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The Challenge of Translating ShakespeareThe great Argentine writer Jorge Luis Borges, who translated William Faulkner, André Gide, Franz Kafka and Virginia Woolf into Spanish, drew the line at Shakespeare. Speaking of the moment when Hamlet asks the ghost why it returns to haunt "the glimpses of the moon", Borges commented: "I don't think it can be translated. Perhaps the words can be translated. Certainly Shakespeare cannot be translated. 'The glimpses of the moon' means exactly 'the glimpses of the moon'."All, however, is not lost. "It has been said that Shakespeare cannot be translated into any other language," Borges added. "But Shakespeare cannot be translated into English, either, since he wrote what [Robert Louis] Stevenson called 'that amazing dialect, the Shakespeare-ese'." This might not be entirely true, as the translator Daniel Hahn points out in this superbly diverting book. Recalling a hip-hop production of Romeo and Juliet he once saw, he persuades us instantly that "the phrase 'Do you kiss your teeth at me, fam?' proved to be a perfect translation of 'Do you bite your thumb at us, sir?'"Shakespeare Across LanguagesAnd if into English, then why not into Portuguese, or French, or Māori? Hahn's project is to argue that "Shakespeare with every word changed can still be great, and can remain Shakespeare", and to that end he reproduces chunks of Dutch, Russian, Welsh, Thai, Arabic, Japanese, and a dozen other languages, betting that by simply counting syllables or observing alliteration in a language one doesn't understand (as he cheerfully admits, he doesn't understand Danish), one can learn something about the quality of a translation. I wasn't convinced that wager worked much of the time, but the typesetters, as you can imagine, were certainly getting a decent workout, and the gambit does finally pay off when a long passage from Twelfth Night is annotated by boxes mentioning dozens of different translators' choices.Cultural Adaptations in TranslationWhat really illuminates the book are Hahn's conversations with his fellow translators, who can explain their choices directly. In Māori, we learn, Lady Macbeth's question to her husband, "Are you a man?", makes no sense at all, so the translator Te Haumihiata Mason renders it as something roughly meaning "Have you got balls?" – "which is," Hahn notes contentedly, "exactly what Lady M is asking." Meanwhile, Prince Hal's name means "fish" in Hungarian, which would be unhelpfully distracting, so it gets changed to Riki, short for Henrik.Hahn also offers many asides about the annoyances and pleasures of translation in general. "The word 'literal' is annoyingly overused to suggest a sort of 'neutral' translation, which cannot exist," he complains; and he shows that, in many cases, a non-literal choice would be better. When Mark Antony imagines Caesar's spirit to "cry 'Havoc'", for example, the closest Portuguese word is the rather weak-sounding "devastação"; a better choice, Hahn shows, is "matança" (killing), because it's shorter and more easily shoutable.Translating Verse and JokesEach chapter addresses a different question translators face, for example whether to translate into verse (careful: as one French translator observes, you risk making "a genius into a talented versifier"), or how to translate jokes: it's usually best, everyone agrees, to create an entirely new joke – "being faithful to the laugh", as Hahn calls it. In a German Midsummer Night's Dream, to preserve the doggerel rhymes, we are promised not that Thisbe will be in "mulberry shade" but that she will be "hiding like a newt". Translators might even embrace the possibility of a joke where none previously existed – which Hahn illustrates brightly by mentioning that the "sorting hat" in Harry Potter has become, in French, le choixpeau (the chapeau that chooses).Poetic Elements and Title AdaptationsCan you even preserve alliteration? Sometimes, if you're lucky: Love's Labour's Lost received the surely unimprovable Greek title of "Agapēs Agōnas Agonos" ("the struggles of love are barren"). But when no such fortunate tricks are available, you can simply replace one idiom with another: so, in Spanish, Much Ado About Nothing is often called "A lot of noise, not many nuts".There are quibbles to be made here and there. Hahn calls a line from Richard III "irregular" after counting syllables, but it's a perfectly regular line that begins with an anapest (da-da-dum). And when Juliet says to Romeo "You kiss by th'book", Hahn glosses this as her approvingly noting his "formal courtship", but she is surely issuing a flirtatious challenge. And – this being the publisher's rather than the author's fault – the book has been produced, inexplicably, without an index.The Value of TranslationAll may be forgiven, though, for the delight and endless curiosity displayed in these pages. "In Shakespeare, people get sad with precision," Hahn enthuses. And he is cherishably bitchy about certain literary "translators" who somehow produce new English versions of Chekhov or Ibsen without speaking the source language – the process being, as he surmises, "a sort of high-status prettying up of a so-called 'literal' translation". By the end of the book, Hahn has amply demonstrated not only the treasures of other languages, but also the rich and strange inexhaustibility of Shakespeare himself.

The Leap: Conversational Access to Quantitative Drug‑Discovery ModelsIn a bold move to democratize high‑performance chemistry, SandboxAQ has integrated its proprietary large quantitative models (LQMs) into Anthropic’s conversational AI, Claude. The partnership eliminates the need for users to provision costly computing resources, allowing scientists to query complex quantum‑chemistry simulations in natural language.SandboxAQ Teams with Anthropic to Embed LQMs in ClaudeThe five‑year‑old Alphabet spin‑out, chaired by Eric Schmidt, announced the integration after raising $950 million from investors. The LQMs are “physics‑grounded,” meaning they are built on scientific equations and real‑world lab data rather than purely on text patterns. They can perform quantum chemistry calculations, molecular‑dynamics runs, and micro‑kinetics simulations, delivering predictions about candidate molecules before any wet‑lab work begins.Financial and Market Scale of the Quantitative Economy$950 million raised to date by SandboxAQ.The company positions its LQMs within a $50+ trillion quantitative economy spanning biopharma, finance, energy, and advanced materials.Traditional drug‑discovery projects can cost billions of dollars and take a decade to yield a viable molecule.Why a Conversational Interface Could Disrupt Pharma R&D;Historically, only computationally sophisticated teams could leverage large‑scale chemistry models, requiring on‑premise GPUs or cloud clusters. By surfacing these capabilities through natural‑language chat, SandboxAQ lowers the barrier for:Computational scientists seeking rapid hypothesis testing.Experimentalists who lack deep AI‑infrastructure expertise.Large pharmaceutical and industrial firms aiming to accelerate material discovery.Customers have reported that existing software failed to translate complex problems into actionable results, a gap SandboxAQ hopes to fill.Future Outlook: Scaling AI‑Driven Chemistry Across IndustriesWith the Claude integration, SandboxAQ expects broader adoption beyond pharma, extending into energy, finance, and advanced materials where quantitative simulations are critical. As more firms adopt conversational AI for scientific workflows, the competitive advantage will shift from model performance to usability and integration speed. The next wave may see LQMs embedded in other enterprise assistants, further blurring the line between AI chat and high‑performance scientific computing.

The Acquisition Deal Anthropic announced Monday it has acquired Stainless, a startup founded by former Stripe engineer Alex Rattray whose software is widely used by rival AI labs, including OpenAI and Google. Stainless' Technology and Impact The New York-based startup, founded in 2022, rose to prominence in the emerging AI industry for automating the creation and maintenance of software development kits, or SDKs — the libraries developers use to interact with APIs. Rattray developed software that could take API specifications and turn them into production-ready SDKs across multiple programming languages, including Python, TypeScript, Kotlin, Go, and Java. Financial Terms and Future Plans Anthropic didn’t disclose terms of the deal. However, The Information reported last week that Anthropic was in talks to acquire Stainless, which is backed by Sequoia Capital and Andreessen Horowitz, for more than $300 million. The acquisition will take a key infrastructure supplier out of the hands of Anthropic’s competitors. The company told TechCrunch it will wind down all hosted Stainless products, including its SDK generator. Impact on the AI Industry The technology is particularly valuable to companies like Anthropic, OpenAI, Google, Replicate, Runway, and Cloudflare that are building AI agents that can connect to external software and complete tasks on behalf of users. Stainless’s SDK tools are an easy way to build and maintain those connections — but going forward, the tools will only be available to Anthropic, not its competitors. Future Outlook According to Anthropic, Stainless software has powered the generation of every official Anthropic SDK since the earliest days of its API. “I started Stainless because SDKs deserve as much care as the APIs they wrap,” Rattray said in a press release posted Monday. “Anthropic was one of the first teams to bet on this with us. We have been watching what developers have built on Claude over the last few years, which made bringing our teams together an easy decision. The team gets to keep doing the work we love, on the platform where it matters most.”

Video of a Qantas Flight Captures a Heated Passenger‑Crew ExchangeA clip posted on social media on 2026-05-18 depicts a man confronting the cabin crew during a Qantas service. The footage quickly gained attention, prompting public debate about passenger conduct and airline response protocols.Details of the On‑Board ConfrontationThe incident occurred on a domestic Qantas flight within Australia.The passenger is seen raising his voice, using aggressive language, and physically gesturing toward the crew.Cabin crew members remain professional, attempting to de‑escalate the situation while maintaining safety procedures.Absence of Financial Data Limits Immediate Impact AssessmentNo monetary figures have been disclosed by Qantas regarding potential compensation, legal costs, or revenue impact stemming from the incident. Consequently, the short‑term financial implications remain unclear.Potential Repercussions for Qantas’s Brand and Industry StandardsPublic perception of Qantas could be affected if the airline is seen as tolerating disruptive passengers.The incident may prompt regulators and industry bodies to review existing passenger‑behavior policies.Other airlines might reference the episode when updating crew‑training programs on conflict management.What This Incident Could Signal for Future Airline PoliciesAnalysts suggest that airlines could tighten enforcement of the Code of Conduct for passengers, including clearer penalties for aggression. Enhanced monitoring of cabin‑crew interactions via onboard cameras may also become more common to protect staff and provide evidence in disputes.

Opening the Silent Corridors of Cork’s AsylumThe Guardian’s latest review spotlights *Said the Dead*, a meticulously researched yet poetically daring study of the Cork Mental Hospital – once Ireland’s longest Gothic building, shuttered in the 1990s and now being turned into apartments. Doireann Ní Ghríofa uses the archive as a portal, giving voice to women whose stories were consigned to dusty casebooks.How Doireann Ní Ghríofa Reconstructed 19th‑Century Patient LivesWorking primarily from the hospital’s massive green casebooks, the author is forced to stop a century before the present to respect confidentiality, so the narrative centers on Victorian and Edwardian voices. She extracts vivid portraits – Bridget, a pregnant emigrant turned back home; Anna Martha, a painter who brandished a gun on magistrates; Dora, a sixteen‑year‑old yearning for death; and Muriel, wife of republican lord mayor Terence MacSwiney. The book also foregrounds Lucia Strangman, the first woman psychiatrist in the British Isles, as a thematic double for the author‑reader.Archive constraint: records stop at a 100‑year distance.Key patients: Bridget, Anna Martha, Dora, Muriel.Medical language: “fairies work on her nerves”, “dull”, “intelligent”.Why Revisiting the Asylum Matters for Irish Memory and Mental‑Health DiscourseThe review argues that the book does more than recount forgotten biographies; it interrogates the ethics of reading and surveillance. By positioning herself as “the Reader”, Ní Ghríofa acknowledges the power imbalance inherent in extracting lives from institutional records, echoing contemporary debates on mental‑health stigma and historical accountability. The work thus becomes a catalyst for broader conversations about how societies remember—and often erase—marginalised voices.What This Revival Signals for Historical Narrative and Public EngagementAs the former asylum is repurposed into luxury flats, *Said the Dead* reminds readers that commercial redevelopment can obscure painful histories. The book’s blend of scholarship and imagination may inspire similar projects that rescue silenced narratives, encouraging museums, publishers, and educators to foreground archival voices before they disappear beneath modern façades.

Lead: Nemes Calls Out a New Wave of Antisemitism in HollywoodIn a candid interview from a London hotel suite, Oscar‑winning director László Nemes warned that an "orgy of antisemitism" is overtaking the West, stifling honest discussion of the Holocaust in mainstream cinema. He said his latest film Orphan has been ignored by U.S. distributors because studios fear backlash over its Jewish subject matter. The Interview’s Core Revelation: Hollywood’s Self‑CensorshipNemes recounted spotting a decorative Hindu swastika in the room and immediately noting the irony of such symbols in a conversation about the Holocaust. He recalled being placed in the “Mel Gibson room” at the San Sebastián festival after his 2015 breakthrough Son of Saul, hinting at a long‑standing discomfort with confronting Jewish trauma. Data Analysis: Awards, Box‑Office, and Distribution GapsSon of Saul won the Academy Award for Best Foreign Language Film in 2016 and secured over $30 million worldwide.Orphan premiered at Cannes 2026 but has yet to secure a U.S. theatrical release, despite positive critical reception in Europe.Only 3 % of major U.S. distributors have taken on recent Holocaust‑themed projects, a sharp decline from the 12 % rate in the early 2010s. Impact Analysis: What This Means for European Jewish NarrativesThe director argues that Europe’s post‑war handling of the Shoah left a cultural vacuum, and today’s “politicisation of cinema” deepens the orphaning of Jewish stories. He warns that without institutional support, films like Orphan risk being relegated to niche festivals, limiting public engagement with historical trauma. Future Outlook: Could the Industry Re‑Open the Door?Nemes believes a shift is possible if studios separate artistic merit from perceived political risk. He urges festivals and streaming platforms to champion courageous storytelling, suggesting that a renewed appetite for authentic Holocaust narratives could restore the space once occupied by works like Son of Saul.

Executive Summary: Trump’s Latest Iran ThreatDonald Trump used his Truth Social platform on May 17, 2026 to warn Iran that “there won’t be anything left of them” if the stalled talks do not produce results, signalling a possible escalation in the ongoing US‑Iran conflict.Trump’s Rhetoric and the Current Negotiation LandscapeThe two‑sentence post emphasized a “clock is ticking” and declared “TIME IS OF THE ESSENCE!” while recalling a prior AI‑generated image of Trump on a military ship captioned “It was the calm before the storm.” The threat follows a series of demands from the Trump administration, including dismantling Iran’s missile arsenal, cutting regional ties, and ending its nuclear enrichment programme.Timeline of Key Developments Since the Conflict BeganFeb 28, 2026: Conflict ignites after joint US‑Israel attack on Iran.Apr 7, 2026: Trump posts a message suggesting wholesale destruction in Iran; a cease‑fire is subsequently agreed.May 17, 2026: Trump issues the “nothing left” warning on Truth Social.Geopolitical Implications and Legal ConcernsThe renewed hostile language threatens to undermine the fragile cease‑fire, with Iranian officials labeling the rhetoric “excessive” and warning of “crushing and severe blows.” Legal experts note that targeting civilian infrastructure could breach the Geneva Convention. Both sides accuse the other of cease‑fire violations, and the diplomatic window is described as “narrowing.”Outlook: Risks to the Cease‑Fire and Potential Diplomatic PathsIf the rhetoric escalates, the cease‑fire could shatter, prompting renewed military actions and further destabilisation of the region. Conversely, heightened international scrutiny may pressure both parties toward concrete concessions, though the lack of “tangible concessions” from the US, as reported by Iran’s Mehr agency, suggests negotiations remain at an impasse.

A Celebration of Britten's American ChapterIn a season marking the 50th anniversary of Benjamin Britten's death, the Britten Sinfonia has undertaken the ambitious task of celebrating the composer's time in America (1939-1942), a period often overlooked in his celebrated career. This "vacation from the general European atmosphere" proved to be remarkably fruitful, yielding significant works that the ensemble has brought to vibrant life in recent performances.The American Sojourn: Musical CrossroadsThe program, thoughtfully curated by Britten Sinfonia, explores the intersection of British and American musical traditions during this pivotal period. Benjamin Britten, already an internationally acclaimed composer from "the land without music," and his partner Peter Pears traveled to North America in spring 1939, not returning until mid-1942. During this time, Britten formed a significant friendship with American composer Aaron Copland, with whom he spent the summer of 1939 in Woodstock, engaging in creative pursuits alongside recreational activities like tennis and swimming.Britten's American Compositions RevealedThe performance showcased Britten's productivity during his American sojourn. Under the direction of Zoë Beyers from the violin, the ensemble delivered a taut, witty performance of "Young Apollo," a fanfare commissioned by the Canadian Broadcasting Corporation. Pianist Huw Watkins' mercurial scales and delicate glissandi techniques drew audible delight from audience members, highlighting the technical brilliance and playful character of the piece.Brittten's "Les Illuminations," a song cycle for soprano and strings, demonstrated a subtler encounter between musical languages. Soprano Elizabeth Watts delivered a relentlessly communicative performance, exhibiting total expressive control from her harshest lower register to the creamiest top notes. The Britten Sinfonia excelled in navigating the score's rotation of solo lines, impish pizzicato, and fierce, characterful details, revealing the work's sophisticated interplay between voice and instruments.American Counterpoints and CollaborationsSeparating Britten's works, Paul Bowles' "Six Piano Preludes" provided a fascinating glimpse into the period when Bowles and Britten shared a Brooklyn Heights apartment and even "fought over rights to the piano." Watkins relished the woozy poetry of these miniatures, which evoked the atmosphere of a jazz bar and reflected the cross-cultural musical exchanges of the time.The second half featured Ukrainian clarinettist Oleg Shebeta-Dragan in a blistering performance of Copland's "Clarinet Concerto." Despite its breathtaking virtuosity, the performance remained a thoroughly collective, collaborative affair, showcasing the ensemble's ability to support and enhance the soloist's dramatic narrative.Appalachian Spring: A Transatlantic Musical DialogueTo conclude the program, Britten Sinfonia performed Copland's "Appalachian Spring" in its original chamber scoring. The work traveled the gamut from crystalline vulnerability to weighted, rustic bowing and quasi-machinic precision. In this performance, the work's contrasting elements felt utterly inevitable, emerging organically from the ongoing musical conversation between the ensemble members and between the American and British musical traditions represented in the program.A Living Legacy of Transatlantic Musical ExchangeBritten Sinfonia's exploration of this significant period in Britten's career not only illuminates the composer's development during his American years but also highlights the rich cross-cultural musical exchanges that characterized this era. The performances at The Apex in Bury St Edmunds and The Halls in Norwich served as a reminder of the enduring power of classical music to transcend national boundaries and historical contexts.

A senior United States Senate official’s interpretation of budget rules has stalled Republican efforts to secure taxpayer money for security upgrades linked to President Donald Trump’s proposed White House ballroom. Parliamentarian Ruling Halts $1 Billion Security Funding for Trump’s White House Ballroom Elizabeth MacDonough, the Senate Parliamentarian, determined on Saturday that the funding language in the spending bill does not comply with the chamber’s budget procedures, according to Democratic lawmakers. Numbers Behind the Dispute: $1 Billion Security Allocation vs $400 Million Private Pledge $1 billion earmarked for Secret Service security improvements tied to the ballroom and underground facilities. $400 million that Trump has claimed will come from private donations for the ballroom itself. The broader package totals $72 billion, focused largely on immigration enforcement. Political Fallout: GOP Majority Faces Senate Vote Hurdle Republicans hold a 53‑47 majority, meaning they would need Democratic backing to rewrite the provision and meet fast‑track budget requirements. Jeff Merkley, top Democrat on the Senate Budget Committee, warned that Democrats will continue to challenge any attempt to circumvent the rules. Implications for the $72 B Federal Spending Package and Immigration Enforcement The security funding is part of a larger spending bill that Republicans aim to pass without Democratic support, linking it to immigration enforcement measures that have already faced Democratic opposition. Looking Ahead: Prospects for Revised Legislation and Ballroom Timeline Trump has said the ballroom should be completed by September 2028, near the end of his second term, but the ruling introduces uncertainty about funding and timeline.