When I called Rachel, she answered the phone cheerfully. I should have listened more carefully to that tone, should have let it linger longer before I brought the sky crashing down over her. Last year, around this time, just as the weather was starting to turn and leaves began popping up on all the trees, our uncle died in his sleep; our grandparents were visiting for the week and found him the next morning.
In September 1940, Japan’s prime minister, Konoe Fumimaro, concluded the Tripartite Pact with Germany and Italy, committing the three countries to support each other against the United States in the event of American entry into World War II.
I was also intrigued by what a 21-year-old Cruz had to say about the Ninth and Tenth Amendments of the U.S. Constitution, the focus of his thesis and, to his credit, a rarely discussed topic in the academic literature. Because it’s clear that Ted Cruz is — and always has been — a pretty smart guy.
Once a small-town movie house that navigated the local market with bumbling charm, the Garden Theatre has grown into an exhibit of Old Princeton nostalgia under its new management. This is all well and good for Princeton’s polished and intellectual reputation, but I’ll miss the old Garden’s cozy modesty.
Campaigning for re-election in 1984, Ronald Reagan riled up a crowd in New Jersey by blasting Bruce Springsteen’s “Born in the U.S.A.,” a song which sounds like a latter-day national anthem but which actually takes a critical stance on the Vietnam War and the state of American society left in its wake.
Steve McQueen’s 12 Years a Slave is tense and unflinching. Its relentless intensity and graphic brutality has been the defining feature in the media, but it is also an essential part of the film and the primary reason it could become the most important portrait of American slavery yet on camera.
When I visited the Woody Allen papers before winter break, the allegations against Mr. Allen of sexual abuse had not yet resurfaced. Those accusations, presented by his daughter Dylan Farrow in the New York Times on February 1, have reignited an age-old debate about the relationship between an artist’s personal life and the content of his artwork.