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Electrocutionist jolted at draw
DUBAI, United Arab Emirates - Electrocutionist's task of winning Saturday's $6 million Dubai World Cup at Nad Al Sheba Racecourse, and ending a two-year winning streak by American horses, became more difficult when the 5-year-old drew the rail in the field of 11 at the post position draw on Wednesday.
A Group 1 stakes winner in England and Italy last year and the winner of a major Dubai stakes on dirt earlier this month, Electrocutionist will be making his second start on dirt in the Dubai World Cup, the world's richest race.
Simon Crisford, the racing manager for Electrocutionist's owners, the Maktoum family's Godolphin Racing, said he feared the kickback of dirt from front-runners may cause problems for Electrocutionist, who will be ridden by Frankie Dettori.
"It will take a special horse to win from there," he said. "It was always going to be difficult. Now it will be much more difficult."
Conversely, the connections of the five American horses that will try to emulate Pleasantly Perfect (2004) and Roses in May (2005) as recent American winners said that the draw suits the running styles of their respective horses.
Choctaw Nation, the closer who finished third in the 2005 Dubai World Cup, breaks from post 4. Trainer Jeff Mullins said an inside post will allow jockey Victor Espinoza to save ground during the 2,000-meter race, or about 1 1/4 miles.
"He won't have to cover much ground to get to the rail," Mullins said.
Brass Hat, the winner of the New Orleans and Donn handicaps this year, starts from post 7, with fellow Americans Magna Graduate and Wilko drawn directly to his outside.
Brass Hat will trying for his fourth consecutive stakes win.
"They said anything outside of 5 would be good," said trainer Buff Bradley. "I think it's a good spot."
Brass Hat is a closer. A gelding that has overcome injury, Brass Hat will not be bothered by dirt in his face, Bradley believes. "He's had a lot of things thrown at him," he said.
Magna Graduate, the winner of three graded stakes last fall, has a post that will complement his style as a stalker.
"When you get too far on the inside, they can put pressure on you," said Kim Valerio, the racing manager for owner Elisabeth Alexander.
Super Frolic, who finished fourth in the Breeders' Cup Classic last October, starts from the outside in the field of 11.
"I wanted to be outside," said his trainer, Vladimir Cerin. "I don't want to get covered up. You can adapt to the pace and the others and see who is sending."
The draw was held in the theater of a beachfront luxury hotel. After the order of selection was determined randomly, post positions were drawn by the connections.
Cerin and Mullins each drew the post for his horse, and Bradley sent up his 10-year-old daughter, Kory, to draw Brass Hat's post.
When trainer Saeed bin Suroor rose to draw Electrocutionist's post, there were only two spots remaining, the rail and post 4.
Electrocutionist, who is a strong favorite to win the Dubai World Cup with English bookmakers, won the Group 1 Juddmonte at York, England, last August. In his only start this year, he won the third round of the Maktoum Challenge Stakes at the World Cup distance of about 1 1/4 miles on dirt on March 2.
Another threat to the American runners is Kane Hekili, the Japanese star who has won 8 of 12 starts. Kane Hekili will start from post 3.
A 4-year-old colt, Kane Hekili closed from well off the pace to win his last two starts, the $2.07 million Japan Cup Dirt in November and the $1.5 million February Stakes last month.
On Wednesday at Nad Al Sheba, Kane Hekili worked 800 meters, or about four furlongs, in 49.90 seconds before dawn. Jockey Yutaka Take was aboard for the workout.
"The dirt course is different from the Japanese one, but he ran very well," Take said.
The field
Dubai World Cup
Purse: $6 million; 1 1/14 miles; Group 1
|L. Dettori
|W. Supple
|Kane Hekili
|Y. Take
|Choctaw Nation
|V. Espinoza
|M. Kinane
|R. Hills
|Brass Hat
|W. Martinez
|Magna Graduate
|J. Velazquez
|G. Gomez
|Star King Man
|O. Peslier
|Super Frolic
|C. Nakatani
* All horses carry 126
* Odds by Alan Shuback

subset: commoncrawl


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Brought together by a stormy Byron Bay night and a mutual love of electronic music; RÜFÜS are what happens when a self taught folk singer songwriter, a deephouse producer and a mathematical drummer write tunes that heat Saturday nights and warm Sunday afternoons.
There is a real DIY aesthetic to RÜFÜS, who wrote, recorded, PR'd and released their debut EP (2011) on their own label, rather than wait to shop demos around. In a testament to both the music, and this DIY spirit, the 2011 EP enjoyed an organic growth and enviable attention from key tastemakers in the blogosphere. Two tracks from the EP, 'Paris Collides' & 'We Left', reached No.8 & No.13 on the Hype Machine charts simultaneously, while the video for 'We Left' (directed by friend and brother of the band Alex George) has clocked up 120,000+ views on YouTube and Vimeo, being nominated as one of 12 finalists internationally in the 2012 Vimeo awards for best music video.
Their follow up RÜFÜS EP (BLUE) released in April 2012, debuted at No.5 on the iTunes dance charts, with the lead single 'This Summer' landing high rotation on Triple J. Their track 'Talk to me' caught the attention of French tastemaking label Kitsuné and features on their Summer mix compilation. This EP was the first to be signed to Gigpiglet, marking the beginning of a beautiful friendship.
Locally the band's live show has gathered an ever expanding loyal cult following, selling out shows in Sydney, Melbourne, Canberra, Perth and Newcastle. The boys have secured opening spots for the likes of Royksøpp, Yuksek and national touring spots with Van She and the Aston Shuffle.
The RÜFÜS boys are guitarist Tyrone Lindqvist, keyboardist Jon George and drummer James Hunt – and their dance influence has created high demand for their remixing ability; with releases for Aston Shuffle (Plant music) and Citizens! (Kitsuné). While remixes of their own tracks can be found on their 'We Left remix EP' (2011) released on French label 'On the Fruit' and the 'This Summer/Selena remixes EP', released on Jerry Bouthier's 'Continental Records' July 2012.
Over the summer of 2011/2012, RÜFÜS played a string of festivals and parties including Parklife, Homebake, Peats Ridge, Field Day, Harbour Party and Big Day Out.
In 2012, RÜFÜS are touring heavily and relocating to farm house of the New South Wales South Coast to start work on writing a collection of songs they aim to release as their first album in early 2013. So put on your RÜFÜS-goggles and prepare for the revolution.


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Throughout my years of schooling, I received Ds and the occasional C in my English courses. My confidence in my ability to write was quite low as I entered my first writers' workshop. It's true I had spent years working on improving my writing on-the-job, but I still carried the scars from my teachers' assessments of my inability to express ideas as an adolescent.
During my virgin writers' workshop experience, I learned something about my particular paper, what worked well, what was confusing, etc. But beyond those interesting pieces of feedback, I learned something more important—I learned I could write something that others appreciated.
This workshop healed my scars, savagely inflicted upon my young mind by English teachers who knew harsh feedback was good for me. This experience gave me the confidence to write a book, which is now published and selling well.
Writing is one of the craziest things to do—it's hard, and often what gets written surprises the writer. After the hard job of getting a draft, the writer is elated and the result reads great—a masterpiece in the making and a life of fame and accolades; the writer can do anything. Then the writers' workshop.
For many people the expectation of their first writers' workshop is that it will be a glorious affirmation of their own talent and skill as a writer, but for many at the end of the writer's first workshop experience, there is emptiness—the experience has neither affirmed nor condemned. For some there are tears, doubts, shame. For a few there is only the question: How could I have ever felt I had talent?
The writer goes on, or the writer quits.
The writers' workshop has been in use for decades by fiction writers, poets, and writers of creative nonfiction, and in the realm of creative writing it is praised as essential and criticized as vicious, loved and hated.[*] Like any long-lived institution, the writers' workshop has drifted from its origins, and some of the aspects that make workshops wonderful have been rubbed away or replaced by others having less effectiveness or good will—that is, like all magic bits, the magic has been worn off as the energy of its practice dissipates.
[*] I use the term creative to distinguish the creative writing community from other communities that write. These other communities are full of highly creative people. When you see phrases like creative writing and creative workshops, read them as jargon.
In 1994 the writers' workshop had a rebirth—in another field, with entirely new participants, and in a setting where the magic both reappeared and was understood. Since 1994 the writers' workshop format has been in use by the software patterns community, both as a way to improve patterns and pattern languages and as a way to share knowledge and experience, as a sort of alternative to presentations and standard scientific workshops.[2]
The patterns community experienced the writers' workshop mojo right away, but the important news is that this particular community, perhaps like few others, has the habit and practice of trying to understand and articulate why beautiful things are beautiful and why comfortable things give comfort. The workshop—something wildly new and unconventional to them—was studied and its nuances captured.
What makes the writers' workshop tick is roughly what makes large, open-source software projects tick, where sometimes hundreds or thousands of programmers are working with shared source code. We see it in creative brainstorming sessions where a diverse group is brought together in fast-communication situations. We can also see it in the swarming behavior of all sorts of groups in which order emerges where there once was chaos.
But knowing how and why a thing works when it works is different from being able to make it work any given time. The writers' workshop works through sociology and psychology; it is only as good as its participants; its direction depends on the work at hand and the order it is read; it can spin cruelly wrong; but it usually brings out the best in us.
The writers' workshop is bundled paradoxes: the private act of writing mixed with group criticism, the gift economy of shared works mixed with mercenary workshop moderators, and the generosity of supportive comments in a forum that seems better suited for cutting people down.
Writing is an intensely private, solitary act; the writers' workshop is one of the few parts of the process in which the public—the other in the guise of colleagues and strangers—is invited in. For the writer new to the writers' workshop, it appears to be a forum in which the writer, infallible and exhausted, faces the first check, the first test of the work itself, and given these expectations, the test can be harsh. Where moments before the feeling was total power, during and after, the feeling may be total incompetence.
On the flip side, writers experienced with the workshop bring work they are unsure of but feel contains a kernel perhaps without direction, and the workshop helps find that direction. Before the workshop they feel uncertain about the work, but after it they are brimming with new ideas and enthusiasm. Workshops are where writers gain invaluable advice and feedback, and in the best of circumstances, workshops are where writers learn to trust themselves and grow beyond the workshop.
The work goes on, the words improve, the ideas are sharpened, what was important is made bold, what is irrelevant is trimmed, the awkward matures to grace. And the transformation from pure thought to thought-in-words on the page goes on.
The arc from doubt to elation and omnipotence to doubt to completion is common to all creative activities. Its absence is the prime symptom of a mere job, rote engineering, repetition. That something like the writers' workshop is needed in this process needs explanation. In this book I hope to answer this question and more.
We will look at the writers' workshop process, and I will point out as best I can what conditions are required for it to work. I want to try to provide an understanding of how it works, and lay out a road map to its workings both as a ritual and as experience—how to run one, how to participate in one, how to survive one, and how to use it to further your own work.
I come from a background of both the arts and the sciences: My principal education and activities are from the world of mathematics and computer science; my second education and avocation is creative writing—poetry, in fact. I have experienced the writers' workshop in both realms. In creative writing it is a more emotional experience because the stuff that's on the page perhaps means more to the writer as a person than does the more technical and "objective" stuff on the pages written by a software developer, computer researcher, or manager. In creative writing, the discussions tend to be about the narrative structure, what the piece is about, how it is constructed, craft elements and how to improve them, aesthetic concerns, and the positions and stances of the narrator and audience. In the technical world, the experience is more antiseptic—a little more about the stuff than about the person, but not overwhelmingly so—and objective; the discussions tend to be more about the facts presented, the accuracy of the claims, the technical and scientific basis for judging the correctness of the material, and less about presentation and aesthetics, even though the strength and intention of the writers' workshop is to the writing.
The writers' workshop is a dance, and without knowing the steps, a participant might trip, even fall. Feet could be sprained or even broken—one should never participate in a writers' workshop without an introduction to it of some sort and the ground rules being set. You need a moderator or workshop leader—someone with experience and, even better, expertise in the workshop and a master writer. The feet that are most badly hurt will not be those of the experienced, but those of a new writer, a young person, and it's not out of the realm of possibility that a career might be changed by the wrong kind of statement at the wrong time. The conversations in a writers' workshop are not a debate, not a chat, not an argument, not a forum to show off, not a flame war, not a love-fest, not a shouting match, not a lecture, not a demonstration, and certainly not a cakewalk.
But the young writer is not the only one at risk: I've seen seasoned writers—poets with hundreds of poems in their portfolio and dozens of writers' workshops behind them—break down, run from the room in tears, leave a conference that was devastatingly unaffordable after the wrong two or three comments. I have watched senior computer scientists with dozens of publications turn bright bright red in embarrassment and then anger. The workshop is a crucible in which every part of the human equation is tested: creation, destruction, leadership, control, privacy, exhibitionism, voyeurism, love, hatred, fear, collaboration, cooperation, order, chaos, victory, devastation, humility, pride, shyness, bravado, and spirituality. For technical people, the raw emotion is surprising; for the creative writer the clinical coldness is alarming.
When it works well, though, the writers' workshop works better than almost anything else at getting to the best work in the shortest time. If you're trying to get quickly to the release of a usable work, you will get there faster without the writers' workshop process, but if your goal is the best work, the writers' workshop will get you there faster.
Through this book, I hope to introduce or reintroduce the ideas of the writers' workshop to a wide audience: to writers new to the workshop, to writers who want to understand how the workshop works, to new writers who want to find out how to get good fast, to veteran workshoppers who have experienced too many bad parts of workshops, to technical people and scientists who have never thought of their work as including writing, to businesspeople looking for better ways to improve collateral material and presentations, and to software developers.
For creative writers for whom the writers' workshop has perhaps grown stale and drifted from its roots—by talking about how and why it works, I hope to rekindle your faith in it and help you find a renewed focus on the work and on the gifts the workshop represents. For scientists and technologists already using the writers' workshop, I hope to bring you some of the insights of the creative writing community on writing and their more pedagogical use of the workshop so that you can use the workshop more effectively and more thoroughly.
The book is broken into two major parts, introduced by a two-chapter overview. To understand why the writers' workshop can work requires an idea or a model of writing and the writing process. I have no choice but to give you my view of writing and process, and I hope you'll recognize some aspects of it in the work you do. For both creative writers and scientists it is a creative act with risks involved. The first part of the book covers these topics and is called The Work of Making Things.
Part 2, Writers' Workshop, explains the steps in the writers' workshop and provides stories and examples of what goes on in the workshop. It refers to concepts and discussions in Part 1. Readers who wish just to find out what the workshop is and how to run one can simply read Chapter 1, Writers' Workshop Overview, and Part 2, Writers' Workshop.
I've mashed together examples from both the scientific and the literary writers' workshop. By doing this I hope to introduce the two communities to each other, because I believe there is more commonality between them than either would admit. But I've tried to make my discussions of topics particular to each community understandable to the other.
For clarity I'll use the term creative workshop for the workshop as practiced in the creative writing community and the term technical workshop for the workshop in the technical, scientific, and business communities. Workshop refers to both varieties. Similarly, I will distinguish between creative writing and technical writing, though by the latter, I'm not talking about documenting software or technology but writing in a technical or scientific vein.
I hope to present everything I know about the workshop and how to make it work for you. And if you are a creative maker of things working on your own, I hope to present enough for you to get the writers' workshop going and working for you so you can make things better and get good fast.


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Idaho Power, the company that operates the three-dam Hells Canyon complex on the Snake River, is warning commercial and recreational jet boaters that flows could get bony in the canyon later this spring and summer.
A snowpack that is well below average across many of the mountains that feed the Snake River means the company may choose to conserve energy in periods of low demand by slashing flows. It also could reduce flows and store water at Brownlee Reservoir when other sources of power such as wind, natural gas and coal are either abundant or cheap and pass the water through electricity-generating turbines during times of high demand or high prices.
The result will be periods where flows, as measured at Hells Canyon Dam, drop below 8,500 cubic feet per second, which is the level commercial jet boat operators say they prefer and the level the U.S. Army Corps of Engineers considers safe for navigation.
"We have seen really record-low precipitation in some areas of the basin," said Kresta Davis-Butts, leader of Idaho Power's hydrology group. "The precipitation we saw January through March is the fifth lowest for the state of Idaho and that is a record of 119 years."
Kresta said the company plans to keep flows at or above 8,500 cfs through May 27 to make sure fall chinook redds are not dewatered and young fish do not become stranded with rising and falling river levels.
"Going below 8,500 is certain at this point," she said. "Where and how far down that is, we are still uncertain."
The company's Federal Energy Regulatory Commission license allows it to drop flows to as low as 5,000 cfs below the dams but the company has an informal policy of keeping flows at or above 6,500 as long as it can do so by passing in flow — water coming from upriver.
Idaho Power sends out an email to commercial operators and some frequent recreational boaters detailing its plans. Mark Yates of Hells Canyon Adventures said there needs to be more give and take between boaters and the company about flows and safe navigation.
"We are not working with them. That is my concern, there is no dialogue anymore," he said.
Yates said his company, which runs trips starting at and returning to Hells Canyon Dam, books tours about six months in advance. If flows do dip to 6,500 or lower at the wrong time of the day or week, he could have to reschedule those trips, take fewer people or use smaller boats.
The biggest rapids in the upper stretch of the canyon near the dam, become difficult for the large commercial boats — some as long as 40-feet — to run at low flows. Low flows can also make some of the rapids in the lower end of the canyon more difficult for large boats.
But flows are generally more generous below the mouth of the Salmon River. The company is obligated to keep flows on the northern end of the canyon, measured at Lime Point, at or above 13,000 cfs.
Yates said the best bet for adequate flows is hot weather that compels energy customers to run their air conditioners on high and the company to push water through its turbines.
"With a very hot summer they have to pass water."


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Saturday, November 17, 2007
My cute Kindergartener
Posted by Brooke at 1:18 AM 0 comments
Wednesday, November 14, 2007
Laundry and stuff
Well I got a new washer folks, so I've been busy doing my massive piles of laundry. I could probably get rid of half of my girls clothes and they still wouldnt wear the same outfit in a month. I guess I buy too much. oops. I sure love Gymboree. I'm not sure what started my obsession for it but my obsession is deep. I love the coordinating outfits. and accessories. and panties!!! man my kids have a lot of panties.
Anyway on to other things.
To the certain friend who never answers e-mails and made your blog private- you better either answer my e-mail or add me to your blog or I will have to resort to drastic measures. What those drastic measures are I'm not yet sure, but I assure you they will be painful. JK I love you. I know you're busy with your new life and new family. I'd just like to be able to at least read about it. mmmkay?
Posted by Brooke at 11:15 PM 3 comments
Tuesday, November 13, 2007
I've been tagged.
Here's how you play:
Once you have been tagged, you have to write a blog with 10 wierd, random things/facts/habits or goals about yourself. As the end choose 4 - 10 people to be tagged, listing thier names and why you chose them. Don't forget to leave them a comment (you're it) and to read your blog. You can't tag the person who tagged you. Since you can't tag me back, let me know when you have posted your blog so I can see your answers.
1. I'm easily irritated.
2. I like onions.
3. I love to sleep
4. I am extremely lazy
5. I am the most non-judgemental person I know.
6. I am so boring I can't think of 10 things.
I tag hahahaha no one since no one reads my blog. I'm so cool.
Posted by Brooke at 11:05 AM 2 comments
Tuesday, November 6, 2007
you know, 2007 has not been a great year for me. I'm not sad to see it end. I just hope 2008 is better. My washer died today. I'm the type of girl who NEEDS a washer. I love to do laundry, weird as that may be. Now I can't. It's sort of a therapy for me and now I feel lost. It's just not the same when you go to your sisters house and she does your laundry for you . I hope I get a new washer soon.
Posted by Brooke at 5:29 PM 0 comments
Monday, November 5, 2007
I have a strong desire
to learn the Thriller dance. Who's with me?
Posted by Brooke at 8:32 PM 2 comments
Friday, November 2, 2007
we call this " special soup"
1 lb ground Italian sausage
1½ tsp crushed red peppers
1 large diced white onion
4 Tbsp bacon pieces
2 tsp garlic puree
10 cups water
5 cubes of chicken bouillon
1 cup heavy cream
1 lb sliced Russet potatoes, or about 3 large potatoes
¼ of a bunch of kale
Sautee Italian sausage and crushed red pepper in pot. Drain excess fat, refrigerate while you prepare other ingredients. In the same pan, sautee bacon, onions and garlic for approximately 15 mins. or until the onions are soft. Mix together the chicken bouillon and water, then add it to the onions, bacon and garlic. Cook until boiling. Add potatoes and cook until soft, about half an hour. Add heavy cream and cook until thoughouly heated. Stir in the sausage. Add kale just before serving. Delicious!
Posted by Brooke at 6:30 PM 1 comments
New ' do
I finally got a haircut! I am so excited. If I'm having an ok face/hair day I'll post a pic, but no promises.
Posted by Brooke at 1:23 PM 1 comments


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As Cameroon and Niger, Nigeria's neighbors, promise to aid a coalition military against the jihadist terror group Boko Haram, thousands of civilians gathered in Niamey, the capital of Niger, to demand their government do all within its power to eradicate and destroy Boko Haram.
The Agence France-Presse reports that thousands–though it appears there is no official estimate–organized in Niamey before President Mamahadou Issoufou to call for an end to Boko Haram. In statements to the crowd, President Issoufou vowed that "Niger will be the tomb" of Boko Haram. "Nobody attacks Niger without punishment and Boko Haram learned that to its cost last February 6. … That day, our defence and security forces crushed Boko Haram," the President stated.
Many in the crowd held up signs of support for the government, with statements such as "our army, our pride" and "Boko Haram is itself haram." Civilian men interviewed by Nigerian newspaper Vanguard stated that they were ready to join the armed forces if necessary to eradicate Boko Haram, which has only recently begun threatening the Nigerian/Nigerien border in the aftermath of Niger's offering its military aid to Nigeria to destroy the terrorist group. "If someone asks me to take up a weapon, I'm ready for combat," said one 18-year-old described as "an enthusiastic student union official."
Niger agreed to add troops to the number of a growing coalition earlier this month, which currently includes troops not only from Nigeria, but from Cameroon, Chad, and Benin. Nigerian authorities hope to amass 8,700 troops to attack Boko Haram's stronghold in Borno, Nigeria, at the nation's northeast tip.
In response to the announcement of a coalition against them, Boko Haram has threatened Cameroon, Niger, and Chad. "If you insist on continuing the aggression and the coalition with the government of Chad, then we give you glad tidings that the land of Niger is easier than the land of Nigeria and moving the war to the depth of your cities will be the first reaction toward any aggression that occurs after this statement," Boko Haram leadership said in a statement published by the Associated Press and translated by the SITE Intelligence Group. They vowed to turn Niger into a "swamp of darkness" should the government not permit them to continue conquering lands on the Niger/Nigeria border.
As thousands of Nigeriens in the safety of the capital convene to call for a robust fight against Boko Haram, thousands more are fleeing the nation in its entirety, or have been internally displaced within the nation's Diffa region. Diffa was already under the strain of Boko Haram, even before they turned their eyes on Niger, as an estimated 150,000 Nigerians had fled Borno and Adamawa states to save their lives. In addition to those, thousands of Nigeriens have fled their homes fearing an attack from the jihadist group. One local politician reported seeing hundreds of buses flee Diffa, even prior to any evidence of Boko Haram presence there, while others report the price of a ticket out of Diffa tripling since Boko Haram publicly threatened Niger.
However, the Nigerien government claims it has made some strides, announcing the arrest, within the past two days, of 160 men suspected of being Boko Haram terrorists. Most of those arrested were captured in the Diffa region, and many were not mere foot soldiers, but active recruiters attempting to swell the terror group's numbers.
Niger is ripe for the recruitment of Boko Haram soldiers, as it has seen an increase in anti-Christian violence by Muslim natives in the past few months. Nigerien Christian clergy have demanded the government act against "evidence of a growing feeling of anti-Christianity, which cannot be disregarded in the future." Paramount among this evidence is the reaction of Niger's Muslim population to the attack on French satirical magazine Charlie Hebdo: the destruction of 45 churches, 36 pubs, an orphanage, and a Christian school in one day in Niamey. Additionally, five people were killed during riots–not against the jihadist attack on the Charlie Hebdo headquarters, but against the magazine's depictions of Muhammad.


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Over the next few months, we will be revealing the titles that will become the summer reading options for the summer of 2015. Students will select one title from a list of around five novels per grade (In the subject line of the post, "Freshmen" means that the book will be read by incoming freshmen, not existing ones, etc.).
Brave New World by Aldous Huxley
A society where Shakespeare and poetry are outlawed might sound like a fantasy for some — but if you were to spend time in this twisted dystopia, you might wish differently. In the World State, people are grown in labs; citizens are zoned out on government-supplied "happy pills" most of the time; societal conditioning begins with babies being given electric shocks; and "everyone belongs to everyone else."
On many critics' lists as one of the Top 100 Novels of all time, Brave New World is laugh-out-loud funny, but also heartbreakingly tragic — and, as it turns out, stunningly prophetic for a novel that was written over 80 years ago. George Orwell, Suzanne Collins, Veronica Roth — there isn't a dystopian author past or present who hasn't been influenced by Huxley's nightmarish vision.
If you gravitate towards the sci-fi genre in all its forms — or even if you just like thought-provoking satire about what it means to be human — pick up Aldous Huxley's Brave New World.