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Elif Batuman is a novelist and a staff writer at The New Yorker. Her latest article is “Japan’s Rent-a-Family Industry.”

“I hear novelists say things sometimes like the character does something they don’t expect. It’s like talking to people who have done ayahuasca or belong to some cult. That’s how I felt about it until extremely recently. All of these people have drunk some kind of Kool Aid where they’re like, ‘I’m in this trippy zone where characters are doing things.’ And I would think to myself, if they were men—Wow, this person has devised this really ingenious way to avoid self-knowledge. If they were women, I would think—Wow, this woman has found an ingenious way to become complicit in her own bullying and silencing. It’s only kind of recently—and with a lot of therapy actually—that I’ve come to see that there is a mode of fiction that I can imagine participating in where, once I’ve freed myself of a certain amount of stuff I feel like I have to write about, which has gotten quite large by this point, it would be fun to make things up and play around.”

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The Robin Hood of the East Bay

She was the biggest tipper the waiters at some of the country’s most gourmet restaurants had ever seen. She treated casual acquaintances to elaborate vacations. Few saw the tiny bungalow where she lived amongst hundreds of boxes of unopened jewelry, and none knew the source of her wealth. When her multi-decade embezzlement scheme was revealed, the artisans and waitstaff whose lives had been changed by her generosity were left to sort out the pieces and consider their own relationship to her scam.

Weekend At Kermie's: The Muppets' Strange Life After Death

To this day, no one (outside of the movie's own crew) knows how the Muppets rode bicycles in The Great Muppet Caper, the classic Henson movie from 1981. In that scene, Kermit stands up on one frog-leg on the seat of his bicycle to impress Miss Piggy, and then the whole gang joins them on their bikes, doing circles and figure eights, singing “Couldn’t We Ride?” It's a wonderful piece of filmmaking, and still a complete delight to watch because the effect relied on the ingenuity and bravado of the puppeteers and crew, not CGI wizardry. Contrast the joy and ebullience of this scene to the elegant chiaroscuro slickness of the post-Henson Muppet Christmas Carol in which we see old fogies Statler and Waldorf, as the Marley brothers, floating in mid air. No viewer is impressed; no one really thinks about it at all. And that's because when a then 29-year-old Brian Henson directed that film, he threw the rules out the window. Statler and Waldorf “float” because Goelz and Nelson, the men working the old guys, were standing behind them during filming and then were removed in post production. It’s an elegant fix—a cutting of the Gordian knot—but it is a complete break with an aesthetic 35 years in the making.

Dragonman, the Man Who Sells "People-Hunting Guns"

Meet Mel Bernstein. He goes by the name Dragonman, and he’s one of the largest independent purveyors of firearms in the western United States, and the self-proclaimed most armed man in America. At Dragonland—his home, shop, shooting range, and military museum outside Colorado Springs—no gun sells quicker than the weapon used in the most recent mass shooting. Amidst a new gun conversation, it’s business as usual. But even here, it turns out there’s a price to pay.

Ring of Fire

Each soldier in Iraq and Afghanistan generated around 10 pounds of garbage per day. Most of that trash—along with used equipment and medical supplies and other wastes of war—was burned in open-air pits, emitting a toxic smoke that many soliders blame for their poor health today.

All Hail the Chairmen

On office chairs.

In the 1950s and '60s, the distinctions between rank found blunt expression in chair design, naming and price point; Knoll, for example, produced "Executive," "Advanced Management," and "Basic Operational" chairs in the late 1970s. Recall the archetypal scenes where the boss, back to the door, protected by an exaggerated, double-spine headrest, slowly swivels around to meet the eyes of his waiting subordinate, impotent in a stationary four-legger.