Two from 2014, two new ones, one Nikki Shumann from 1997. Two for home, two for the airbnbs, one for the library. I'll buy the new Linnea when the price drops.

New year, new ideas, new projects. The first is this lunchtime learning speaker series at Mammie's. Mammie's is a warm space where many non-library people feel comfortable; and people get to order their own food. Space and refreshments in one shot. I have three presenters lined up already, just need to find a screen, either big TV or high lumen projector & screen. The second I hope will be a community solar project, using the system we just built as a model for showing how people can partner on solar. The third is a permanent story walk along the bikeway trail, changed seasonally, with quotes from environmental writers and poets.

Library moment: in the grocery line Etienne, checking out the person ahead of me, asks me if I remember how Charlotte's Web ends. Man ahead of me says oh yeah E.B. White, good Maine writer, didn't he also write Blueberries for Sal. No that was McCloskey. Man says White lived in Brooklin. Just a conversation I don't expect to have in the grocery. I will always pick Etienne's line from now on.

The timing of the new ten episode version of Day of the Jackal could not be more interesting. The 1973 version had deGaulle as the target, the 1997 version had the FBI director as the target. The target in this new version is a CEO of a big company, but he is a Jobs type visionary who wants to release software that would bring complete transparency to the movement of money. In this new version, the Jackal (British) kills the CEO and the British agents trying to catch him, and the corporate/government cabal who hired him appears to win the day. The most memorable parts of the series are the speeches the CEO gives, explaining how the very rich have corrupted everything in their quest for power and wealth. In the 1997 version (Bruce Willis, Richard Gere, Sidney Poitier) the Jackal is American, the cabal is Russian, the apparent target is the director of the FBI, the Irish terriorist plays a more important role, and the gun is a huge gattling gun thing.
So the components of the story are:
-- the Jackal, an emotionless, sociopathic assassin, who acquired his skills and taste for killing in the British or American army. It's a familiar story: the military trains them well, then they go rogue.
-- the target, a highly visible policy maker/politician
-- the agent and agency, FBI or MI6, in pursuit of the Jackal
-- the mole in the agency
-- the gun
-- the gun maker
-- the document forger
-- the Irish IRA guy(s) who may or may not help out
It might be interesting to see another iteration/reinterpretation of these components, maybe as future history.