Published on 2 Nov 2015
John Ronald Reuel Tolkien (JRR Tolkien) served on the Western Front of World War 1. It is believed that his experiences of the horrors war were a direct inspiration for his Lord of the Rings books. The struggle between good and evil and the price for victory are strong motives in his work. Find out which other similarities there are between the Lord of the Rings and the First World War.
November 3, 2015
J.R.R. Tolkien – The Father of Lord of The Rings I WHO DID WHAT IN WORLD WAR 1?
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Learning to drive stickshift
Sam Smith remembers learning how to drive with a manual transmission:
At first, I thought my dad was just teaching me to drive a stick. At 16 and a few months, I had already earned a license, already had my first accident. (Missed a stoplight in the family Volvo while changing CDs. I cannot remember being dumber.) Two weeks of lessons later, I suspected something was up.
We drove in 20-minute spurts. Before dinner on weeknights, after lunch on Sundays, whenever. Always the same route: leave driveway, around the subdivision, back. Practice, learning how to shift, long past the point where I thought I was good enough.
The truth soon came out: My father, a patient man, wasn’t going to let me drive a manual—which meant borrowing his car—until I met what seemed like an arbitrary standard of smoothness. He wasn’t mean, just firm about it: You will do this right. And I won’t feel it when you drop into second.
The neighborhood was perfect for it. A rolling, quiet patchwork of curves. Enough uphill starts to keep you thinking. Or at least keep 16-year-old me thinking, because the first time you shift a manual gearbox, you’re a bag of elbows. This gear? That one? Then you screw it up again.
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Lois McMaster Bujold’s Gentleman Jole and the Red Queen
The book isn’t out yet, but it’s starting to get some interesting reviews, including this one by Gopal Sathe for NDTV Gadgets 360:
We will not discuss the plot too much here, but we will certainly say that the book is going to be one of the most divisive ones in the series. Not because of its writing, or the twists and turns that the plot follows, but simply because of the subject matter — Bujold has already confirmed to fans that this book is not a war story, and that it is about grown-ups. In classic science fiction fashion, Bujold uses her alien settings and advanced technology to directly address the questions and concerns we are facing today, about age and gender and relationships and modern culture. And she does a brilliant job of it, as usual.
The book does drop a rather big revelation about a major character, and although the groundwork has been laid out in earlier books in the series (if sparingly), it still feels like an unexpected surprise. So it’s a good thing that Bujold gets the twist out of the way quickly, and matter-of-factly. This means that the book is given the breathing room to tell its own story, instead of twisting itself into knots around this revelation.
Outside of the main story, the B-plot figures around some typical Bujold tropes — military and logistics feature heavily, as does urban planning, and inter-cultural relations — but these all feel a little underdeveloped in Gentleman Jole and the Red Queen. But despite a few small missteps, this book feels like one of Bujold’s most cohesive and mature works, and so it’s perhaps fitting that it’s in this book that she finally returns to the planet Sergyar, which was also the stage for Shards of Honor, the first full novel in the Vorkosigan Saga.
There are frequent references and callbacks to the first book, and reflections on how the story has matured over time, and this works really well in establishing a sense of history to the novel. Even if you aren’t familiar with the adventures that the various members of the Vorkosigan family have had, the sense of real characters who have lived storied lives is clear, and does a lot to ground some of the more fanciful creatures and creations that we find in the book.
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Brian Micklethwait explains why libertarians love Uber
At Samizdata, Brian Micklethwait discusses why Uber comes up in conversation with libertarians … constantly:
I and my libertarian friends all love Uber. By that I don’t just mean that we love using Uber, the service, although I am sure that just like many others, we do. I mean that we love talking about Uber, as a libertarian issue, as an issue that nicely illustrates what libertarianism is all about and the sorts of things that libertarians believe in. In particular, we believe in: technological innovation and the freedom to do it, for the benefit of all, except those in the immediate vicinity of it and overtaken by it, because they make a living from the technology that is being overtaken.
[…]
To me, the really interesting thing about Uber as an issue is how it makes a nonsense of the old Public Choice dilemma in pro-free market lobbying and opinion-mongering. I’m talking about the fact, which it does often tend to be, that when there is a lurch, proposed or actual, towards a free market, unleashed either by politics or by technology or by a mixture of the two, the people who suffer or who look like they will soon suffer are highly concentrated and easily organised and know exactly who they are. However, those who will benefit from the new dispensation are dispersed and hard to organise and tend not to know who they are. Consequently you get this imbalance in the political argument, in favour of the status quo, even if, in the longer run, many more people would benefit from the new dispensation than the old, and would like it very much, in the event that that ever discovered that they were benefiting from it.
Uber might have been invented to solve the above problem.
Thought: maybe there is a sense in which it was invented to solve this problem. Discuss.
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QotD: Liberal arts programs
… liberal-arts programs have been ailing for decades. The humane thing would be to let them die with whatever modicum of dignity they have left.
My purpose in this essay is not to defend (or attack) “the arts” (the aaaaahts, in my plummiest fake English accent). The arts don’t need defending (or attacking), and even if they did, there are lots of thick books written by people who are far smarter than me making the case. This essay is, instead, a broadside against university humanities departments, which are mostly terrible and not really worth rescuing.
We don’t need university liberal arts programs to expose us to culture. Want some culture in your life? Hit YouTube and you can get all the culture you can choke down, for free. Art, music, dance, guided tours of great museums. Literature? The local library might still have a few books lying around if it hasn’t given itself over completely to being a day-care facility for the homeless. Amazon will sell you any book you want, from The Pilgrim’s Progress to The Brothers Karamazov to The Vagina Monologues and deliver it to your portable reading device in a matter of seconds. Amazon will also sell you a Blu-Ray of any opera or great film you want, and have it delivered right to your door by the next day. (Or stream it right to your TV, iPad, or smartphone.) Embarrassed for funds? You can download tens of thousands of public-domain books, films, and pieces of music for free from a variety of sources. In short, art has been transformed from a luxury good to a commodity good.
“But wait!” the academics cry. “Who’s going to teach you how to understand all this stuff? How to interpret it? How to uncover all the subtleties and meanings in it?”
In this response you get two fallacies for the price of one: that the average citizen requires someone to perform this task, and that universities are capable of performing it even if it were necessary.
Monty, “DOOM (culturally speaking)”, Ace of Spades H.Q., 2014-10-28.
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