Phonology

In the world of the near future, who will control women's bodies?

Offred is a Handmaid in the Republic of Gilead. She may leave the home of the Commander and his wife once a day to walk to food markets whose signs are now pictures instead of words because women are no longer allowed to read. She must lie on her back once a month and pray that the Commander makes her pregnant, because in an age of declining births, Offred and the other Handmaids are only valued if their ovaries are viable.

Offred can remember the days before, when she lived and made love with her husband Luke; when she played with and protected her daughter; when she had a job, money of her own, and access to knowledge. But all of that is gone now....

Funny, unexpected, horrifying, and altogether convincing, The Handmaid's Tale is at once scathing satire, dire warning, and tour de force.

Re-creating the role she originated in Philip Barry's wickedly witty Broadway play, Katharine Hepburn stars as the spoiled and snobby socialite Tracy Lord in this sparkling 1940 screen adaptation of The Philadelphia Story, one of the great romantic comedies from the golden age of MGM studios. Applying her impossibly high ideals to everyone but herself, Tracy is about to marry a stuffy executive when her congenial ex-husband (Cary Grant), arrives to protect his former father-in-law from a potentially scandalous tabloid exposé. In an Oscar-winning role, James Stewart is the scandal reporter who falls for Tracy as her wedding day arrives, throwing her into a dizzying state of premarital jitters. Who will join Tracy at the altar? Snappy dialogue flows like sparkling wine under the sophisticated direction of George Cukor in this film that turned the tide of Hepburn's career from "box-office poison" to glamorous Hollywood star.

his album, which catapulted Polish composer Henryk Gorecki to into the international spotlight, takes texts born in pain and turns them into statements of affirmation through the use of music that ebbs and flows in mystic minimalism. The clear voice of soprano Dawn Upshaw, singing the Polish texts, is a large part of the success of this particular recording, but the music, contemporary without either dissonance or movie-music mawkishness, clarifies and uplifts the words. This is a moving and essential element of the modern repertoire.

Ever since Björk's vital, effusive 1993 debut, her music has been increasingly intimate, gently private, and concerned with seclusion. It's typical then that Vespertine's first single is called "Hidden Place." The studious solitude is rewarding, though. Vespertine is a lush, gorgeous swell of midpace electronica, symphonic strings, and Björk's uniquely alien, spectral vocals. There are fantastical wonders here. "Cocoon" (another eulogy to withdrawal from the world) is delicate as a breath, Björk sounding too fragile to be flesh as she lauds "a beauty this immense." "Pagan Poetry" and "Aurora," likewise, are adrift in an enchanted reverie. When she chooses, she crafts killer tunes; "It's Not up to You" is as lovely as anything on "Post". Yet, frequently, on such tracks as the yearning, glancing "Undo," Björk seems to be simply thinking aloud, reveling in this wildly rich and visceral music. She's reclaimed cutting-edge electronica, so often the province of geeks and technicians, for the poets and the passionate. Vespertine is a landmark, a revelation, and a truly fabulous achievement. --Ian Gittins

Connie Ramos, a woman in her mid-thirties, has been declared insane. But Connie is overwhelmingly sane, merely tuned to the future, and able to communicate with the year 2137. As her doctors persuade her to agree to an operation, Connie struggles to force herself to listen to the future and its lessons for today....

One of rock's most overlooked masterpieces, this third album by the L.A. folk-rock outfit led by inscrutable singer/songwriter Arthur Lee sounds as fresh and innovative today as it did upon its original release in 1968. With David Angel's atmospheric string and horn arrangements giving the work a conceptual underpinning, Lee explores mainstream America's penchant for paranoia ("The Red Telephone") and violence ("A House is Not a Motel") with songs that are as sonically subtle and lilting as they are lyrically blunt and harrowing. Add two gems by Love's secret weapon, second guitarist Bryan Maclean ("Alone Again Or" and "Old Man") and you've got one of the truly perfect albums in rock history. --Billy Altman

The sea: turbulent and leaden, transparent and opaque, magician and mother... When Charles Arrowby, over sixty, a demi god of the theatre -- director, playwright and actor -- retires from his glittering London world in order to 'abjure magic and become a hermit', it is to the sea that he turns. He hopes at least to escape from 'the woman' -- but unexpectedly meets one whom he loved long ago. His buddhist cousin, James, also arrives. he is menaced by a monster from the deep. Charles finds his 'solitude' peopled by the drama of his own fantasies and obsessions.

Stark lives in Colour, a neighbourhood whose inhabitants like to be co-ordinated with their surroundings. Then there's Red close by: if you want to see a tactical nuclear battle recreated as a sales demonstration. Stark has friends in Red, which is just as well because something is about to happen.

This book means so much to me. It's about the imagination, about colour, about dreams, about fear, about cats, but most of all it's about love. One to buy, keep read, and reread and reread...

Lotte Schwartz: Don't stand in the way of my actualization as a man.
Craig Schwartz: Nobody's looking for a puppeteer in today's wintry economic climate.
Craig Schwartz: Do you know what a metaphysical can of worms this portal is?

 A superstar and cultural icon in his native Japan, Takeshi "Beat" Kitano has conquered more than one medium, but he is best known in the West for his remarkable films. Among those, Hana Bi (Fireworks) is the clear favorite, a taut and enigmatic noir that fluctuates between perfect stillness and savage eruptions of violence.

Kitano plays a cop named Nishi, a determinedly impassive man whose face occasionally ripples with an involuntary tic, hinting at the explosive but contained forces within. Nishi's wife (Kayato Kishimoto) is dying of leukemia, a disease that already killed their child, and he cares for her with a shattering tenderness. While on a stakeout, Nishi takes a break to check in on her, and while he's gone his partner is crippled and another officer is killed. With death hovering at home and a score to settle outside, Kitano's hero sets off on an isolated course to seek justice.

Few filmmakers have understood as well as Kitano has here the irresistible draw of a thriller told with a moody calmness, with an eye toward graceful construction and rigorous composition. The careful, unhurried dispensing of story information also helps keep the focus on Nishi's warrior soul, on his mysterious capacity for the extremes of gentleness and brutality. The story here is the way one man can be the sum of such bold contradictions, and a great story it is. --Tom Keogh

2003 solo album from David Sylvian, his first since 1999's 'Dead Bees on a Cake'. It's the debut release for his Samadhi Sound label. David set aside a month to write & record the album while taking a break from the project that he & his brother, Steve Jansen, are working on. He has created an impromptu suite of songs for guitar, electronics & voice. The compositions were crafted from improvisational sessions captured live in the studio. Working almost entirely alone David has created an emotionally raw, minimalist work, of immediacy & stark beauty. Adding to the intensity & air of experimentation is the presence of Derek Bailey. Three of the pieces included on 'Blemish' were written with, & feature, the legendary free-jazz guitarist. The final track of the CD features a haunting electronic arrangement by Christian Fennesz.