mixes with illusion, where secrets are guarded as crown jewels or given at the whim of the moment. It is a time where normal rationality does not play. It is a world with but a vague similarity to the daytime, marked by the shadows of the insomniacs. It is a time and place where the remaining working souls labour to their hearts content, and the others are freed from the constraints of productivity to linger or play. It is a calm but cruel world frozen in prose in After Dark.