An astute correspondent who somehow remains pitifully trapped in Butler piqued Bwog's curiosity with this observation:

"Her Highness Sheikha Moza, aka the First Lady of Qatar, just took a tour through Butler. This is interesting because she is famous for spending billions to get American colleges to build satellite campuses in Qatar (check out Cornell's campus in Doha). Is she trying to build a Butler in Doha? Probably not. Despite being very pro 'the global university,' Bollinger said at his last fireside chat that satellite campuses were not in his plans."

So...maybe she's looking to build a study abroad center, a la Reid Hall in Paris? Or simply checking out Butler's avant-garde exhibit on the latest in plastic bag technology?


bond In which Bwog Staffer Brendan Ballou tries desperately to find something to talk about with Kira Kalina von Ostenfeld -- a German countess who graduated from Georgetown at age 19 to work for the FBI, grew up in Peru, learned six languages, and started her own art company. She's also a fifth-year grad student in the history department focusing on middle-ages Spain.

Why are grad students sad?

It's part of the culture of graduate school. And this is something that's happened for a very, very long time — it's nothing new. It's part of the intensity of the intellectual process we go through — it's suffering. We're supposed to be doing this for some higher call and we will enlighten the world. I mean we have a pretty sweet deal — the lucky ones of us get paid to be here. I think you're being unrealistic if you come to graduate school and think it's going to be cushy. It's difficult, so the lucky few of us who are allowed to be part of this should appreciate it for what it's for.

So you went to college at 16

Yeah.

So how did that happen?

Well, my parents are a little bit older, so when I came along my mother had already had kids, and so she considered me a little adult. I don't think it was a negative thing at all — I very much appreciated it actually. I was never treated as a child — I was always treated as an adult and pushed accordingly when it came to academics. And so my parents were very lenient in terms of everything else that they did, so their one requirement was that, 'if get A's and keep A's in everything you do you have free rein — you can go out with your friends, you can party, you can go to concerts, whatever, you can have a boyfriend.'

And so you had a social life in high school?


In which film savant Iggy Cortez tells us how to live forever, and live right.

orlandoSally Potter's film version of Virginia Woolf's irreverent biography remains one of the strongest examples of adaptation in recent years, maintaining the spirit of its novelistic predecessor while enriching it with distinctly cinematic qualities. This is a particularly impressive achievement considering the sprawling, almost unfilmable nature of the original story. Orlando (played by the appropriately androgynous Tilda Swinton) is a British male aristocrat in the 16th century who inexplicably lives for four decades and never ages. One evening, he magically swaps genders after falling into a trance in Constantinople and remains a woman to the very end of her chronicled adventures. In her life time, she will tend to Queen Elizabeth I on her death bed, become an ambassador to Charles II, hang out among the literati of 18th century England, fall in love twice, have one daughter and ride around London in a motorcycle after landing a plum book deal.

The film has several negligible flaws that are all but eclipsed by its humor and unforgettable visual impact. Despite Sally Potter's background in formidably experimental film, Orlando is a highly watchable, reasonably cohesive movie that manages to be both serious and tongue-in-cheek. Potter's formal experiments — using the elderly, gender ambiguous Quentin Crisp to play the queen, for instance, or breaking down the cinematic fourth wall by making Tilda Swinton talk to the camera — come across as both liberating and fun, rather than self-conscious and smug.

The film obviously has the gender politics of the seventies and eighties looming above it, but Potter's approach is to explore themes and leave decisions up to her viewer rather than proselytize. Recently the film has also been interpreted as a swan song for avant-garde practice that dominated British film up to late eighties/early nineties, a particularly convincing argument given the entertaining but commercial films that have been coming out of the UK. But although this is very much a movie of its period, much like its protagonist, Potter's unforgettably stylish film will probably endure well beyond its times.


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