Matched Theme Quotes

Something brushed his leg, and he gazed down into the face of Pippi Tucker. The theme from Jaws raced through his head.

I want to look at someone and know that every need and wish and desire i have matches his, not that my every need and wish and desire clashes with his. Unification should be the overall theme of a relationship.

And now an hour, maybe, has passed. And they are both drunk: Kenny fairly, George very. But George is drunk in a good way, and one that he seldom achieves. He tries to describe to himself what this kind of drunkenness is like. Well - to put it very crudely - it's like Plato; it's a dialogue. A dialogue between two people. Yes, but not a Platonic dialogue in the hair-splitting, word-twisting, one-up-to-me sense; not a mock-humble bitching match; not a debate on some dreary set theme. You can talk about anything and change the subject as often as you like. In fact, what really matters is not what you talk about, but the being together in this particular relationship. George can't imagine having a dialogue of this kind with a woman, because women can only talk in terms of the personal. A man of his own age would do, if there was some sort of polarity: for instance, if he was a Negro. You and your dialogue-partner have to be somehow opposites. Why? Because you have to be symbolic figures - like, in this case, Youth and Age. Why do you have to be symbolic? Because the dialogue is by its nature impersonal. It's a symbolic encounter. It doesn't involve either party personally. That's why, in a dialogue, you can say absolutely anything. Even the closest confidence, the deadliest secret, comes out objectively as a mere metaphor or illustration which could never be used against you.

I am not one to compare long melodies as did Mozart. I can’t get beyond short themes. But what I can do, is to utilize such a theme, paraphrase it and extract everything that is in it, and I don’t think there’s anybody today who can match me at that.

It has often been hard for me to know if people are serious when they talk about making T-shirts. Just to be clear: Nobody ever means it, ever. Making and wearing matching, themed T-shirts is embarrassing. Unless you want to make some with me right now, or something.

And now an hour, maybe, has passed. And they are both drunk: Kenny fairly, George very. But George is drunk in a good way, and one that he seldom achieves. He tries to describe to himself what this kind of drunkenness is like. Well - to put it very crudely - it's like Plato; it's a dialogue. A dialogue between two people. Yes, but not a Platonic dialogue in the hair-splitting, word-twisting, one-up-to-me sense; not a mock-humble bitching match; not a debate on some dreary set theme. You can talk about anything and change the subject as often as you like. In fact, what really matters is not what you talk about, but the being together in this particular relationship.

Over the past couple of months, Chantel had become a pro at leading book discussions and inventing fun games and trivia questions that all related to that particular month's book selection. Although, last month's theme, dystopian and the book selection "Matched" by Allie Condie, had the retirement home director a little concerned when everyone wanted to stop taking their medications. Not... a good... thing!

I shuffle over to the tree, sliding beneath it and lying on my back so I can look up through the gnarled branches. It's a kaleidoscope of color and texture: the smooth light bulbs, the prickly pine needles. Ornaments of glass, and silk, and spiky metallic stars. A little wooden drummer Theo gave Ricky nearly twenty years ago. Laminated paper ornaments of our handprints from preschool, handmade ceramic blobs that were supposed to be pigs, or cows, or dogs. Nothing matches; there's no theme. But there is so much love in this tree, so much history.

Great characters- They are pivotal for a great plot. THEN a solid plot: Why then? If you do not have great characters it is impossible to create a good plot, nonetheless a solid one. Once you have built great characters for the scenes, there you have it. It’s just like the movies, you cannot have a great film if the characters are frail and their lines are weak as well. I guess great world-building comes along with a good plot. If there is something that will work fine in a novel is how you will develop from the theme. You’ve got to establish a good timeline, and from there it comes a world. You see the technical matters don’t match or matter as much to me. Even a poorly written story, if there is a good plot and great characters on it will make a divine combination There are simply many cases of it over the mainstream and that even reached the big screen.

I wore an emerald long-sleeved dress by Vivienne Tam and a pair of tangerine Christian Louboutins. I had seen the same look in one of Emerald's Vogues and asked Giada to overnight it. I learned quickly, though I wasn't very original. I'd changed in a coffee shop next to my apartment, then hopped into a cab. "Next time we must coordinate outfits beforehand," Michael whispered as we sat down. "I was going for 'salt of the earth' today." "Oh, I wanted to match the décor," I said. Tellicherry felt like a sexy, sinister jewel box. A rich sapphire blue stained the walls in large, meandering splotches, like dye dropped into water. Bronze silk leaped and dipped in the cushions. The waitresses wore black dresses with seductive lace panels revealing flesh-colored bits, and the waiters slinked in semi-sheer pajama-like outfits, conjuring bedtime escapades, none of which involved sleeping.

That day, he had been ordered to assume supreme command of the Russian Army in the Far East. This incident had a special sequel fifteen years later, when at a certain point of my father’s flight from Bolshevik-held St. Petersburg to southern Russia he was accosted while crossing a bridge, by an old man who looked like a gray-bearded peasant in his sheepskin coat. He asked my father for a light. The next moment each recognized the other. I hope old Kuropatkin, in his rustic disguise, managed to evade Soviet imprisonment, but that is not the point. What pleases me is the evolution of the match theme: those magic ones he had shown me had been trifled with and mislaid, and his armies had also vanished, and everything had fallen through, like my toy trains that, in the winter of 1904–05, in Wiesbaden, I tried to run over the frozen puddles in the grounds of the Hotel Oranien. The following of such thematic designs through one’s life should be, I think, the true purpose of autobiography.

It's hard to form a lasting connection when your permanent address is an eight-inch mailbox in the UPS store. Still,as I inch my way closer, I can't help the way my breath hitches, the way my insides thrum and swirl. And when he turns,flashing me that slow, languorous smile that's about to make him world famous,his eyes meeting mine when he says, "Hey,Daire-Happy Sweet Sixteen," I can't help but think of the millions of girls who would do just about anything to stand in my pointy blue babouches. I return the smile, flick a little wave of my hand, then bury it in the side pocket of the olive-green army jacket I always wear. Pretending not to notice the way his gaze roams over me, straying from my waist-length brown hair peeking out from my scarf, to the tie-dyed tank top that clings under my jacket,to the skinny dark denim jeans,all the way down to the brand-new slippers I wear on my feet. "Nice." He places his foot beside mine, providing me with a view of the his-and-hers version of the very same shoe. Laughing when he adds, "Maybe we can start a trend when we head back to the States.What do you think?" We. There is no we. I know it.He knows it.And it bugs me that he tries to pretend otherwise. The cameras stopped rolling hours ago, and yet here he is,still playing a role. Acting as though our brief, on-location hookup means something more. Acting like we won't really end long before our passports are stamped RETURN. And that's all it takes for those annoyingly soft girly feelings to vanish as quickly as a flame in the rain. Allowing the Daire I know,the Daire I've honed myself to be, to stand in her palce. "Doubtful." I smirk,kicking his shoe with mine.A little harder then necessary, but then again,he deserves it for thinking I'm lame enough to fall for his act. "So,what do you say-food? I'm dying for one of those beef brochettes,maybe even a sausage one too.Oh-and some fries would be good!" I make for the food stalls,but Vane has another idea. His hand reaches for mine,fingers entwining until they're laced nice and tight. "In a minute," he says,pulling me so close my hip bumps against his. "I thought we might do something special-in honor of your birthday and all.What do you think about matching tattoos?" I gape.Surely he's joking. "Yeah,you know,mehndi. Nothing permanent.Still,I thought it could be kinda cool." He arcs his left brow in his trademark Vane Wick wau,and I have to fight not to frown in return. Nothing permanent. That's my theme song-my mission statement,if you will. Still,mehndi's not quite the same as a press-on. It has its own life span. One that will linger long after Vane's studio-financed, private jet lifts him high into the sky and right out of my life. Though I don't mention any of that, instead I just say, "You know the director will kill you if you show up on set tomorrow covered in henna." Vane shrugs. Shrugs in a way I've seen too many times, on too many young actors before him.He's in full-on star-power mode.Think he's indispensable. That he's the only seventeen-year-old guy with a hint of talent,golden skin, wavy blond hair, and piercing blue eyes that can light up a screen and make the girls (and most of their moms) swoon. It's a dangerous way to see yourself-especially when you make your living in Hollywood. It's the kind of thinking that leads straight to multiple rehab stints, trashy reality TV shows, desperate ghostwritten memoirs, and low-budget movies that go straight to DVD.

Cochise Jones always liked to play against your expectations of a song, to light the gloomy heart of a ballad with a Latin tempo and a sheen of vibrato, root out the hidden mournfulness, the ache of longing, in an up-tempo pop tune. Cochise’s six-minute outing on the opening track of Redbonin’ was a classic exercise in B-3 revisionism, turning a song inside out. It opened with big Gary King playing a fat, choogling bass line, sounding like the funky intro to some ghetto-themed sitcom of the seventies, and then Cochise Jones came in, the first four drawbars pulled all the way out, giving the Lloyd Webber melody a treatment that was not cheery so much as jittery, playing up the anxiety inherent in the song’s title, there being so many thousand possible ways to Love Him, so little time to choose among them. Cochise’s fingers skipped and darted as if the keys of the organ were the wicks of candles and he was trying to light all of them with a single match. Then, as Idris Muhammad settled into a rolling burlesque-hall bump and grind, and King fell into step beside him, Cochise began his vandalism in earnest, snapping off bright bunches of the melody and scattering it in handfuls, packing it with extra notes in giddy runs. He was ruining the song, rifling it, mocking it with an antic edge of joy. You might have thought, some critics felt, that the meaning or spirit of the original song meant no more to Cochise Jones than a poem means to a shark that is eating the poet. But somewhere around the three-minute mark, Cochise began to build, in ragged layers, out of a few repeated notes on top of a left-hand walking blues, a solo at once dense and rudimentary, hammering at it, the organ taking on a raw, vox humana hoarseness, the tune getting bluer and harder and nastier. Inside the perfectly miked Leslie amplifier, the treble horn whirled, and the drivers fired, and you heard the song as the admission of failure it truly was, a confession of ignorance and helplessness. And then in the last measures of the song, without warning, the patented Creed Taylor strings came in, mannered and restrained but not quite tasteful. A hint of syrup, a throb of the pathetic, in the face of which the drums and bass fell silent, so that in the end it was Cochise Jones and some rented violins, half a dozen mournful studio Jews, and then the strings fell silent, too, and it was just Mr. Jones, fading away, ending the track with the startling revelation that the song was an apology, an expression, such as only the blues could ever tender, of limitless regret.

MIRACULOUS!” . . . “Revolutionary!” . . . “Greatest ever!” We are inundated by a flood of extravagant claims as we channel surf the television or flip magazine pages. The messages leap out at us. The products assure that they are new, improved, fantastic, and capable of changing our lives. For only a few dollars, we can have “cleaner clothes,” “whiter teeth,” “glamorous hair,” and “tastier food.” Automobiles, perfume, diet drinks, and mouthwash are guaranteed to bring happiness, friends, and the good life. And just before an election, no one can match the politicians’ promises. But talk is cheap, and too often we soon realize that the boasts were hollow, quite far from the truth. “Jesus is the answer!” . . . “Believe in God!” . . . “Follow me to church!” Christians also make great claims but are often guilty of belying them with their actions. Professing to trust God and to be his people, they cling tightly to the world and its values. Possessing all the right answers, they contradict the gospel with their lives. With energetic style and crisp, well-chosen words, James confronts this conflict head-on. It is not enough to talk the Christian faith, he says; we must live it. “What good is it, my brothers and sisters, if someone claims to have faith but has no deeds? Can such faith save them?” (2:14). The proof of the reality of our faith is a changed life. Genuine faith will inevitably produce good deeds. This is the central theme of James’ letter, around which he supplies practical advice on living the Christian life. James begins his letter by outlining some general characteristics of the Christian life (1:1–27). Next, he exhorts Christians to act justly in society (2:1–13). He follows this practical advice with a theological discourse on the relationship between faith and action (2:14–26). Then James shows the importance of controlling one’s speech (3:1–12). In 3:13–18, James distinguishes two kinds of wisdom—earthly and heavenly. Then he encourages his readers to turn from evil desires and obey God (4:1–12). James reproves those who trust in their own plans and possessions (4:13—5:6). Finally, he exhorts his readers to be patient with each other (5:7–11), to be straightforward in their promises (5:12), to pray for each other (5:13–18), and to help each other remain faithful to God (5:19, 20). This letter could be considered a how-to book on Christian living. Confrontation, challenges, and a call to commitment await you in its pages. Read James and become a doer of the Word (1:22–25).

ave you thought of your family photos as a collection? One of my tables held photos of many generations of women in our family. I displayed them in a variety of frames, and the mother-daughter-granddaughter theme pulled the collection together. No one could resist stopping and taking a peek. Group as black-and-white photos or formal or informal in groups. Another idea is to keep the same frames but change the photos for the seasons. If you have a ton of photos, rotate them so you can enjoy your entire collection. And for a designer touch, add a surprise to your grouping-something that doesn't "match," such as that silly picture of your Aunt Lily. The idea is to share yourself with others in a way that is interesting. ant to change your room? Put two lamps of different sizes on a side table with books, a small clock, a pot of flowers, or a ceramic creation. These change the look and provide better lighting. Your coffee table is an ideal spot for a plant or a terracotta pot with candles. For a softer look, add a throw rug made of mohair or wool-something warm and inviting. And I don't know about you, but I like bookshelves in the living room-complete with books, family pictures, and a mixture of the things I collect. I also love to frame favorite scriptures to welcome me as I go from room to room.

? – How Do We Play to this Theme and Activate these Ideas – ? By an instinctive see-saw of analysis and synthesis across a variety of domains, or across competing independent channels of information, in order to spontaneously generate new mental images or impressions that match-up with an unfolding world of uncertainty and change.

Selling is crucial to your success because without the sale, you do not make any money. The great thing about writing a book to position yourself is that the book does a lot of the selling for you. People read the book and come to you for more answers. If you have products created to match the theme of your book, your platform (website) will do the selling for you. Automate as much of the process as you can with opt-in boxes, video sales landing pages and special offers. Make it as easy as you can for your fans and followers. Once your products are created, simply write about them, talk about them, and create articles from the content and say, “Yes” to interviews. The buzz created will point people back to your site where your automatic sales team is ready to take orders 24 hours a day.

When before, through all the centuries of this island’s history, has such a theme matched such a pen?’ commented the Spectator.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

Data sources All these components give you feedback and insight into how best to configure your campaigns, although the data sources are often spread around in different places and sometimes difficult to find and interpret. Campaign types Search & Partner Dynamic Search Display Network Remarketing & Dynamic Remarketing Google Shopping for eCommerce Google Merchant Center Data feeds Google Shopping Campaigns Device selection PC / Tablets Mobiles & Smartphones Location Targets & Exclusions Country Metro State City Custom and Radius Daily Budgets Manual CPC Enhanced CPC Flexible Bidding strategies Conversion Optimizer (CPA) Return on Ad Spend (ROAS) Conversion Tracking Setup and configuration Transaction-Specific Conversion Tracking Offline Conversion import Phone call tracking - website call conversions Conversion Rates Conversion Costs Conversion Values Ad Groups Default Bids Keyword Themes Ads Ad Messaging & Demographics Creative Text & Formatting Images* Display Ad Builder* Ad Preview and Diagnosis Account, Campaign and Ad Group Ad Extensions Sitelinks Locations Calls Reviews Apps Callouts Ad Rotation & Frequency Capping Rotate Optimise for Clicks Optimise for Conversions Keywords Bids Broad Modified Broad Phrase Exact Destination urls Keyword Diagnosis User Search Queries Keyword Opportunities Negative Keywords & Match Types Shared Library Shared Budgets* Automated Rules Flexible Bid Strategies Audiences & Exclusions* Campaign Negative Keywords Display Campaign Placement Exclusions* NEW! Business Data and Ad Customizers Advanced Delivery Methods Standard Accelerated Impression Share Lost IS (Budget) Lost IS (Rank) Search Funnels Assisted Impressions & Clicks Assisted Conversions Segmentation Analysis Device performance Network performance Top vs Other position performance Dimension Analysis Days & Times Shopping Geographic User Locations & Distance Search Terms Automatic Placements* Call Details (Call Extensions) Tools Change history Keyword Planner* Display Planner* Opportunities* Scheduling & Day Parting Automated Rules Competitor Ad Auction Insights Reporting* AdWords Campaign Experiments* Browser Languages* *indicates an item not covered in this version of the book

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but in Moby-Dick, politics became a central element in the larger constellation of themes, as if the incidental realism of Redburn and White-Jacket had been melded with the political allegory of Mardi. The Pequod becomes a replica of the American ship of state; its thirty-man crew (“isolatoes federated along one keel”) matched in number the thirty states that constituted the Union in 1850. The Pequod’s labor system, made up of white overseers and dark underlings, replicates that of “the American army and military and merchant navies, and the engineering forces employed in the construction of the

The myth of romantic love is pervasive in popular culture; countless shows, movies, plays, books, and songs are centered around the theme of a lost and lonely individual who finds the perfect romantic match, and thereafter experiences a life of happiness and fulfillment. The psychologist James Hollis called this perfect romantic match the Magical Other. And he suggested that as traditional sources of meaning such as religion, family, and community have eroded, the pursuit of the Magical Other has intensified – as many people today deify romantic love and view it as the central source of life’s meaning.

BOOK CLUB QUESTIONS Throughout the story, there is significant friction between Rory and Camilla, much of which stems from Camilla’s need to manage her daughter’s life. In what ways, if any, do you feel Rory contributes to the chronic tension between them? Soline’s mother, Esmée, believes that each of us creates a unique echo in the world and that those echoes are constantly seeking their match—in order to become complete. Do you believe such a thing is possible? One of the threads running through the book touches on the tendency of daughters to repeat their mothers’ mistakes, especially in relationship matters. Have you or someone you know experienced this in real life? If so, was the pattern eventually recognized and broken? The theme of chasing one’s dreams figures prominently in the journeys of both Rory and Soline. From an early age, Soline was taught that the work they did was a sacred vocation for which the Roussels had been especially chosen, and Hux once told Rory that the dream of opening an art gallery had her name all over it. Do you believe we are each given a calling in life, a talent or gift that feeds our soul and benefits others? “Everything happens for a reason” is a commonly used axiom, particularly when events suddenly turn our lives upside down. Throughout the book, Rory’s and Soline’s lives are upended by a series of seeming coincidences, causing them to wonder if some unseen hand might be at work. Do you believe that certain things are meant to be? That some benevolent force is trying to guide us to our highest good? Or is everything random? Rory tells Soline that she and Camilla push each other’s buttons. Soline understands, but at times she seems to side with Camilla, perhaps because she had a similar relationship with her own mother. What parallels did you note in the relationships between Soline and Esmée and Rory and Camilla? By the end of the book, it seems obvious that Soline has come into Rory’s life for a reason and that the reverse is also true. In the end, each has irrevocably altered the other’s life. Have you ever had someone come into your life, even briefly, who you feel came to teach you a lesson or help you find your path? On her deathbed, Esmée tells Soline about the father she never knew, a man Esmée loved dearly but sent away out of obedience to her mother. She speaks to her daughter about a grief worse than death—the grief of a life half-lived. How do you think these revelations affect Soline’s choices when Anson suddenly reappears in her life? One of Esmée’s quotes is about forgiveness. She says forgiveness is the greatest magick of all and that it makes all things new. Do you believe in the power of forgiveness? If so, is it true in all things, or are there certain things that can never be made new?

She took me through the parlors and the kitchen, and I marveled at the beautiful ceiling molding, the wooden banisters up to the second floor, the crystalline chandelier in the dining room. The furniture was tasteful and sparse, plastic over the fainting couches and coffee tables and wingback chairs, so that as they stood in stasis they wouldn't collect dust. The second floor was just as gorgeous, the rooms all themed in different flowers. The yellow daffodil room was my favorite. The wall with the headboard had an entire mural of huge daffodils blooming across it. Junie's handiwork, I was sure. Just like the mural on the side of Frank's Auto Shop, and the logo for the Grumpy Possum, and even Gail's bar scene. She showed me all the different rooms, each with a different flower theme and a different focal color--- lavender and coral and sage. The pink ones--- roses--- matched Junie's pastel hair.

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At the very beginning of the poetic argument, we entered the world of Job’s inner torment through the great death wish poem that takes up all of Chapter 3. These first thirty seven lines of God’s response to Job constitute a brilliantly pointed reversal, in structure, image, and theme, of that initial poem of Job’s. Perhaps the best way to sense the special weight of disputation over theodicy is to observe that it is cast in the form of a clash between two modes of poetry, one kind spoken by man and, however memorable, appropriate to the limitations of his creaturely condition, the other kind of verse a poet of genius could persuasively imagine God speaking…. Perhaps the finest illustration of this nice match of meaning and imagery between the two poems is the beautiful counterbalance between the most haunting of Job’s lines wishing for darkness and the most exquisite of God’s lines affirming light. Job, one recalls, tried to conjure up an eternal starless night: “Let its twilight stars go dark, / let it hope for light in vain, / and let it not see the eyelids of the dawn” (3:9). God, near the beginning of His first discourse, evokes the moment when creation was completed in an image that has become justly famous in its own right but that is also, it should be observed, a counterimage to 3:9: “When the morning stars sang together, / and all the sons of God shouted for joy” (verse 7). That is, instead of a night with no twilight stars, with no glimmer of dawn, the morning stars of creation exult. The emphasis in this line on song and shouts of joy also takes us back to the poem of Chapter 3, which began with a triumphant cry on the night of conception—a cry Job wanted to wish away—and proceeded to a prayer that no joyous exclamation come into that night (3:7).

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Desiring to match my lover, I designed a ‘Twin’ costume that was based on a similar idea to Gabrielli’s ‘Happy and Sad’ theme; ‘Twins’ was an over-sized costume which could easily accommodate two people when worn. It was black in front and white at the back. The sides were ombre shades of grey, graduating from black to white and vice versa. It is true that all colors merged to become black or white; ‘Twins’ was therefore representational of all beings connected as one and one as all. It was a Yin and Yang concept I didn’t realize I had created at the time. Forty years had passed and I now realize this process was a part of an unconscious spiritual evolution: morphing from adolescent to adulthood.

What now? We need to find out whether we’re capable of the sort of total reconsideration of our entire history that the Germans and Japanese carried out after the war. Do we have enough intellectual courage? People hardly talk about this. They talk about the market, about vouchers, about checks. Once again, we’re just barely surviving. All our energy is directed toward that. But our souls have been abandoned. So what is all this for? This book you’re writing? The nights when I don’t sleep? If our life is just a flick of the match? There might be a few answers to this. It’s a primitive sort of fatalism. And there might be great answers to it, too. The Russian always needs to believe in something: in the railroad, in the frog [as does Bazarov in Turgenevs Fathers and Sons], in Byzantium, in the atom. And now, in the market. Bulgakov writes in A Cabal of Hypocrites: “I’ve sinned my whole life. I was an actor.” This is a consciousness of the sinfulness of art, of the amoral nature oflooking into another person’s life. But maybe, like a small bit of disease, this could serve as inoculation against someone else's mistakes. Chernobyl is a theme worthy of Dostoevsky, an attempt to justify mankind. Or maybe the moral is simpler than that: You should come into this world on your tiptoes, and stop at the entrance? Into this miraculous world . . . Aleksandr Revalskiy, historian

The Wikipedic superficiality and political frivolity with which these grand historical and psychological themes are applied to the gory drama are matched by the appropriation of a few jingling baubles of feminist dialogue meant to get viewers hungry for “substance” to salivate. They’re the product and the fruit of lazy filmmaking. The movie has nothing to say about women’s history, feminist politics, civil violence, the Holocaust, the Cold War, or German culture. Instead, Guadagnino thrusts some thusly labelled trinkets at viewers and suggests that they try to assemble them. The result is sordid, flimsy Holocaust kitsch, fanatical chic, with all the actual political substance of a designer Che T-shirt. When a few riffs of dialogue, midway through the film, speak of a character’s fate in Theresienstadt, one wants to tell the script to get that word out of its mouth.