The title story ends the collection. Rumpole, suffering from toothache, says a few things to the judge that he had better not say, at least not for the record. Claude Erskine-Brown, prosecuting, overhears Rumpole’s apparent interview with his witness, who has not yet finished his testimony. Claude lodges a complaint, hence the trial before the Benchers. Mizz Liz Probert, junior defending counsel, winkles out the crucial fact that Rumpole was talking to his dentist, a fact Claude did not know since he hadn’t actually seen Rumpole speaking, merely overheard him. Thus, Rumpole’s plans to be retired from the bar come to nothing, and he must continue to seek briefs and interesting murders as he has done all his life. **** (2003)
Mostly book reviews, plus whatever else I feel like posting. I welcome comments and conversation. Comments are moderated, so it may take a day or two for your comment to appear. Or send a mail to wolfmac@sympatico.ca If you quote, please also link to this blog. If you like this blog, please follow it. Highest review rating is four stars ****
11 March 2013
John Mortimer. Rumpole on Trial (1992)
John Mortimer. Rumpole on Trial (1992) Seven stories, all beautifully plotted, all starring Rumpole as narrator and hero. I like these stories, they feed my cynicism while entertaining me with witty writing, and scads of poetic justice, the only kind we are ever likely to find, as the justice system is neither a system nor concerned with justice.
Michel Morange. The Misunderstood Gene (2001)
Michel Morange. The Misunderstood Gene (2001) Mendel was lucky: in his experiments, he observed characters of peas governed by a single gene. He didn’t know this, of course, and neither do those who learned of genetics via his story, the standard story told in high school and college biology classes. The result is a profound misunderstanding of what genes do, and of what our manipulation can and cannot achieve. Morange tries to dispel these misunderstandings, and succeeds, but only with people willing to plow through his dense and in places highly technical text. His lycee-learned style is the main culprit, for despite his mastery of English idioms, he does not write with the clarity of an Ian Stewart, for example (who makes many of the same points in his Collapse of Chaos, written with Jack Cohen).
Nevertheless, this book is worth the effort. I hope it is the first of many books and articles that will demystify the gene. His main point is that the "blue-print" and the "program" metaphors are so misleading as to be wrong. In particular, he makes great efforts to disabuse us of the notion that there is some kind of one-to-one mapping of genes and features, that there is a gene for blue eyes, for example, and a gene for brown eyes, and which eyes you get is decided by the genes you inherit from your parents. This one-to-one mapping of genes and features is extremely rare. Most traits are the result of several genes, whose precise interactions are not well understood. For most traits, the genes involved are not yet known. Hence genetic determinism is a mistaken concept. One consequence of this is that most “genetic engineering” is doomed to a priori failure. In developing this thesis. Morange makes several main points:
1) Genes code for proteins, not for features or characteristics of organisms. It’s the interactions of proteins that determine how an organism develops and functions. But the same protein will have different functions at different times in the organism’s lifespan, and similar proteins will have different functions in different organisms. And some proteins are made only during a specific (and usually short) period in the organism’s development. For example, sexual maturation depends on various hormones whose production is modulated partly by a molecular clock, and partly by such things as the organism’s rate of metabolism, its food intake, its physical growth, and even external factors such as the time of year, and so on.
2) Most features of organisms are determined by a suite of genes acting at different times during its development. For example, we normally have five fingers. But the embryo starts with a flipper-like appendage. To make fingers, certain cells must die: genes determine which cells will die, but there is no “gene for five fingers,” since the same genes, activated in different organs at different times in the embryo’s development, also control the growth of other organs and features of the human organism. How do the genes “know” when to activate the death process, and when not to? Well, that depends on signalling between and within cells, in other words, the cells’ environment, which is determined by still other genes that code for the proteins that make up, act as, or set up these signalling systems.
3) The vast majority of features of an organism are the result of a complex interplay of proteins coded by many different genes at different times, as well as external factors such acidity, temperature, and so on. A mutation in any one of these genes can be and almost always is offset by the buffering action of the many other proteins involved. The system as whole tends towards a stable form regardless of the actual mutations in the genes. There are also repair mechanisms, which prevent mutations in the DNA of any one cell from destroying it, and also ensure that the daughter cells function properly.
4) Although it’s possible (at least in principle) to trace backwards from effects to genetic causes, it’s not possible to predict what any given combination of genes will cause to happen. The reason is, again, the complexity of the protein interactions, and more importantly, the self-organising properties of biological systems.
5) The value of a gene is determined by the environment in which the organism finds itself. What’s good in one time and place may be bad in another. This explains why sickle-cell anaemia, for example, persists in the human gene pool: it confers some resistance to malaria, and that resistance outweighs it deleterious effects where malaria is endemic. Malaria will kill many victims before they reproduce; while sickle cell anaemia usually doesn’t kill until later in life, after reproduction. The same mathematics accounts for Huntington’s and other late-onset diseases (including the diseases of old age): these strike a decade or more after the prime reproductive years.
What I take from Morange’s book is that genetic engineering is to a large extent a fantasy. It will have at best very limited success. For one thing, so few features are controlled by a single gene that it’s just a matter of luck that features such as resistance to Roundup can be engineered at all. There was no a priori reason to suppose that such resistance would be governed by a single gene. On the other hand, the fact that Huntington’s is caused by a single mutation on a single gene means we can eliminate it.
Secondly, the effect of a protein depends on its environment. A protein will not necessarily have the same effect in the host organism as it had in the donor. Again, it’s pure dumb luck that the protein for Roundup resistance has the same effect in the host plant as in the original donor plants. Also, the gene may be recessive, or the mutation we are interested in may act differently when paired with the unmutated allele.
Thirdly, the odds are enormous that any given gene transferred to another organism will have unpredictable effects in addition to or in place of the effect(s) it had in the donor. Proteins initiate or intervene with many biochemical pathways. There is no guarantee that a given protein will act the same in the host as it did in the donor. Some of the end results may not show up in the host organism, but in the ones that eat it.
Morange also points out that a clone made with current techniques is in fact less like the donor than identical twins are to each other. The current techniques involve harvesting a cell from the early embryo (of few dozen cells in size), removing the nucleus, and inserting the nucleus taken from the donor cell. The clone shares the nuclear DNA with the donor, but has the mitochondrial DNA of the host oocyte, which was determined by the maternal genes. Identical twins share both nuclear and mitochondrial DNA. Only if we can develop techniques that in effect convert a donated cell into a zygote will the clone be an identical copy of the donor. Of course, even then, the clone will be an independent individual subject to all the vagaries of an unpredictable environment, and so when fully developed will not be identical copy of the donor, any more than twins are identical copies of each other.
Morange does see good things coming out of our increasing understanding of the effects of genes. How a gene affects its carrier depends hugely on the environment, and humans are able to control that, so they are also able to influence the effects of their own genetic heritage.
Morange thinks that knowing one’s genetic heritage and its biological meaning will enable us to counteract otherwise damaging effects, and he thinks this a far easier mode of “genetic engineering” than attempts to change the genome itself. Changing the genome of the cells in some organs does hold great promise for individuals, but will not be passed on to their offspring. Changing the germ line itself is far more problematic. Apart from a few diseases like Huntington’s, most diseases and disabilities result from such a complex interplay of so many genes that changing one or even a few of them will not have any observable effect for several generations, if then. Lifestyle changes for the individual have a much greater payoff.
Morange’s book, or rather its message, is important and deserves a wide audience. It also deserves interpretation to the general public, which still thinks of the genome as some sort of master plan that we are fated to follow. The truth is both more complex and more liberating. *** (2003)
Nevertheless, this book is worth the effort. I hope it is the first of many books and articles that will demystify the gene. His main point is that the "blue-print" and the "program" metaphors are so misleading as to be wrong. In particular, he makes great efforts to disabuse us of the notion that there is some kind of one-to-one mapping of genes and features, that there is a gene for blue eyes, for example, and a gene for brown eyes, and which eyes you get is decided by the genes you inherit from your parents. This one-to-one mapping of genes and features is extremely rare. Most traits are the result of several genes, whose precise interactions are not well understood. For most traits, the genes involved are not yet known. Hence genetic determinism is a mistaken concept. One consequence of this is that most “genetic engineering” is doomed to a priori failure. In developing this thesis. Morange makes several main points:
1) Genes code for proteins, not for features or characteristics of organisms. It’s the interactions of proteins that determine how an organism develops and functions. But the same protein will have different functions at different times in the organism’s lifespan, and similar proteins will have different functions in different organisms. And some proteins are made only during a specific (and usually short) period in the organism’s development. For example, sexual maturation depends on various hormones whose production is modulated partly by a molecular clock, and partly by such things as the organism’s rate of metabolism, its food intake, its physical growth, and even external factors such as the time of year, and so on.
2) Most features of organisms are determined by a suite of genes acting at different times during its development. For example, we normally have five fingers. But the embryo starts with a flipper-like appendage. To make fingers, certain cells must die: genes determine which cells will die, but there is no “gene for five fingers,” since the same genes, activated in different organs at different times in the embryo’s development, also control the growth of other organs and features of the human organism. How do the genes “know” when to activate the death process, and when not to? Well, that depends on signalling between and within cells, in other words, the cells’ environment, which is determined by still other genes that code for the proteins that make up, act as, or set up these signalling systems.
3) The vast majority of features of an organism are the result of a complex interplay of proteins coded by many different genes at different times, as well as external factors such acidity, temperature, and so on. A mutation in any one of these genes can be and almost always is offset by the buffering action of the many other proteins involved. The system as whole tends towards a stable form regardless of the actual mutations in the genes. There are also repair mechanisms, which prevent mutations in the DNA of any one cell from destroying it, and also ensure that the daughter cells function properly.
4) Although it’s possible (at least in principle) to trace backwards from effects to genetic causes, it’s not possible to predict what any given combination of genes will cause to happen. The reason is, again, the complexity of the protein interactions, and more importantly, the self-organising properties of biological systems.
5) The value of a gene is determined by the environment in which the organism finds itself. What’s good in one time and place may be bad in another. This explains why sickle-cell anaemia, for example, persists in the human gene pool: it confers some resistance to malaria, and that resistance outweighs it deleterious effects where malaria is endemic. Malaria will kill many victims before they reproduce; while sickle cell anaemia usually doesn’t kill until later in life, after reproduction. The same mathematics accounts for Huntington’s and other late-onset diseases (including the diseases of old age): these strike a decade or more after the prime reproductive years.
What I take from Morange’s book is that genetic engineering is to a large extent a fantasy. It will have at best very limited success. For one thing, so few features are controlled by a single gene that it’s just a matter of luck that features such as resistance to Roundup can be engineered at all. There was no a priori reason to suppose that such resistance would be governed by a single gene. On the other hand, the fact that Huntington’s is caused by a single mutation on a single gene means we can eliminate it.
Secondly, the effect of a protein depends on its environment. A protein will not necessarily have the same effect in the host organism as it had in the donor. Again, it’s pure dumb luck that the protein for Roundup resistance has the same effect in the host plant as in the original donor plants. Also, the gene may be recessive, or the mutation we are interested in may act differently when paired with the unmutated allele.
Thirdly, the odds are enormous that any given gene transferred to another organism will have unpredictable effects in addition to or in place of the effect(s) it had in the donor. Proteins initiate or intervene with many biochemical pathways. There is no guarantee that a given protein will act the same in the host as it did in the donor. Some of the end results may not show up in the host organism, but in the ones that eat it.
Morange also points out that a clone made with current techniques is in fact less like the donor than identical twins are to each other. The current techniques involve harvesting a cell from the early embryo (of few dozen cells in size), removing the nucleus, and inserting the nucleus taken from the donor cell. The clone shares the nuclear DNA with the donor, but has the mitochondrial DNA of the host oocyte, which was determined by the maternal genes. Identical twins share both nuclear and mitochondrial DNA. Only if we can develop techniques that in effect convert a donated cell into a zygote will the clone be an identical copy of the donor. Of course, even then, the clone will be an independent individual subject to all the vagaries of an unpredictable environment, and so when fully developed will not be identical copy of the donor, any more than twins are identical copies of each other.
Morange does see good things coming out of our increasing understanding of the effects of genes. How a gene affects its carrier depends hugely on the environment, and humans are able to control that, so they are also able to influence the effects of their own genetic heritage.
Morange thinks that knowing one’s genetic heritage and its biological meaning will enable us to counteract otherwise damaging effects, and he thinks this a far easier mode of “genetic engineering” than attempts to change the genome itself. Changing the genome of the cells in some organs does hold great promise for individuals, but will not be passed on to their offspring. Changing the germ line itself is far more problematic. Apart from a few diseases like Huntington’s, most diseases and disabilities result from such a complex interplay of so many genes that changing one or even a few of them will not have any observable effect for several generations, if then. Lifestyle changes for the individual have a much greater payoff.
Morange’s book, or rather its message, is important and deserves a wide audience. It also deserves interpretation to the general public, which still thinks of the genome as some sort of master plan that we are fated to follow. The truth is both more complex and more liberating. *** (2003)
Labels:
Biology,
Book review,
Genetics,
Science
Tim Heald, ed. A Classic English Crime (1990)
Tim Heald, ed. A Classic English Crime (1990) Collection of stories written to honour Agatha Christie’s birth centenary. Good readable stories, all set in the 1920s/30s. Some stories allude to Christie’s characters, others merely share the setting with her stories. Worth keeping, but only as part of an Agatha Christie collection. ** to *** (2003)
Labels:
Anthology,
Book review,
Crime fiction
09 March 2013
Wit (2001; USA)
Wit (2001; USA) [D: Mike Nichols. Emma Thompson, Christopher Lloyd]. Made for TV. See the review of the stage play. Thompson’s professor is as strong and quirky as Sproule’s. Because video permits intimate close-ups of Thompson’s face, Thompson is more subdued. But she is a powerful as Sproule. Both actresses made us believe. Very well lit and photographed, the secondary characters well realised, all in all a very good film. ***½
Margaret Edson. Wit (1993)
Margaret Edson. Wit (1993) Presented by Espanola Little Theatre, Friday, 16 March 2001, at the Quonta Festival, Sault Ste Marie Ontario. Vivian Baring, a 50 year old professor specialising in John Donne’s poetry, has 4th stage metastatic ovarian cancer. The play shows her experience as a patient, as human being facing death. Intelligent and moving script, Sharon Sproule at the top of her form, beautifully simple set consisting of movable white panels, well-designed lighting, and a very strong supporting cast. A very good play very well done. It’s on at several theatres in Canada and USA, and a film with Emma Thompson is to be released later this year. The script is almost actor proof, which means that it takes a superb actor to show us all the subtlety in the writing. I doubt that the pros did any better than Sproule. **** (2001)
Christopher S. Claremont et al. Star Trek: Debt of Honor (1992)
Christopher S. Claremont et al. Star Trek: Debt of Honor (1992) Graphic novel treatment of a convoluted ST tale about Kirk’s Debt of Honor to T’Cel, a part-human Vulcan woman, who saved him from an attack by bugs that have invaded the galaxy via a space-time rift. Now, he comes out of retirement and teams up with her and an Klingon frenemy to defeat those bugs. The original Enterprise was destroyed in the earlier fight with these creatures. The whole crew comes together for this final battle. Subplots involve other debts of honour. The book looks very much like a scenario, not a complete script. The style is DC Comics naturalistic, with sometimes difficult to follow dialogue balloons. The jump cuts don’t help; perhaps paradoxically, they’d be easier to follow in a movie. In fact, this story would work better as a movie, I think. Still, it was fun to read, but I’m a diehard ST fan. It ends with T’Cel departing through the space-time rift, and her daughter (who may be Kirk’s child) left on the Enterprise. Clearly To Be Continued, but I don’t know of any sequels. **½
Labels:
Book review,
Graphic Novel,
Science Fiction
07 March 2013
Robert Robinson. Landscape with Dead Dons (1963)
Robert Robinson. Landscape with Dead Dons (1963) UP and AR gave me this in 1987, for Christmas. It’s been languishing on the shelf ever since. The plot is set in an Oxford college; the author apparently went down shortly before he wrote this book, and it’s an ironical hymn of love towards the University.
A Vice Chancellor is murdered, then a Fellow, and finally a pornographer is almost drowned, too. Inspector Autumn is the cop, and he would have made a nice series, but I suppose Robinson didn’t have any more stories in him. Autumn’s not from Oxford, so he would have to do his stuff in various parts of the kingdom. A new-found poem by Chaucer (The Book of the Lion, alluded to by Chaucer himself, but never found), a little decorous hanky-panky, academic infighting, and so forth, along with a nice smattering of eccentrics make for a pleasant entertainment. A police procedural this is not – perhaps that’s another reason Robinson didn’t make a series, not having sufficient knowledge to make it believable – but with the usual suspension of disbelief, it works quite well. There are a few oddities, which disappear when one remembers the date of composition. **-½ (2003)
A Vice Chancellor is murdered, then a Fellow, and finally a pornographer is almost drowned, too. Inspector Autumn is the cop, and he would have made a nice series, but I suppose Robinson didn’t have any more stories in him. Autumn’s not from Oxford, so he would have to do his stuff in various parts of the kingdom. A new-found poem by Chaucer (The Book of the Lion, alluded to by Chaucer himself, but never found), a little decorous hanky-panky, academic infighting, and so forth, along with a nice smattering of eccentrics make for a pleasant entertainment. A police procedural this is not – perhaps that’s another reason Robinson didn’t make a series, not having sufficient knowledge to make it believable – but with the usual suspension of disbelief, it works quite well. There are a few oddities, which disappear when one remembers the date of composition. **-½ (2003)
Boese, Alex. The Museum of Hoaxes (2002)
Boese, Alex. The Museum of Hoaxes (2002) A cursory catalogue of hoaxes from the Middle Ages to the present. The book is apparently based on a doctoral dissertation, and its author maintains a website. Superficial, especially in its attempts at providing some sort of sociological explanation for the hoaxes; flat, surprisingly boring style, considering the subject matter; and not enough pictures. Also strongly unbalanced in its selection, with recent hoaxes far outnumbering those of the past. A more subtle analysis of hoaxes and their varieties would have been interesting, too. For example, what about unintentional hoaxes such as the Tulip Mania, in which the public creates the hoax? Perhaps the book was dumbed down from the dissertation, but I doubt it. Not worth the money. I’m trying to get a refund, as the book is mounted upside down in the case. * (2003)
Labels:
Book review,
History,
Sociology
Martha Grimes. I Am the Only Running Footman (1986)
Martha Grimes. I Am the Only Running Footman (1986) Grimes has a very high reputation, but if this book is a fair sample of her work, I think it’s undeserved. The plotting is muzzy, with a lot of necessary information withheld until near the end, the characterisation is superficial and derivative, and the resolution is unsatisfactory. I suppose a good team could make a decent movie out of this book -- certainly a lot of the writing seems based on some inner screen vision of the scene -- but as it stands I was disappointed. Richard Jury is the cop, two girls are the victims, a dysfunctional but fiercely loyal family is the link (and one of the family is the murderer). The writing is cute, and in place self-consciously funny. Grimes is American, and critics have acclaimed her skill at doing the British atmosphere. Not at all. It’s all very Masterpiece Theatre, and really doesn’t work. Perhaps the fact that this book comes well along in the series is at fault; we are supposed to know why Melrose Plant appears, for example. But other characters, such as the St Clairs and the Warboys, have no function other than lugubrious, oh so veddy British comic relief. I won’t be reading another of these books. * (2003)
Spider Robinson. The Callahan Touch (1993)
Spider Robinson. The Callahan Touch (1993) I didn't finish this. The first book in this series had some point, ie a plot and characters that one could care about. This excursion into fantasy is just that, fantasy, and rather infantile at that. The bar is now the location of a permanent party, and there’s a lot of sentimental claptrap about absent friends, and such. I suppose some sort of problem turns up and the denizens have to solve it to make the universe safe for beer drinkers. But at the halfway point there was not much indication of what the plot point might be. Browsing the last few pages confirms that everything turned out all right, but I really didn’t care enough to find out what and why. The writing is amusing enough, if you’re half cut and your critical faculties are dissolved in a haze of alcohol, or whatever drug you use, but otherwise this is a tedious example of what happens when a writer tries to be cute. (2003)
Labels:
Book review,
Fantasy,
Science Fiction
Lewis Lapham. Money and Class in America. (1988) (re-read)
Lewis Lapham. Money and Class in America. (1988) A long and mostly witty rant, combined with semi-autobiographical anecdote, and social history and analysis. Like all good observers of the social comedy, Lapham is good at seeing the significant moment or comment, and having been born into the “equestrian classes”, he can see the rulers of America close up. His testimony rings true , truer than a library full of sociological analysis and statistics. Lapham has the ability of a good novelist to show the general in the particular. He knows when the mask slips, and the primitive animal within peers out, aware and frightened of death.
The net effect is a portrait of a sad, confused, self-absorbed, and somnambulent bunch of fools. Only the fact that they wield so much influence, and that they can directly intervene in government, prevents one from giving in to the dual impulse to laugh and to pity.
Lapham claims that the general wealth of the United States has infected the whole culture with the pathologies of the rich. He makes a good case. In particular, he notes the ability (if that’s the word) of the rich to persuade themselves that their view of the world is the only one, and that the rest of the universe is mere stage set for the drama of their lives. When I look at the current stumbling towards war with Iraq, Lapham’s perspective helps one understand the inexplicable. Only a nation or ruling class caught up in the fantasies of power could plan such a stupid venture. Bush and company talk as if they are playing a game on a large table in a dimly lit “library” while sipping bourbon and chatting languidly about next year’s golf or their neighbours’ indiscretions with their neighbours’ wives. One can almost see them pushing little metal figures around on the map spread over the pool table, occasionally congratulating each other on a particularly witty move.
Lapham’s chapter on the corrosive effects of the love (and fear) of money, of the worship of Mammon, is worth the price of the book, which in my case wasn’t much (I bought this copy at Value Village). I suspect that Lapham based this book on his Harpers essays; there is some repetition, the kind that a person who repeatedly writes essays on the same themes is liable to produce. That’s really the only flaw of any consequence. **** (2003)
The net effect is a portrait of a sad, confused, self-absorbed, and somnambulent bunch of fools. Only the fact that they wield so much influence, and that they can directly intervene in government, prevents one from giving in to the dual impulse to laugh and to pity.
Lapham claims that the general wealth of the United States has infected the whole culture with the pathologies of the rich. He makes a good case. In particular, he notes the ability (if that’s the word) of the rich to persuade themselves that their view of the world is the only one, and that the rest of the universe is mere stage set for the drama of their lives. When I look at the current stumbling towards war with Iraq, Lapham’s perspective helps one understand the inexplicable. Only a nation or ruling class caught up in the fantasies of power could plan such a stupid venture. Bush and company talk as if they are playing a game on a large table in a dimly lit “library” while sipping bourbon and chatting languidly about next year’s golf or their neighbours’ indiscretions with their neighbours’ wives. One can almost see them pushing little metal figures around on the map spread over the pool table, occasionally congratulating each other on a particularly witty move.
Lapham’s chapter on the corrosive effects of the love (and fear) of money, of the worship of Mammon, is worth the price of the book, which in my case wasn’t much (I bought this copy at Value Village). I suspect that Lapham based this book on his Harpers essays; there is some repetition, the kind that a person who repeatedly writes essays on the same themes is liable to produce. That’s really the only flaw of any consequence. **** (2003)
05 March 2013
William Weintraub Why Rock the Boat? (1961)
William Weintraub Why Rock the Boat? (1961) Harry Barnes, 19, learns the journalism trade at the Witness, a Montreal newspaper that exists to please the advertisers and puff the gentry. He falls for Julia Martin, a female colleague working at another paper, escapes being fired for having written scurrilous practice pieces that feature the tyrannical managing editor of his paper, does a stint as a PR hack, and so on. The city editor, a Milquetoast type whose wife seduced Harry at the yearly journalists’ excursion into ski country, has placed the scurrilous pieces in the paper. And so on. A loosely picaresque novel that never quite comes together, it’s written in a workmanlike style that makes its satirical points with varying subtlety, and occasionally veers off into semi-sentimental suburban yearnings. The characters are rather thin; Barnes is the only one with any depth, and even he’s often too naive to be entirely credible. Or maybe not: the sort of single-minded dorkiness he exhibits in his quest to learn all that there is to learn about newspapering does have the ring of truth.
Entertaining, and possibly a roman a clef, since Weintraub worked as a reporter in his younger days, and this tale has the whiff of auto-biography about it. According to the cover blurb, the book caused controversy when it was first published, but it seems rather tame now. Canada was still easily shocked in 1961.
Weintraub loosely adapted his book into a movie in 1974. I saw it many years ago. It has tighter plotting than the book, focussing on Julia’s attempts to form a union (which didn’t figure in the book). See IMDB’s page, and the Canadian Film Encyclopedia here. It was my vague memories of the movie that prompted me to buy this 2nd-hand copy of the book. It's worth than the 25 cents I paid for it.
Book: ** Movie: **-½
Entertaining, and possibly a roman a clef, since Weintraub worked as a reporter in his younger days, and this tale has the whiff of auto-biography about it. According to the cover blurb, the book caused controversy when it was first published, but it seems rather tame now. Canada was still easily shocked in 1961.
Weintraub loosely adapted his book into a movie in 1974. I saw it many years ago. It has tighter plotting than the book, focussing on Julia’s attempts to form a union (which didn’t figure in the book). See IMDB’s page, and the Canadian Film Encyclopedia here. It was my vague memories of the movie that prompted me to buy this 2nd-hand copy of the book. It's worth than the 25 cents I paid for it.
Book: ** Movie: **-½
Labels:
Book review,
Humour,
Literature,
Satire
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Dick Whittington - What Really Happened (Sitwell, 1945)
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Today we remember those whom we sent into war on our behalf, and who gave everything they had. They gave their lives. I want to think a...