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Cover of WE THE PEOPLE

WE THE PEOPLE

by Lepore’s lights, the Founders intended for the document to be changed in order to meet the needs of the day, trusting in the Enlightenment premise that “the human mind is driven by reason.” Article V, Lepore continues, is “a sleeping giant”: In it the Founders specified that change could come in one of two ways, the first being a congressional proposal, the second a convention of the states, with a “double supermajority” of votes for approval, two\u002Dthirds of Congress and three\u002Dquarters of the states. Although there have been flurries of amendments—including the first 10, yielding the Bill of Rights—it has been nearly 40 years since the last constitutional convention was held, even as, Lepore calculates, members of Congress proposed 2,100 amendments between 1980 and 2000. Part of the problem is congressional gridlock, a feature of government since the days of President Reagan\u003B another is what Lepore considers the false doctrine of originalism—which, she writes provocatively, “arose from the failure of conservatives to change the Constitution by democratic means.” Lepore presses her argument with numerous case studies, including the difficult passage of an amendment to allow direct election of senators (formerly appointed by governors), the argument over an income tax (and one that progressively taxed the rich more than the poor), the failed adoption of the Equal Rights Amendment, and a longtime favorite that has yet to come about: the abolition of the aristocratically inspired Electoral College."4.4/5(48)

Cover of WES ANDERSON: ALL THE FILMS

WES ANDERSON: ALL THE FILMS

by the theater of Sam Shepard. Like all books of this type, this one has stills and behind\u002Dthe\u002Dscenes photos, along with synopses, critical reactions, and technical details, such as the various lenses Anderson has used, from the “rare short focal length: 27 mm” he used for the 1996 feature\u002Dlength Bottle Rocket to the “wide\u002Dformat anamorphic lenses and a strong color palette” he has employed on every film since Rushmore (1998). Narbonne tries too hard to intellectualize Anderson’s cinema, as when he writes, “Symmetry is the ideal backdrop for the characters’ psychorigidity” or notes Anderson’s use of “visual pleonasm.” Fans probably won’t mind, however, and will enjoy stories such as that in the Rushmore scene where the protagonist releases bees into a hotel room, “Anderson insisted that real insects be released into the room and that no one wear face protection.”"4.0/5(4)

Cover of WHAT FURY BRINGS

WHAT FURY BRINGS

by currying favor with the wealthy nobles, Olerra decides on a different tactic, the time\u002Dhonored Amarran tradition of kidnapping a husband. Her target is a good\u002Dlooking younger prince from the neighboring country of Brutus, but she accidentally and unknowingly nabs Sanos, the king’s eldest son and heir to the throne. She drags Sanos back to Amarra, where he’s treated with all the contempt for men that is normal in her society: He’s dressed as a sexual plaything, forced to shave his beard and body hair, leashed and restrained for bad behavior. Olerra can’t understand Sanos’ objections to this treatment, and the ensuing power struggle makes up most of the plot. Marketed as romantasy, Levenseller’s first adult novel falls flat as both romance and fantasy. There is little connection or chemistry between Olerra and Sanos, and since both are more caricature than character, neither experiences the kind of growth that creates challenging or interesting romantic relationships. In addition, the worldbuilding is paper thin. Amarra is a world built on reverse misogyny, but the motifs, imagery, and scenes often read more like a brainstormed list (a penis guillotine!) than a fully realized attempt to say something meaningful about women’s rage."3.7/5(1,195)

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