Bernard Cornwell, who has written a masterful novel about Agincourt, tackles the American Revolution and its realities in his new work, The Fort. You won’t find any shellacked heroes here. His patriots range from the committed few to the mercenary many and include a host of men who have been shanghaied (“Impressed” was the term of the day) into serving their country involuntarily.
Chaos and Classicism tells the story of good intentions that went terribly wrong. After the carnage of trench warfare, sensitive spirits in Europe craved artistic depictions of beautiful bodies, unscathed by shrapnel, and timeless, uncluttered architecture inspired by the Greek and Roman past. Yet, it was not long before this craving for life-affirming art was transformed into the soulless ideology of Mussolini’s Fascist Italy and Hitler’s Third Reich.
As Owen discovers the startling and horrible truth about his neighbors, he and Abby develop a curious friendship. In helping him to get a handle on his life, Abby advises him to flirt dangerously with his potential for violence. In the end there may be no way to stand up for himself other than giving way to the monster inside.
He brings up his 1600 SAT score, his obsession with Harvard’s final clubs, betrays his jealousy of the “world-class athletes” who row crew, and condescendingly tells Erica that she doesn’t have to study because she goes to BU. As Erica leaves, she predicts his success as “some kind of computer person,” then delivers the line that sets up the entire movie: “You’ll think everyone hates you because you’re a nerd, but it’ll be because you’re an asshole.”
Pete Townsend once wrote “I hope I die before I get old,” but it’s important to note that he was only 20 years old at the time. The song “My Generation” was very much on my mind as I watched Harry Brown, which like the song is British and discusses the difficult relationships between young whippersnappers and old farts.
Any great zombie story has something on its mind other than the now mundane “trial of survival.” While Dead Rising hit upon many of the same consumerism tones as George Romero’s Dawn of the Dead, Dead Rising 2 is all about America’s allowance of base indulgences in places like Las Vegas. From overzealous mall cops and sex-obsessed basement dwellers to the shattered ambitions of terrible stage magicians and musicians, many of the psychopaths you encounter in the game are people of unfulfilled ambition.