Right now, two new pieces from the upcoming issue.
First, James L. Fredericks and Andrew J. Bacevich in an exchange on Reinhold Niebuhr's The Irony of History in the age of Obama:
Barack Obama has vigorously prosecuted the war against Al Qaeda even while ending U.S. military engagement in Iraq and winding down the war in Afghanistan. These seeming paradoxes make Obama an ironic figure of the kind that interested Niebuhr most—the self-conscious, existential irony of a man who knows he must act in history while being unable either to control the outcome or to escape the moral ambiguity of his choices.
Read it all here. Also, Richard Alleva reviews Philomena and Saving Mr. Banks. On the performances of Judi Dench and Steve Coogan in the former:
Critics speak about the autumnal grandeur of “lateness in art”—the tranquil power of Beethoven’s late quartets or the swan-song poignancy of Verdi’s Falstaff. Judi Dench has that quality as an actress nowadays, and it’s not just an inevitable feature of her old age. She’s in possession of a still center, and from that center she radiates. But the critical praise heaped on Dench shouldn’t keep us from noticing that Steve Coogan’s wry underplaying of Sixsmith makes Dench’s beatific comedy possible. With his boredom-glazed eyes desperately beseeching invisible gods for mercy as she blathers on and on, and his smooth baritone subtly inflected by covert sarcasm, Coogan is the Oxbridge Oliver Hardy to her female Stan Laurel. And would Stan be truly funny without Ollie?
Read it all here. And come back to the website Monday, when we'll be posting the rest of the new issue.