about Ken Burns' film "The Roosevelts"

Ken Burns' most recent entry in the American encyclopedia is "The Roosevelts: An Intimate History." This film constructs a narrative of Theodore and Franklin and Eleanor Roosevelt. Teddy, a Republican, served as 26th President of the United States, and Franklin, a Democrat, the 32nd. The documentary film begins with the birth of Theodore in 1858 and ends with the death of Eleanor in 1962. The production is superior, fueled with solid writing, crisp pacing, and sharp editing.

The film relies on loose eye-witness accounts from the Roosevelt's family and friends and the speculation and psychoanalysis of historical writers, such as Doris Kearns Goodwin and David McCullough, whose work sells because they dramatize history. The first episode inscribes an origin story for each future President. The narrative willingly indulges the Great Man theory, that idea that history is the result of the charisma, intelligence, and skill of the heroes and giants of the age. In the case of the Roosevelt Presidents as depicted in this documentary, both are born sickly and, merely by living, miraculously defy death. Describing baby Franklin in the arms of his mother, the narration quotes a family member who likens the pair to a Madonna with child. Rather than simply say that the family was proud of their kin, this testimony is treated as bearing some deeper insight and truth. In another segment, the narrative depicts Teddy's time in the badlands as a trial from which he emerged transformed, like Jesus returning from the desert.

about "Crime and Punishment" by Fyodor Dostoyevsky

In a Russian a literary journal in 1866, Fyodor Dostoyevsky published Crime and Punishment, a  novel that follows a young man named Rodion Raskolnikov immediately before and after he murders an unscrupulous pawnbroker and her feeble sister. The motive, which does not seem fully and explicitly formed even for our protagonist, develops through Dostoyevsky's narrative. It seems altogether an act of desperate poverty, self-empowerment, and destiny.

In those forlorn, guilt-infected postmurder days spent adrift among a diverse cast of emotional string-pulling supporting characters, Raskolnikov remains under suspicion but not arrest. The action turns when a coy police inspector reminds Raskolnikov of an essay the would-be murderer wrote as a college student; the essay suggests a slight perversion of the Great Man theory--that great men use their power, be it charisma, intelligence, political and military wits, what have you, to transcend conventions and change the world. So, we come to understand, Raskolnikov's act of murder is a test of his own greatness (though he simultaneously thinks himself a slug). But, ultimately, crushed with guilt, self-doubt, and facing inevitable arrest, Raskolnikov confesses and begins his sentence in Siberia.

Among other things, Crime and Punishment dives into Dostoyevsky's personal philosophy that suffering and degradation bring salvation. The novel turns on our ideas of law, crime, morality, reason, and society and the individual. It asks, What is the difference between the man who transgresses boundaries to achieve his ambitions and the man who defies conventions to achieve greatness?



Notes:

• One of the most noted events in Fyodor Dostoyevsky's biography is his 1849 arrest for his association with some liberal utopians; he was condemned to death, but then spared moments before his execution and re-sentenced to four years' hard labour in Siberia. He later traveled through Europe, but developed epilepsy and a nasty gambling addiction. Hard times followed, but also some great literature.

• Besides exploring universal themes, Fyodor Dostoyevsky's novels are also very Russian, set in 19th-century Russia during the nation's never-ending, clumsy push to modernize.