Rafi Karpowitz – Opinions Editor
This is the second book in Cixin Liu’s “Three-Body Problem” series, which is by far the best science fiction series I’ve ever read. I just finished listening to the audiobook for probably the third or fourth time, and it was just as good as I remembered. Despite the audiobook being 26 hours long, I finished it in three days, which was definitely not good for my sleep schedule, but I simply couldn’t stop listening. I would recommend reading the physical book first, and starting with the first in the series, as this book begins with many seemingly disjointed strands of text that will initially be quite confusing until you realize how they weave themselves together into the book’s dramatic and shocking climax.
The premise of this series, set in the very near future, is that Earth has contacted an alien civilization that, upon receiving our message and learning of our planet’s ideal conditions for survival, has embarked on an interstellar attack to colonize the Earth. Liu develops a theory of cosmic sociology whose principles and logics reveal themselves throughout the book and are central to the technologically inferior citizens of Earth’s attempts to prepare for and defend against the coming invasion. Having read Thomas Hobbes and John Locke earlier this semester, it was striking how Liu’s cosmic sociology expands and develops classic theories about human nature and society. Liu’s incorporation of practical political theory somehow fits perfectly with his easily-digestable yet clearly complex embrace of futuristic science and technology. At the center of the story is a constantly unraveling mystery as humans try to keep their plans a secret from the alien invaders.
Something about this book in particular, as well as the whole series, feels so complex and precise, yet also grand. I love books that have massive implications and, despite this, are able to tie every thread together perfectly. Nothing accomplishes this better than “The Dark Forest.”
Nasrin Ahmed – Opinions Editor
“For if ‘Thou mayest’—it is also true that ‘Thou mayest not.’ That makes a man great, and that gives him stature with the gods, for in his weakness and his filth and his murder of his brother, he has still the great choice. He can choose his course and fight it through and win.” — John Steinbeck
Guys I swear I’m not a pretentious man, they have given “East of Eden” a bad reputation, but it is genuinely one of the best novels ever written! If you have not read it yet, please do! I make a point to re-read it once a year when I can scrounge up enough time. I actually just finished re-reading it, and the famous American novel was just as beautiful as I remembered it. My attachment to “East of Eden” is directly linked to when I read it for the first time; it was the height of quarantine, I was fifteen, and very confused. I got my copy at the local thrift store — funnily enough, called “My Thrift.” I picked it up because the cover was captivating, and I was a big lover of deckled edges. I knew nothing of Steinbeck. I went into the novel blind and came out of it with a newfound understanding of myself. Steinbeck’s “East of Eden” looks at generational trauma, notions of inheriting sin, and what happens to children when denied love. While reading it, there will be moments where you laugh — such as when Steinbeck wrote “within two weeks Cyrus had wooed, wedded, bedded, and impregnated her” — and there will be moments where you can’t help but cry.
The quote above means so much to me. In a world where people have preconceived ideas of who you are because of uncontrollable variables such as your race, gender, family, etc., you still have control of your actions. Who you become is not predestined, it is within your control. Hit me up if you read it, I would love to know your thoughts!
James Shelton – Photo Editor
As an avid photographer and a photojournalist, I try to stay current with as much professional photography and photojournalism as I can. I follow photojournalists on Instagram, and I occasionally skim the internet for excellent work, but I primarily look at photo essays and collections on whatever news app I find myself scrolling on. This past week or so, I stumbled upon the Associated Press’s “Top 100 Photos of the Year” article, which I must highlight for you all. (A fair warning: the article contains multiple photos depicting death or dead bodies, physical injuries, famine, and violence, including gun violence, images of airstrikes, and physical combat.)
The collection covers an incredibly diverse range of content, from the ongoing violence in Ukraine and Gaza to the Northern Lights, and even a few wildlife photos. I was deeply moved by the range of work I experienced: death, so vividly represented; the joy of community; the destruction of war; the love found in family; the fear of loss; and the vast, beautiful diversity of the human race.
I implore you to experience these images. Words alone cannot describe the emotions encapsulated within these photos; only the visual power they hold can transmit that. To smile with the people smiling, to cry with the people crying, and to bear witness to humanity on Earth is stunning in all its terrifying existence.
Devin Gibson – Photo Editor
Watching this cinematic masterpiece while hiding from the onslaught of snow two weeks ago felt somehow fitting. This movie follows the memories of Joel Barish (Jim Carrey) and the story of his relationship with Clementine Kruczynski (Kate Winslet). I really shouldn’t say anything about the plot, as this is one of those movies you should go into blind. However, sticking true to my role as a photo editor for The Phoenix, I simply must talk about some of the cinematographic choices the director Michel Gondry made. We’re talking about a movie that takes place almost entirely in the mind, and with that, we open doors for some wonderfully creative transitions and mises-en-scéne. There are these shots that center Joel in deep focus while the foreground stays blurred, and even with the obstructed view, you’re pulled to him as the focal point. Scenes bleed together so seamlessly, with setpieces serving multipurpose roles, illustrating the potent syncretism of our memories. I truly don’t want to reveal anything and can only hope that if you watch this movie, you pay attention to the camera angles and how they shape the story.
