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Reviews

Film Review: Salinger

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My Review of Salinger

Salinger, the ten-years-in-the-making documentary by Shane Salerno, is a surprisingly moving and thorough look at the life of one of American’s most beloved iconic writers. It is a must-see film for anyone who appreciates the child birthing-like nature of writing and its nearly supernatural ability to give voice to our shared humanity.  Surprisingly because there was a veneer of sensationalism/celebrity-chasing in the marketing of the film as a “never before seen” and uncomfortably probing  wide-angle-lens-ish expose on a man who purposely shunned the spotlight. The Catcher In The Rye captured the hearts and minds of generations; the very relatable angst of Holden Caulfield and his condemnation of all things fake made this seminal work timeless and dearly loved and not just one of those other classics you were forced to read in English class but never really enjoyed. Salerno’s documentary certainly covers a lot of ground—as for the attention-grabbing ploys, we can chalk those up to misguided publicity efforts because the strength of the film is certainly not in unearthing unseen footage but in painting a holistic portrait of the enigmatic Salinger.

Salinger makes a lot of how World War 2 shaped J.D. Salinger, calling it the “ghost in the machine of all his stories” and rightfully so—this is the meat of the film, providing an unparalleled glimpse into something that affected the author’s work profoundly.  Salinger was very patriotic and determined to serve in the war and voluntarily enlisted, not even imagining the horrors that lay ahead. Being a part of D Day (while carrying six chapters of Catcher In The Rye in his pocket) and the ensuing 200 days of battle, he fought in the fields of France aptly called “the meat grinder,” where routinely 200 men would die in the span of a couple of hours. Witnessing the sheer desecration of humanity in camps abandoned by the Nazis left lasting scars on Salinger’s mind and he suffered a nervous breakdown in Normandy. His treatment and the themes of “craziness” and damage to innocence would make an indelible mark on his writing, finding its way into almost all of his stories. Salinger’s coverage of the author’s war years also shines a light on his complexity as a character—despite his later reputation as a recluse, he was affable, close to his fellow soldiers, and very in tune with the perspective of both the victims and the perpetrators, especially when he started working as a war investigator in the aftermath. He also met Hemingway there who was very encouraging of the young author.
The only significant way in which Salinger sputters is when the film starts to psychoanalyze Salinger, ascribing motivations without much ground for the conjecturing and the giving of voice to opposing views makes for a  rather meandering “was he or was he not” narrative. For example, a lot of time is spent on Salinger being the “Howard Hughes of his day” yet aside from choosing to live in the woods, one would be hard pressed to see what other “idiosyncracies” he displayed. As for the recluse moniker–by all appearances, he was far from it. His retreat to Cornish, New Hampshire was a rather pragmatically-driven quest for find peace and silence to continue to work. He certainly seemed to be social enough in the town itself. He protective of just how much the public extracted from him, granting interviews on his own terms and with the reporters he trusted and staying actively plugged in. Salinger also suggests that Salinger IS Holden Caulfield and that all of his writing is essentially autobiographical, which does not seem to be of tremendous relevance nor anything specifically endemic to Salinger as an author. As Salinger once aptly put it, “I am a fiction writer, not a counselor.”
Salinger also delves rather deeply into Salinger’s relationships with women (specifically younger women). To its credit, the movie does not attempt to sensationalize those relationships under a queasiness-inducing rubric, but it does suggest, perhaps groundlessly, that he was platonically attracted to the innocence he saw in them and once he perceived them as “women,” he grew disinterested.  It also uncovers the author’s deep devotion to the Vedanta Hindu religious tradition and his daily meditation. There are some rather ham-handed plot-propelling devices too, like the constant flashing of one and the same picture or of the image of an actor sitting behind a typewriter in a giant movie theatre. The part of the film that delves into all of the killers who claimed that The Catcher In The Rye made them do it (John Hinckley, Mark David Chapman) also seemed entirely out of place with the rest of the narrative and thrown in for pure shock value.
Salinger offers an enthralling look into the creative process of the author. Salinger was really committed to writing a “good book and not just a best seller,” when he set out to write Catcher In The Rye. He was fanatically perfectionistic in his approach and fiercely protective of his work, to the point of being maniacal even about the punctuation. He toiled assiduously, doggedly writing all day, every day, to the detriment of anyone and anything around him. Ultimately, like his fellow creative geniuses, he espoused passion—“there has to be fire between the words.”
Salinger is a paean to lovely mystery that writing really is and a tribute to a man who wanted to be known for his work rather than for himself. The big revelation of Salinger’s end is that a lot of the late author’s works will be released starting 2015, including the completion of the Holden Caulfield and the Glass families stories as well as books on the Vedanta religious tradition.
Reporting

The High Cost Of Unpaid Internships

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Unpaid internships have become increasingly common in the current career landscape, becoming almost a requisite milestone in “growing up.”

Couched as an “investment in yourself,” and a place to “make contacts and get a job someday,” they are all too readily accepted as the only available path to full-time employment. Yet, the internships of today are a far cry from the apprenticeships of yore—by some estimates as many as 50% of internships are unpaid. Are they the quid-pro-quo arrangement they are posited as, or simply a front for employers to secure free labor that would otherwise have to be performed by an employee? With internships rife in all branches of the government, they stir up thorny questions about access, equality, and opportunity. A movement against unpaid and exploitative internships has been gaining steam since the economic crisis of 2008 made employment prospects especially bleak, and a number of important legal precedents are now in place. Ultimately, the question is not just whether internships give that extra experiential learning boost for interns’ resumes. The more important question is whether unpaid internships have become yet another playground of “the haves” that perpetuates the status quo of limited social mobility and income inequality.
The unemployment rate of the 16-24 age group today is more than double that of the remaining population, at nearly 20%. The average starting salary today is lower that it was in 2000. Internships have become so coveted in this stagnant climate that they have become a veritable industry—arguably one that lines the pockets of everyone involved but the interns themselves. Colleges charge students thousands in tuition money for the “opportunity” to earn academic credit for internships; a myriad of programs have sprung up promising students insider access to internships (The Washington Center and Washington Semester Program, to name a few). Yes, it is so competitive out there that securing an unpaid internship can be just as difficult, if not more, as securing regular employment.
Ross Perlin’s seminal work Intern Nation: How To Earn Nothing And Learn Very Little In A Brave New Economyoffered one of the most thorough exposes on the issue, shattering the image of the typical intern as a college student and showing the sheer breadth of the intern demographic. A Georgetown law student, 41-year-old Eric Glatt, was one of those “non-traditional” interns, who in seeking to transition to a career in the film industry, worked as an unpaid intern on the set of the movie “Black Swan” in 2010, essentially performing the functions of an accounting clerk . In September 2011, after being referred by Ross Perlin to a lawyer, Glatt sued Fox Searchlight Pictures, asking for compensation for his work. “Obviously, this was not a suit about back pay only. It was a suit to put this culture under the legal microscope and see if it withstood the test in court.” Some of the legal underpinnings of the suits have been the Fair Labor Standards Act of 1938 and the Labor Department’s Fact Sheet 71. In a New York Times article, published on April 10, 2010, Nancy J. Leppink, the acting director of the U.S. Department of Labor’s wage and hour division, said, “If you’re a for-profit employer or you want to pursue an internship with a for-profit employer, there aren’t going to be many circumstances where you can have an internship and not be paid and still be in compliance with the law.” In essence, Fact Sheet 71 established the six federal legal criteria of what constitutes an internship. Glatt’s case proved that the standard very much holds—the judge ruled in favor of Glatt and his fellow interns, deeming their “intern” work to be labor requiring compensation and allowing the suit to continue as a class action one.
Glatt continues his activist work outside of court as well. He explains that a group he is a part of, Intern Labor Rights, initially began as a grass-roots offshoot from the Occupy movement, and has since grown to be a part of an international coalition with branches in six other countries, including the UK, France, Austria, Switzerland, Netherlands, and Canada. Describing the two main issues the group works on, he states “most organizations did not seem overly concerned with how the practice of unpaid interns fit within the law/legal code, nor did they worry about the ethics and economics of the practice.” In essence, a lot of the work of Intern Labor Rights has been educational in nature—getting the public to see the flaws in a system that embodies and promotes inequalities of opportunity.
The economic impact is significant in some fields where unpaid internships seriously undermine the health of the labor market, especially in what Glatt calls the “cultural production industries,” such as film, music, and journalism. He attributes that to the notion that “thinking labor” is somehow perceived not as “labor” because it is mental and not physical. The implications of unpaid internships being the only “in” in cultural production industries are worrisome—a narrowing in the voices of our future journalists, and thus, the viewpoints we hear. In a study conducted in the UK, Alan Milburn found that 54% of top journalists were privately educated and “the media had become one of the most socially exclusive of professions.”
Unpaid internships are rife in many branches of government and international governing organizations, including the EU, the UN, and others. These positions are coveted because of the prestige and access they might grant. As a commentary on just how stacked the deck is in favor of the employers, the Department Of Justice now has unpaid intern positions for “special assistant US attorneys.” One can easily see why the kind of cache of exclusivity these internships permit and the hypercompetitive arena for landing one of them only serves to perpetuate entrenched social divides. While one could argue that non-profits really do need the help of interns to operate, the same cannot be said for the government or for the private sector.
So, how true are the assumptions of inequality? In a study conducted by Intern Bridge, women are much more likely to be engaged in unpaid internships than men, who prefer to participate in paid internships with for-profit companies. The “liberal arts industries” are much more likely to offer unpaid internships. And “high income students through their preferences, social networks, and status, enjoy more opportunities at the largest companies, are more likely to be paid, and have access to a limited number of opportunities in organizations their peers compete fiercely to enter.” Almost ¾ of interns report holding a second part-time job to support themselves while on internships.
While the challenges faced by unpaid interns are formidable, the movement to correct employers’ abuses is picking up tremendous momentum, both through legal filings and grassroots activism. The arts and labor working group of Occupy Wall Street demanded that the New York Foundation for the Arts stop advertising unpaid internships. Designer Alexander McQueen ignited a controversy for advertising a full-time, unpaid internship. And groups like The Fair Pay Campaign, Make Youth A Priority, and The Campaign for America’s Future are at the frontlines of this long overdue battle.
Reviews

I Give It A Year–Movie Review

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My I Give It A Year film review

Hey, look, a droll and properly cheeky romantic British comedy! Simon Baker, the scion to High Grant’s romantic lead throne—check! I Give It A Year, the new film by Borat writer Dan Mazer attempts to upend traditional rom-com plot structure by literally going about it backwards; instead of the ineluctable march to the altar, we have our characters walk away from it, literally and metaphorically. The question is whether this premise reversal alone helps the film escape well-trodden, trite territory. I gave it an hour and thirty minutes.


Newlyweds Nat (Rose Byrne) and Josh (Rafe Spall) appear to be as well matched for each as a Date Lab couple; following a seven month courtship, their marriage appears rather ill-conceived and, well, inevitably doomed. Nat works in brand management (how’s that for a nod to new media?) and Josh is an oafish writer with a Three Stooges-esque sense of humor and white boy dancing moves. Which brings us to the point of the profuse amounts of eye-rolling in this film: Nat is rolling her eyes at her hubby’s antics even at the wedding! This sort of Daria-esque behavior is so pervasive throughout I Give It A Year, with all the couples seemingly hating each other to no end. Mazer hammers the point that being married sucks so resoundingly that the cliché denouement rings hollow even by rom-com standards.

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But back to the movie—Mazer has literally jam-packed it with one liners, as in think every line is a one-liner. Zingy indeed. It’s meant to be jaunty and light-hearted, but some it comes off as heavy-handed and contrived. Bawdy humor abounds, too, complete with the requisite, “Oh, look, I am in awkward threesome,” and, “Oh, no, our parents saw the dirty pictures from our honeymoon.” And Minnie Driver’s character has a ridiculous crush on Justin Bieber, so she affectionately calls her husband a bell end. Occasionally, Mazer runs up dangerously close to clumsy Mr. Bean territory, as in the scene where doves are released in a room and the results are less than romantic, shall we say. All the married couples in the film are not exactly a glowing commentary on the institution, either, with the marriage counselor of Nat and Josh’s husband-bashing proving to be one of the comedic highlights.
One surprising place where I Give It A Year is quite trenchantly on the mark is its commentary on the state of modern marriage (yes, seriously). The past several years, a lot of movies have been made with the rather melodramatic trope of, “We are so impossibly in love, but now we hate each other’s guts and we won’t explain to you why. Just watch and share in our joint misery.” Good examples are Blue Valentine and Like Crazy. I Give It A Year presents the more humorous answer to that very same phenomenon: Nat and Josh are at a crossroads because they were so desperate to get married in the first place! All of the characters in the movie keep referring to the dreaded 30s like some death knell, tolling for the immediate donning of a ring and latching on the nearest future wife or hubby. In modern romantic parlance, I  think we can all agree that the 30s have been identified as the, “You must settle down age.”
One only needs to take a look at My Friends Are Married to see that the non-married 30-somethings are still somewhat of a minority and rom-coms would have us think that single 30s somethings should make it their life’s goal to reverse their dreadful state of single-dom. As Nat explains to her better-matched romantic interest, “You are a Ferrari and he is a Volvo. I needed a Volvo.” Hardly romantic but definitely something we recognize; without meaning to, perhaps, the film offers some rather astute observations on relationships. The rush to the altar proves rather unwise for our leading couple, but I Give It A Year is still a nod to romance, as one would expect from flicks of its ilk. It offers a good bit of unusual British humor that proves to be amusing… most of the time.

Reporting

The Buzz Over The Dire Decline In Bee Populations

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The Buzz Over The Dire Decline In Bee Populations
Worldwide, bee populations are suffering significant decline and rather than a single cause, it seems to be the result of multiple factors working in concert. The U.S. Department of Agriculture issued a report in 2012 citing a “complex set of stressors and pathogens,” and calling for “multi-factorial approaches to studying causes of colony losses,” yet stopped short of making any policy recommendations. The EPA has, sadly, been woefully lackadaiscal in taking steps to stem the problem. Perhaps that will change with the recent momentous suit filed by beekeepers and environmental groups against it for failing to protect bee populations.

Nearly 40 percent of U.S. domesticated hives did not survive this past winter, making it the worst loss to date. Far more than just giving us honey, bees are a crucial player in our food production; they are responsible for pollinating many flowering plants–by some estimates, almost one out of every three bitesof food that we eat was produced with the help of these natural pollinators. Cashews, beets, broccoli, cabbage, watermelons, cucumber, strawberries, macadamia, mangoes, apricots, almonds are just a few of many of the delicious crops our six-legged worker friends toil on.

Domesticated bees are not the only ones being affected either—wild bee populations have decreased by an alarming 90% over the last 50 years. The ecological implications are nearly catastrophic; so are the resultant economic and food supply concerns. The World Conservation Union predicts that 20,000 flowering plant species will disappearin the next few decades as a result of bee losses.

 

Bee die-off is in part attributed to the appropriately-ominously-named phenomenon of Colony Collapse Disorder (CCD) in which bees fly off en masse and never return to their hive. Climate change, habitat destruction, pesticides, and disease all seem to have an influence on the occurrence of CCD and are factors that often interplay with each other–the worldwide bee population decline speaks to the multiplicity of causes not endemic to specific regions.

 

Climate change and habitat destruction are affecting ecosystems as a whole and bees in particular. Erratic weather patterns have an indelible effect on the schedule of flowering plants. Plants may blossom early, before honeybees can fly, or may not produce flowers at all, resulting in no pollen for the bees.

 

The impact of pesticides on bee depopulation has been widely examined by researchers. Jeff Pettis of USDA’s Agricultural Research Service and his team found that a pesticide called imidacloprid is weakening the bees’ immune systems and allowing infectionsto spread through hives. Another group of pesticides, extremely commonly-used worldwide, the neonicotinoids, chemically-related to nicotine, could harm bees by disrupting the navigational and learning abilities they use to find flowers and make their way back to the hive. The neonicotinoids have often been likened to “nerve agents” for the neuroactive effects they have on bees. In a landmark move, the European Union passed a measure last month to provisionally banthe use of neonicotinoids for the next 2 years. By contrast, the EPA continues to greenlight chemicals widely recognized even by the EPA itself as “highly toxic to bee health,” allowing the use of the pesticide sulfoxaflor manufactured by the Dow Chemical Company.

 

In addition to their neuroactive effects, pesticides also tie into another element in the explanatory chain–disease–by decreasing pathogen resistance. The blood-sucking parasite, the Varroa mite, is one of the most virulent pests of bee colonies. It is dangerous not only in its own right, but also in that exposes hives to other viruses too. Another suspect is the Bt (Bacillus thuringiensis) toxin in the pollen of genetically modified corn, which German scientists found compromised bee immune systems. The bacterial disease European foulbrood is yet another pathogen.

 

Communities worldwide are astir about the danger of bee extinction and the buzz is certainly gaining in volume, with many states, including Oregon,passing measures to ban the use of certain pesticides. Clearly, the battle against CCD will have to be waged on a multiplicity of fronts.
Reporting

Dunbar’s Number–Why Your 1000+ Friend-Having Friends on Facebook Are Really *Not* Paying You Any Mind

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My post for the Ministers Of Design Blog

Revolutionary evolutionary psychologist Robin Dunbar has the answer to the question of how many friends do you need. The Director of the Institute of Cognitive and Evolutionary Anthropology at Oxford University earned the coveted honor of having a number named after him when he posited that 150 is the number of people we can maintain a meaningful social connection with.
Robin Dunbar arrived at that number by conducting a study of the Christmas-card-sending habits of the British. Amongst some of the findings of the study were that about a quarter of cards went to relatives, nearly two-thirds to friends, and 8 percent to colleagues. The chief finding, however, was the number of cards sent out always seemed to converge around the number 150. Over the past two decades, he and other researchers have arrived at 150 as the magical Pi-like number of social relationships. “The figure of 150 seems to represent the maximum number of individuals with whom we can have a genuinely social relationship, the kind of relationship that goes with knowing who they are and how they relate to us,” Dunbar explains. “Putting it another way, it’s the number of people you would not feel embarrassed about joining uninvited for a drink if you happened to bump into them in a bar.”
Dunbar’s work has been of tremendous interest to social media architects who initially conjectured that this number could very easily climb in the baseball-card-version-of-friends world of Facebook and its ilk. Facebook conducted research on this: while the median friend count on Facebook is 100, for most people (84%), the median friend count of their friends is higher than their own friend count. “Facebook has muddied the waters by calling them all friends, but really they are not,” Dunbar states. He regards Facebook’s main impact on social circles as an ability to preserve long-standing or long-distance friendships that might otherwise decay rapidly. The downside, he suggests, is hanging onto old and remote friendships prevents us from making new non-remote ones: “Since friends exist to be shoulders to cry on (metaphorically speaking!) and shoulders that are physically remote aren’t much use for crying on, this might not be ideal.”
The scope of Dunbar’s work is significantly larger than the rather reductionistic concept of 150 and he has continued to conduct research and expand his study of human social interaction. And while Dunbar’s number has been critiqued, it has managed to withstand the test of replication, remaining relevant event  two decades later ( for example, research conducted in 2011 on Twitter found the average number of people a user regularly interacts with falls between 100 and 200). Dunbar agrees that people have different social networks for different purposes, but he qualified the term “friend” as a person we have an emotional connection with, independent of his/her utility to us: “Someone like your boss, or the person you borrow $50 from to pay the drug dealer, these people are meaningful in your life, but they’re not meaningful to you as relationships.”
The ultimate question remains not how many friends one can have on Facebook but how many friends one actually pays mind and heed to. As Dunbar explains, “Yes, I can find out what you had for breakfast from your Tweet, but can I really get to know you better? These digital developments help us keep in touch, when in the past a relationship might just have died; but in the end, we actually have to get together to make a relationship work.” Dunbar was first inspired to conduct this sort of research when he examined the grooming patterns of apes–what differentiated the humans was not just brain size but, much more importantly, the capacity for language. This capacity, funnily enough, is what is hyper developed in the world of social networking, yet Dunbar would argue words are hardly the glue of a strong emotional bond. Real meaningful interaction, research shows, still remains face-based and not word or baseball-card-collection-based.