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Week in Pictures for Nov. 30

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Here is a slide show of photographs from the past week in New York City and the region. Subjects include sewage problems following Hurricane Sandy; residents returning to Ortley Beach, N.J.; and camels enjoying the Manhattan streets.

This weekend on “The New York Times Close Up,” an inside look at the most compelling articles in Sunday's Times, Sam Roberts will speak with The Times's Carolyn Ryan, Joe Drape and Matt Flegenheimer. Also appearing, Calvin Trillin and Karen Allen. Tune in at 10 p.m. Saturday or 10 a.m. Sunday on NY1 News to watch.

A sampling from the City Room blog is featured daily in the main print news section of The Times. You may also browse highlights from the blog and reader comments, read current New York headlines, like New York Metro | The New York Times on Facebook and follow us on Twitter.



30 Cars in 75 Days, and, Police Say, One Thief

Reynaldo NazarioN.Y. State Dept. of Corrections and Community Supervision Reynaldo Nazario

On May 18, a man named Reynaldo Nazario got out of prison, having spent 9 of the last 10 years locked away on a series of convictions relating to auto theft.

Within a few weeks, prosecutors said, he went to work.

On Aug. 9, according to a criminal complaint, Mr. Nazario, 35, showed up at an auto graveyard in the shadow of Interstate-95 in the Bronx with a 1997 Honda Accord that he had stolen elsewhere in the borough, claimed to be its owner, and sold it for scrap for $350.

Two days later, the complaint says, he did the same with a 1995 Accord.

On Aug. 21, the complaint says, Mr. Nazario scrapped two m ore mid-1990s Accords, and two days after that, an Accord and a Toyota Camry.

And so on and so on, according to the complaint. For more than two months, if the authorities are to be believed, Mr. Nazario operated a one-man auto-theft ring.

On the morning of Oct. 23, the authorities said, he took in a 1994 Accord â€" the most-stolen car in America â€" was paid his $350 and placed under arrest.

He had sold to the scrap yard, according to the authorities, 30 stolen cars in the span of 75 days, or an average of one every 60 hours.

The scrapyard, New England Auto Parts on Boston Road in Eastchester, had been cooperating in an undercover investigation run by the police, the Bronx district attorney's office said. Some of the cars were returned to their owners, the office said; it was not immediately clear what happened to the rest.

On Friday, the district attorney's office announced that Mr. Nazario, of West 182nd Street in University Heights in the Bronx, had been indicted on charges of 26 of the thefts. The other four cases are still being heard by the grand jury, officials said.

Looking at the list of thefts attributed to Mr. Nazario, patterns emerge. All of the cars were from the 1990s. Twenty-six of them were Honda Accords. Three were Nissans, and one was a Toyota. The longest Mr. Nazario went without taking in a stolen car, the complaint says, was 10 days. In the three days of Oct. 10 to Oct. 12, he took in six cars, the complaint said.

He is charged with 26 felony counts of grand larceny, 26 counts of criminal possession of stolen property and 26 counts of falsifying business records. If found guilty and given consecutive terms, he could be sentenced to more than 100 years in prison.

So far, though, Mr. Nazario's stretches have been shorter, according to the State Department of Corrections and Community Supervision. He served 15 months starting in 2002 for unauthoriz ed use of a 1987 Toyota Camry; two years and 10 months for an assault that involved hitting several police officers with a stolen car, crushing one of the officers against another car; two years for criminal possession of a stolen 1995 Accord; 10 months on a parole violation; and two years one month for stealing a 1997 Honda.

At New England Auto Parts, located on a desolate cul-de-sac behind a barbed-wire-topped fence across from a forlorn-looking copse of bare trees and down the block from a bowling alley, employees said they had been instructed by their boss not to speak to the news media.

Matthew Wolfe contributed reporting.




Criminal Complaint Nazario, Reynaldo (PDF)

Criminal Complaint Nazario, Reynaldo (Text)



The Week in Culture Pictures, Nov. 30

Andrea Mohin/The New York TimesNew York City Ballet in George Balanchine's “The Nutcracker,” a seasonal tradition at the David H. Koch Theater.

Photographs More Photographs

A slide show of photographs of cultural events from this week.



Judge Says Man Who Set Woman Ablaze Must Be Examined Before Sentencing

Jerome Isaac, who admitted to setting a woman on fire and killing her inside an elevator, appeared in a Brooklyn courtroom on Friday. John Marshall Mantel for The New York Times Jerome Isaac, who admitted to setting a woman on fire and killing her inside an elevator, appeared in a Brooklyn courtroom on Friday.

The man who set a woman ablaze in an elevator last December - brutally killing her just steps from her apartment - said that he had heard voices and that the devil had told him what to do, a Brooklyn State Supreme Court judge said on Friday.

The man, Jerome Isaac, 48, made these statements after waiving an insanity defense and pleading guilty last month to first-degree murder and second-degree arson.

< p>Mr. Isaac faces at least 50 years in prison.

But on Friday, as Mr. Isaac prepared to be sentenced, the judge, Justice Vincent Del Giudice, cited a probation report that detailed Mr. Isaac's statements and delayed the hearing. Mr. Isaac needed to undergo an examination of his mental health before he could be sentenced, Justice Del Guidice said.

“I want to be sure he's competent,” he said.

Mr. Isaac's lawyer, Howard Tanner, said he believed Mr. Isaac was competent.

“He's been remorseful throughout this process,” Mr. Tanner said, adding that Mr. Isaac had pleaded guilty to “spare the family any further trauma.”

At one point, a daughter of the victim, Deloris Gillespie, burst into tears.

“Several doctors already examined him,” the daughter, Sheila Gillespie-Hillsman said in an interview, adding, “I just want to get this over with.”

Relatives and authorities said the killing stemmed fro m a disagreement over money: Ms. Gillespie had hired Mr. Isaac to help her clean out her three-bedroom apartment in the Prospect Heights section of Brooklyn.

But when Ms. Gillespie came to believe that Mr. Isaac was stealing from her, she fired him.

On Dec. 17, 2011, two surveillance cameras at Ms. Gillespie's apartment building captured Mr. Isaac with a gas canister, and wearing white gloves and a surgical mask. As Ms. Gillespie was about to exit the elevator, near her fifth-floor apartment, Mr. Isaac sprayed her with an accelerant, then tossed a Molotov cocktail inside.

Mr. Isaac later told the authorities that Ms. Gillespie owed him $2,000.



Neil LaBute Will Write and Direct \'Reasons to Be Pretty\' Follow-Up

MCC Theater has a reason to be happy: Its playwright-in-residence, Neil LaBute, plans to direct the premiere of his play “Reasons to Be Happy” for the theater next year. The new play is described as “companion piece” to Mr. LaBute's savage comedy “Reasons to be Pretty” and features the same four characters â€" Greg, Steph, Carly and Kent â€" though in different romantic pairings.

No casting has yet been announced for the new play, which was reported by The Wrap.

MCC's production of “Reasons to be Pretty” debuted at the Lucille Lortel Theater in 2008 before moving to Broadway the following year. Although the move uptown was short-lived, the production was critically acclaimed and nominated for three Tony awards. That play was billed as the third in a trilogy that included “The Shape of Things” and “Fat Pig,” all of which centered around the subject of physical beauty.

“Reasons to Be Happy,” scheduled to run from May 16 to June 2 3, replaces a previously announced production of John Pollono's “Small Engine Repair,” which has been delayed because of scheduling conflicts for the cast.



Big Ticket | Sold for $22.5 Million

 A co-op at 907 Fifth Avenue owned by Huguette M. Clark.Ozier Muhammad/The New York Times A co-op at 907 Fifth Avenue owned by Huguette M. Clark.

The most livable of the antiquated and somewhat ghostly trio of apartments at 907 Fifth Avenue once owned, but rarely occupied, by the reclusive copper heiress Huguette M. Clark sold for $22.5 million, the most expensive sale of the week, according to city records. Mrs. Clark died in May at age 104, leaving two wills, a $400 million fortune and no direct heirs.

The co-op has three bedrooms, six and a half baths and three fireplaces, but most important, it offers a full 100 feet of prime frontage on Fifth Avenue opposite Central Park. The formidable views and inherent grandeur, though , amount to virtually the only aspect of the apartment that does not demand extensive renovation. The place also has a monthly maintenance fee of $14,176.

The buyer, Frederick J. Iseman, the chairman of CI Capital Partners, a private equity firm, paid above the $19 million asking price for No. 8W because he was permitted to annex one room and a part of a hallway at the adjacent No. 8E, the smallest of Mrs. Clark's holdings there and the only apartment that has yet to attract a qualified buyer. That two-bedroom, two-bath unit had been listed at $9 million, but there will be a downward adjustment in price when it is returned to the market in January.

In addition to its nonpareil location in a 1915 Italianate palazzo building designed by J.E.R. Carpenter, the most appealing features of No. 8E include a 47-foot-long gallery, soaring ceilings and a corner living room with park views.

The first of the apartments that sold, her Louis XVI-style penthouse, happened to be the only one of the three in which Mrs. Clark actually lived, in antisocial splendor, attended by servants and a multimillion-dollar collection of dolls: No. 12W was snatched up in July by Boaz Weinstein, a hedge-fund whiz kid, for $25.5 million, $1.5 million above the asking price. Mrs. Clark, of her own volition, spent the final decades of her life in a hospital room and died at Beth Israel Medical Center.

Although the prime minister of Qatar, Sheik Hamad bin Jassim bin Jaber al-Thani, had made Mrs. Clark's estate what he hoped was a pre-emptive offer of $31.5 million for both eighth-floor co-ops, the notoriously fussy co-op board at 907 Fifth refused to entertain the notion of combining the units.

Mary Rutherfurd and Leslie Coleman of Brown Harris Stevens again represented the estate, and Roberta Golubock of Sotheby's International Realty handled the transaction for Mr. Iseman.

116 East 70th Street.Marilynn K. Yee/The New York Times 116 East 70th Street.

In the same price range, but in far superior condition, a five-bedroom town house at 116 East 70th Street, a tranquil block distinguished by its exquisite architecture and celebrity residents, sold for $22,398,750 to Susan Weber Soros, the former wife of the billionaire philanthropist George Soros. The 1869 town house, its facade dominated by two levels of copper-clad bow windows above fluted columns, was originally listed at $26 million in 2010. When the price was reduced to $22.5 million this year, a smitten Mrs. Soros, the founder of the Bard College Graduate Center for the decorative arts, bought it and blithely listed her splashy corner apartment at the Majestic at 115 Central Park West, No . 19E/F, for $50 million.

What she is parting with, besides her Philippe Starck-designed interiors and furniture, which are included in the deal along with a separate staff unit, are park views from every principal room and a master suite with a terrace that fronts the park.

What she is gaining, besides the potential for amusement in having Woody Allen as a neighbor, is a light-catching five-level home with four outdoor spaces and a glass breakfast solarium leading to a 26-foot-deep garden.

“You can't hit a wrong note on that street,” said Paula Del Nunzio of Brown Harris Stevens, who represented the absentee sellers, identified as Copper House, a limited-liability company based in Wellington, Fla. S. Christopher Halstead of Halstead Property represented Mrs. Soros; he is also the listing agent for her very available 11-room spread at the Majestic.

Big Ticket includes closed sales from the previous week, ending Wednesday.



Neil LaBute Will Write, Direct Followup To \'Reasons to be Pretty\'

MCC Theater has a reason to be happy: Its playwright-in-residence, Neil LaBute, plans to direct the premiere of his play “Reasons to be Happy” for the theater next year. The new play is described as “companion piece” to Mr. LaBute's savage comedy “Reasons to be Pretty” and features the same four characters â€" Greg, Steph, Carly and Kent â€" though in different romantic pairings.

No casting has yet been announced for the new play, which was reported by The Wrap.

MCC's production of “Reasons to be Pretty” debuted at the Lucille Lortel Theater in 2008 before moving to Broadway the following year. Although the move uptown was short-lived, the production was critically acclaimed and nominated for three Tony awards. That play was billed as the third in a trilogy that included “The Shape of Things” and “Fat Pig,” all of which centered around the subject of physical beauty.

“Reasons to be Happy,” scheduled to run from May 16 to June 2 3, replaces a previously announced production of John Pollono's “Small Engine Repair,” which has been delayed because of scheduling conflicts for the cast.



Graphic Books Best Sellers: The End of \'Scalped\'

At No. 3 on our paperback graphic books best-seller list this week is volume 10 of “Scalped,” written by Jason Aaron and illustrated by R.M. Guera. It is the final volume of the series that chronicled trials and tribulations at the fictional Prairie Rose Indian Reservation in South Dakota. It was part of the Veritgo imprint from DC Comics. At the heart of the story are Dashiell Bad Horse, who grew up on the reservation and became an undercover agent for the F.B.I., and Lincoln Red Crow, the corrupt casino owner. The series has been on our paperback list several times before, including back in March and August this year.

The series is brutally violent, bleak and engrossing. I only read it in collected edition form, which i s the equivalent of watching a season's worth of a television series in one sitting instead of consuming them in intervals as single episodes (or, in the case of comics, single issues). It's sad to see “Scalped” end, but the plus side is that Mr. Aaron was able to complete his story. There are no hanging threads from the series being abruptly cancelled. There's another pro, at least for me: The more I read comics, the more I crave a complete story, rather than a never-ending adventure with a status quo that seems constantly reset to zero. The characters in “Scalped” changed (or died real deaths, unlike those in superhero comics, where the afterlife has a revolving door). I'm happy to have the 10 volumes in my library alongside finite series like “Preacher” and “Y the Last Man.”

As always, the complete best-seller lists can be found here, along with an explanation of how they were assembled.



Are TV Viewers Sick of Medical Dramas?

Mamie Gummer, left, in Left, Jack Rowand/CW; right, Nathaniel Bell/FOX Mamie Gummer, left, in “Emily Owens, M.D.” and Jordana Spiro in “The Mob Doctor.”

Medical dramas are one of television's oldest and most reliable staples, but based on Nielsen ratings from this season viewers may be growing tired of the genre. Two first-year-resident programs, “The Mob Doctor” on Fox and “Emily Owens, M.D.” on the CW network, were effectively fired on Wednesday after dismal fall performances.

While Fox was careful not to use the word “canceled” when it announced that “The Mob Doctor” would not be getting an additional episode order this seaso n, the decision to burn off some of the remaining episodes on Saturdays in December and the show's average total viewership, at 3.7 million, strongly suggest that the program will not return.

But “Emily Owens, M.D.” was officially canceled by CW. The news came as no surprise, as the show averaged only 1.3 million viewers. Like “The Mob Doctor,” all 13 episodes from the network's initial order will air.

Those programs are joined by other medical shows with low audience totals, like ABC's “Private Practice” (at 5 million average viewers for its final season), “Hart of Dixie” on CW (1.4 million), and the hospital-set comedy “The Mindy Project” on Fox (3.4 million).

The only show that seems immune to this malady is ABC's “Grey's Anatomy.” Currently in its ninth season, that program frequently ranks as the No. 1 drama on television in the advertiser-beloved 18-to-49 category while averaging 9.9 million total viewers.



This Week\'s Movies: Nov. 30

This week, Times critics offer their thoughts on the crime drama “Killing Them Softly” with Brad Pitt, the martial arts film “Dragon” and “King Kelly,” a film shot almost entirely with cellphones. See all of this week's reviews here.



City Lifts Advisory on Recreational Water Activities

New York City environmental officials announced on Friday that they were lifting an advisory urging people to avoid coming into contact with local waterways.

The advisory, issued by the city's Department of Environmental Protection, was put in place after Hurricane Sandy damaged many of the city's wastewater treatment plants. But water quality testing over the last two weeks showed that the waters were again safe for recreational use.

The advisory applied to the Hudson River, the East River, New York Harbor, Jamaica Bay and the Kill Van Kull.



Tolls on Rockaway Bridges to Resume on Saturday

Toll collection will resume this weekend on the two bridges in the Rockaways, the Metropolitan Transportation Authority said on Friday.

Tolls had been suspended on Nov. 4 on the Marine Parkway-Gil Hodges Memorial Bridge and Cross Bay Veterans Bridge, six days after Hurricane Sandy battered the Rockaways.

The $3.25 cash toll and $1.80 E-ZPass toll for cars in both directions on both bridges will be collected starting at 12:01 a.m. on Saturday.



Book Review Podcast: The Rolling Stones Turn 50

Julia Rothman

This week in The New York Times Book Review, the editors select their 100 Notable Books of 2012. The special holiday issue also features Pat Irwin's review of two new books about the Rolling Stones, a biography of Mick Jagger by Philip Norman and “The Rolling Stones 50,” a coffee-table book published by the band. About the latter, Mr. Irwin writes:

Leafing through the first hundred pages or so, I was struck by how hard they worked. They're living, breathing proof of the argument in Malcolm Gladwell's “Outliers” (which discusses the Beatles at some length, but doesn't mention the Rolling Stones). As Gladwell summarizes a study out of Berlin's elite Academy of Music: “The thing that distinguishes one performer from another is how hard he or she works. That's it. And what's more, the people at the very top don't work just harder or even much harder than everyone else. They work much, much harder.” That's the Rolling Stones.

On this week's podcast, a big show for the Book Review's big holiday issue, with discussions about the notable books, the Stones, a dictionary controversy, Joseph Cornell, the Dallas Cowboys, Shakespeare apps and best-seller news. Sam Tanenhaus is the host.



The Sweet Spot: Nov. 30

Who's more of a grinch, David Carr or A. O. Scott, when it comes to holiday movies and music?



British Artist Angered by Theft of his Work from Christie\'s

A solid gold sculpture by the British artist Douglas Gordon, a winner of the Turner Prize, was stolen from a Christie's warehouse in London, the British newspaper The Guardian reported. “I don't think this is an art theft,” Mr. Gordon said. “I'm pretty sure it has been melted down.” The gold used in his work, “Left Hand and Right Hand Have Left One Another,” was worth about 250,000 pounds ($400,000), he said. The piece was insured for twice that amount.

What has further riled Mr. Gordon, however, is that Christie's did not tell him about the theft until two weeks after it occurred. “It is like someone borrowing your car, and then you finding out from a neighbor that it has been crashed,” he complained. “It looks like I am the last person to know.” A Christie's spokesman said: “This matter is under investigation and we are in contact with all parties involved. We cannot comment further.”

The theft is an embarrassment for Christie's, whic h boasts of its storage facility's “world-class security, management and expertise.”



Owners of Storm-Damaged Homes Get Water-Bill Reprieve

New Yorkers whose properties were damaged in the storm are getting a break on their water bills.Wayne Parry/Associated Press New Yorkers whose properties were damaged in the storm are getting a break on their water bills.

Homeowners whose properties were badly damaged by Hurricane Sandy will get a reprieve on their water bills, Mayor Michael R. Bloomberg announced Friday: no payments are due until June.

The grace period, which covers more than 3,000 homes that have red or yellow tags, comes the day after the mayor announced a similar break on property taxes for homes damaged in the storm.

Under the water-bill measure, the city will also waive standard fees for some homeowners whose water service was interr upted by the storm and will suspend interest fees and collection on damaged properties that were delinquent before the storm.



Popcast: Parsing the Music - and the Psychodrama - of Rihanna

Rihanna performed in Berlin this month as part of a frentic tour to promote her new album, Unapologetic.Markus Schreiber/Associated Press Rihanna performed in Berlin this month as part of a frentic tour to promote her new album, “Unapologetic.”

This week, Rihanna topped the Billboard album chart for the first time in her career with “Unapologetic,” her seventh studio album. It's one of the few milestones that had eluded Rihanna, who has 12 number one singles on the Billboard Hot 100, tying her with Madonna and the Supremes for fourth on the list.

On this week's Popcast, host Ben Ratliff talks about “Unapologetic” with pop critic Jon Caramanica, covering the music, the attitude, and the ongoing public psychodrama between Rihanna and her former boyfriend and abuser, the R&B singer Chris Brown.

Mr. Ratliff and Mr. Caramanica are also joined by music journalists Mary H.K. Choi and Julianne Escobedo Shepherd, both of whom were on Rihanna's seven-country, seven-day promotional tour in advance of the a lbum that turned from fun tag-along to dark night of the kidnapped soul.

RELATED

Jon Caramanica's article on Rihanna's “Unapologetic”

Julianne Escobedo Shepherd's tour roundup

Mary H.K. Choi's tour roundup

PLAYLIST

‘Diamonds'

‘Numb (featuring Eminem)'

‘Pour It Up'

‘Nobody's Business (featuring Chris Brown)'

‘Loveeeeeee Song (featuring Future)'

‘What Now'



Cleaning Out the Beatles\' Closets

The leather jacket that George Harrison wore when he first began performing with the Beatles in Liverpool and Hamburg will be auctioned off along with other musical memorabilia on Dec. 12 at Bonhams in London.

The jacket, with an estimate of $144,000 to $193,000, is part of a sale that includes a pair of Harrison's custom-made boots, a guitar that Paul McCartney used in a pre-Beatles group formed by John Lennon, the Quarrymen, and hundreds of photographs.



An Off-Broadway Rarity: \'Tribes\' Recoups Its Investment

Nina Raine, playwright of Sara Krulwich/The New York Times Nina Raine, playwright of “Tribes.”

Even on Broadway, the vast majority of shows end up losing money. So the news that the Off-Broadway play “Tribes,” by Nina Raine, has recouped its investment makes it the little engine that could.

The play's producers Scott Morfee, Jean Doumanian and Tom Wirtshafter announced on Friday that it had grossed over $2.5 million since opening at the Barrow Street Theater in February, earning back its costs.

“Tribes,” which follows the dynamics of an idiosyncratic British family and their deaf son, will play its final performance on January 6.

Barrow Street has had steady success as a home to l ong-running Off-Broadway plays that aren't circus-based or spectacle-oriented. David Cromer's production of “Our Town” played 644 performances and grossed over $4 million there.



The 40th Anniversary of \'Free to Be . . . You and Me\'

If you grew up in the Seventies or Eighties, chances are you not only remember the album “Free to Be…You and Me,” you also remember which role you played in the requisite school play, rampant in elementary schools across the nation. (I was Pamela Purse, the impudent little minx who cried “Ladies First!” in Shel Silverstein's mischievous skit.)

This month, the songs that for many of the era's schoolchildren provided the soundtrack to their lives - and are now played for their children - celebrates its 40th anniversary. An anthology has just been published, “When We Were Free to Be: Looking Back at a Children's Classic and the Difference It Made,” by Lori Rotskoff and Laura L. Lovett, in which essays by contributors that include Alan Alda, Peggy Orenstein, Letty Cottin Pogrebin and Gloria Steinem explore the meaning, impact and legacy of that landmark album.

The woman behind the music, book and hit TV primetime show is the actress, activist and philanthropist Marlo Thomas, most famous at the time for being the star of television's “That Girl” and the daughter of the comedian Danny Thomas. Determined to find literature and music that didn't rely on gender stereotypes for her young niece, Dionne (who also contributed to the anthology), Ms. Thomas came up with a plan to record a rock album, write a book and create a TV show for children born into the Women's Rights and Civil Rights era.

She corralled many of her friends and colleagues from show business to take part in the venture. Harry Belafonte accompanied Ms. Thomas in a song called “Parents are People.” Mel Brooks wrote and performed in a skit about gender roles and assumptions. The football star Rosey Grier sang the ballad “It's All Right to Cry.” And Roberta Flack and Michael Jackson sang and danced to a duet, “You Don 't Have to Change at All,” whose words now bear a melancholic irony.

Despite the star power, expectations for the album's success were not high. But it quickly went gold, and then platinum, and continues to sell today. I spoke with Ms. Thomas recently about the radical ideas she helped bring to the mainstream: That it's OK to cry, that boys can want a doll and that a girl can happily be a brunette - even if she insisted on being a princess. Some things, it seems, haven't changed.

Related: Times reviews of the album and book from 1972 and 1974 by Deborah Jowitt and Erma Bombeck.



Steamy Turkish TV Drama Draws Fire From Prime Minister

“Magnificent Century,” a sort of Ottoman-era “Sex and the City” set during the reign of Sultan Suleiman the Magnificent, is wildly popular in Turkey and across the Middle East. But one person who is decidedly not a fan is Turkey's conservative prime minister, Recep Tayyip Erdogan, who is so incensed at the show's steamy depiction of the heroic sultan that he has urged legal action against the series.

In the latest cultural battle to erupt in Turkey, Mr. Erdogan last weekend slammed the lavish historical drama, which chronicles the palace and harem intrigue swirling around the Sultan, including the rise of Hurrem, the slave who became his powerful wife. Suleiman ruled the Ottoman empire from 1520 to 1566 at the height of its glory and is revered as a valiant warrior and wise Kanuni, or Lawgiver, by a generation of Turks.

Responding to criticism from the opposition that Turkey's intervention in the region was undermining the country's security, Mr. Erdoga n baffled some observers by apparently conflating the critique of Turkey's robust foreign policy with the portrayal of a debauched Suleiman on the show. Suleiman, he seemed to underline, had been a brave and adventurous conqueror.

Critics “ask why are we dealing with the affairs of Iraq, Syria and Gaza,” Mr. Erdogan said in a speech Sunday at the opening of an airport in western Turkey, according to Reuters. “They know our fathers and ancestors through ‘Magnificent Century,' but we don't know such a Suleiman. He spent 30 years on horseback, not in the palace, not what you see in that series.”

He said that the director of the series and owner of the channel that broadcasts it had been warned, that judicial authorities had been alerted and that a judicial decision was expected. “Those who toy with these values should be taught a lesson within the premises of law,” he said, according to The Hurriyet Daily News.

Cultu ral critics and political rivals railed against Mr. Erdogan, accusing him of cultural authoritarianism and censorship. Muharrem Ince, deputy chairman of the main opposition Republican People's Party, accused Mr. Erdogan of behaving like a sultan, saying that he was jealous of the series' popularity and determined to be the only sultan in the country. Mr. Erdogan, whose governing party has Islamic roots, has sought to embrace and rehabilitate the Ottoman Empire, a period of grandeur when the sultans claimed the spiritual leadership of the Muslim world before the empire's ignominious decline by World War I.

Turkey's culture and tourism ministry responded that popular Turkish soap operas were generating tens of millions of dollars in export income for Turkey and were widely watched across the region, expanding the exposure of the country. “Magnificent Century” attracts a third of the prime-time audience in Turkey and draws an audience of up to 150 million from Cairo t o Kosovo, analysts said.

Even the sultan's real heirs appeared more sanguine that Mr. Erdogan. Osman Selaheddin Osmanoğlu, son of the last prince in the Ottoman Palace, told The Hurriyet Daily News that while he did not appreciate the lascivious portrayal of his ancestors, he wasn't all that bothered as it was only a fictional work. “I am following the series,” he said. “But I don't take it seriously since it is only a soap opera.”

The show is no stranger to controversy. After it first aired in January last year, the Supreme Board of Radio and Television said it had received more than 70,000 complaints, and said that Show TV, the channel broadcasting the series, had wrongly exposed “the privacy of a historical person” and owed the public an apology.

Mr. Erdogan at the time called the program disrespectful and “an effort to show our history in a negative light to the younger generations.” Dozens of egg-throwing protesters chanted “God is great” outside the Show TV studios.

Some viewers were irate because the series showed the Sultan drinking alcohol - banned in Islam - and womanizing with concubines in the harem. They also complained that the scriptwriters were engaging in dangerous and disrespectful historical revisionism.

Melis Behil, a film studies professor at Kadir Has University, said in an interview that the show, which has helped spur a cultural revival of the Ottoman Empire across the country, had been inspired by the success of historical dramas like ones about the Tudors and thus focused on the manners and personal lives of the characters as opposed to the traditional battlefield scenes of many Turkish epics.

“The religious right are complaining that Suleiman was a great leader and all you are showing is his sex life and private parts,” she said.



Police Seek Two Suspects in Possible Bias Attack

The police are looking for two men they say asked a 70-year-old man in Queens if he was Muslim or Hindu, then beat him.

The attack, being investigated as a bias crime, happened on Saturday around 5:20 a.m. in front of 109-25 46th Avenue in Corona, the police said.

The victim was taken to Elmhurst Hospital Center and treated for facial lacerations.

The police released a security video that shows the two suspects, both around 20, running from the scene. One is described as Hispanic with dark hair in a pony tail, a light blue jacket, dark pants and dark shoes; the other is described as Hispanic, with short dark hair, a dark jacket, a gray hooded sweatshirt, blue jeans, and light colored sneakers.

Anyone with information about the attack is asked to contact Crime Stoppers.



Vatican Sells Stamps to Fund Restoration

ROMEâ€"As its corporate sponsors continue to feel the pinch of the financial crisis, the Vatican has taken an unprecedented step and is appealing directly to tourists and collectors to help fund the restoration of Bernini's 17th century colonnade in St. Peter's Square by buying limited edition stamps.

The Vatican's Philatelic and Numismatic Office is offering a souvenir sheet of two ten-euro stamps that could raise 3 million euros for the project, if all 150,000 are sold.

“Fundraising wasn't going very well,” said the office's director Mauro Olivieri, who came up with the idea for the stamps earlier this year, after officials in various Vatican departments were invited to suggest initiatives to help pay for the restoration of the colonnade. The cleanup began in 2009 and was expected to take four years, but the work began to lag when funds dwindled.

The elegant elliptical colonnade, which draws visitors to St. Peter's Basilica, took Gian Lorenzo Bernin i more than a decade to design and build. He conceived it, he said, “to give an open-armed, maternal welcome to all Catholics.”

The restoration involves cleaning 284 columns, set in rows of four, as well as the 140 statues of saints along the balustrade above, sundry marble decorations, and the two 17th-century fountains on either side of the Egyptian obelisk in the center of the square.

As of this month, visitors to the square can find a large panel on one side of the colonnade, inviting them to “restore the colonnade with a stamp,” an unusual form of direct advertising for the Vatican, Mr.
Olivieri said. “They're trying to get the message across to as many people as much as possible,” he said.



For a School\'s Benefit Concert, the \'Universe Came Together\'

David Gonzalez/The New York Times

Nilsa Astacio walked quickly through the soaring atrium at the Frank Sinatra School of the Arts as she headed to the principal's office.  Her thoughts matched her steps: nonstop.

“This is just wild,” she muttered. “Wild!”

This was not one of those dreams where you found yourself back in chemistry class about to take a test unprepared and undressed. But there was a surreal touch to the whole affair. Eight years after Ms. Astacio graduated from this high school, she was back in Astoria â€" planning a Dec. 7th concert that for the first time will unite alumni and current students for a one-night-only benefit for victims of Hurricane Sandy.

To think, the whole th ing started with a simple impulse: Hey, let's put on a show.

“I didn't even think; I just acted,” Ms. Astacio said. “I want people to see that you don't have to be famous, have a big name or be a millionaire to help other people.”

She doesn't have that lucky trio of traits â€" yet. She works the local club circuit as a rock 'n' roll singer,  something she set her heart on after graduating from Frank Sinatra in 2004. She lives at home with her mother in College Point, which is where she was in the emotionally numbing days after the storm.

Her house was fine. Others were not so lucky. She was restless.

“I was sitting in the dining room with my mom, sister and a friend,” she recalled. “And I said to them that I'd love to do a benefit concert.”

Over in Corona, Raquel Charter was thinking the same thing. She had been Ms. Astacio's Spanish teacher at the school, and had stayed in touch with her and other alumni. She had just returned to her home with her husband, who had surveyed the storm's damage around various neighborhoods served by the nonprofit group where he works.

“I was really depressed,” Ms. Charter said. “After visiting the different sites, the last thing I wanted to do was sit at home and look at the media. I wanted to do something.”

Ms. Astacio acted first â€" or so she thought â€" when she went to her Facebook page to suggest a benefit concert to her friends. There was already a message waiting for her from her former teacher.

“She was saying I had to bring the alumni together,” Ms. Astacio recalled. “This was like five minutes after I thought of the idea! The universe came together.”

From those initial suggestions, hundreds of people rallied to the cause â€" sort of like a cross between “Babes in Arms” and “The Blues Brothers.” Alumni started sending in samples of their music or videos of their dancing or acting. Lists were drawn for donations, volunteers and other details.  Current students â€" who in the past have done clothing and food drives â€" were enlisted, too, not that they needed much encouragement.

This kind of involvement is not unusual for this school, where arts and academics have been equally valued since it opened in 2001 in Long Island City (and later moved to its gleaming new building near the Kaufman Astoria Studios in 2009). Community service was stressed by its founder, Anthony Dominick Benedetto, a local boy who did O.K. as a crooner.

His show-business name adorns the school's pitch-perfect concert hall: Tony Bennett.

“This school gave us so much,” said Costas Tsourakis, a vocalist who is president of the alumni association.  “We wanted to give back to the community.”

After only a few weeks of planning, 12 alumni performers have been selected for the benefit. Student musicians will join an alumni chorus, while film students alr eady taped a promotional spot featuring Ms. Astacio and Ms. Tsourakis bantering about the benefit.

With a week to go, Ms. Astacio is still a bit amazed by it all: her impulse to help, the response from the alumni and students, the school's eagerness, even her own ability to actually be organized. She now says she'd like to do more. Her family says she's found her calling, to mix the arts with aid.

And her friends?

“They think I'm nuts, but they admire me for it,” she said. “I've taken on this entire show and put it on my shoulders. I kind of think I'm a little nuts. But the outcome has outweighed the craziness â€" so far.”



Spanish Writer Wins Cervantes Prize

The 86-year-old Spanish poet, novelist and essayist Jose Manuel Caballero Bonald has won the Cervantes Prize, the most prestigious literary award in the Spanish-speaking world, for helping to “enrich the Hispanic literary legacy,” the Spanish-language news agency EFE reported.

Often referred to as a member of the Generation of 1950 - writers who worked during the repressive reign of Gen. Francisco Franco - Mr. Caballero Boland wrote about the country's social conditions. A person “who has no doubts, who is sure of everything, is the closest thing there is to an imbecile,” he told EFE in an interview.

Dario Villanueva, president of the jury panel, described Mr. Caballero Bonald as a “teller and creator of stories, and a maestro in the use of the language.” The prize comes with a $167,000 award.

Previous winners include Jorge Luis Borges of Argentina, Carlos Fuentes and Octavio Paz of Mexico and Mario Vargas Llosa of Peru.



\'Books, I Think, Are Dead\': Joe Queenan Talks About \'One for the Books\'

Throughout his career, the humorist Joe Queenan has gleefully skewered pop culture, Baby Boomers, sports fans and much else. In his 2009 memoir “Closing Time,” Mr. Queenan wrote about growing up poor in Philadelphia and suffering at the hands of his violent father. In his latest, “One for the Books,” he recounts a lifetime of reading the classics, the trashy and everything in between. He also makes an impassioned case for the printed book's superiority over its digital competitor. In a recent e-mail interview, Mr. Queenan discussed the future of books, his problem with book clubs, reading 80 books at a time and more. Below are edited excerpts from the conversation:

Q.

You write that it's as if certain unread books are “stalking me,
 taunting me”: “You're not fooling anybody, pally. If you haven't read ‘Ulysses,' you're still a pathetic rube off the streets of Philadelphia. 
And you always will be.” After a lifetime of serious reading, how deeply
 do you still feel conscious of not coming from a typical
 bookish background?

A.

Not at all. I never think about it. The “Ulysses” stuff is just a joke. One thing, though: When I was a callow youth devouring books while mired in an unsatisfactory economic class, I thought this would stand me in good stead once I started hanging out with the bourgeoisie. I figured people would be really impressed that I had read “Silas Marner” and “Mourning Becomes Electra.” Then I finally got invited into the Mansion on the Hill and discovered that the residents were all illiterate slobs.

Q.

One of your book's biggest themes is the supe riority of books to
 e-readers. Are you optimistic about the future of books on paper? And do 
you consider this book more of an early eulogy or a rallying cry?

A.

The book is elegiac. Books, I think, are dead. You cannot fight the zeitgeist and you cannot fight corporations. The genius of corporations is that they force you to make decisions about how you will live your life and then beguile you into thinking that it was all your choice. Compact discs are not superior to vinyl. E-readers are not superior to books. Lite beer is not the great leap forward. A society that replaces seven-tier wedding cakes with lo-fat cupcakes is a society that deserves to be put to the sword. But you can't fight City Hall. I also believe that everything that happens to you as you grow older makes it easier to die, because the world you once lived in, and presumably loved, is gone. As I have said before, when Keith Richards goes, I'm going too. Same deal with books.

Q.

You say you're reading up to 32 books at a time. What are the mechanics 
of that? Has the number of books you read simultaneously grown over time? 
Is there a ceiling, or could you be reading a hundred books at some
 point?

A.

I might read 50 pages of a Maigret novel, then switch to Flaubert, then switch to one of those beautiful little Taschen books about Courbet or Odilon Redon, then switch to Sherlock Holmes, then switch to John Keegan, then switch to “The English Patient.” Last week I read Margot Livesey's gorgeous “The Flight of Gemma Hardy” in two days, then went back to the book about the Spanish Civil War that I have been working on for years. There is literally no limit to how many books you can read simultaneously, provided you have a good memory. I once got up to around 80. Now I have it back down to a manageable 24.

Q.
< p>You cycle through different ways of organizing your books (by height, by
author's nationality, by subject matter). Do you have a favorite method?

A.

No. The whole thing is a form of socially sanctioned insanity. It is a way of trying to control a universe that cannot be controlled.

Q.

You say that, “a genuinely terrible book is a sheer delight.” What's the 
worst book you've ever read? (Let's exclude the most predictably bad,
 like those you cite written by O. J. Simpson and Geraldo Rivera.)

A.

“Atlas Shrugged” is moronic beyond belief, though it just narrowly edges out “The Fountainhead.” Rand is a fascist and a creep, either of which could be forgiven. But she also cannot write. As Oscar Wilde once said, the only truly unforgivable crime is lack of sophistication. I think Wilde said that. He said everything else.

Q.

About a slightl y different category, you write, “reading a bad book by a
 good writer is compelling in a way that reading a good book by a
 mediocrity never is.” What's the worst book by a good writer that you've
 read?

A.

“The Old Man and the Sea” is pathetic, infantile, hokey, almost self-parody. Everything great in Hemingway had curdled into schtick. That said, I just finished re-reading “The Sun Also Rises” for the 15 billionth time.

Joe QueenanDorothy Handelman Joe Queenan
Q.

Have your experiences in book clubs been universally terrible? How might 
you design an ideal book club, or do you think it's impossible?

A.

I was only in one boo k club a long, long time ago. It scarred me for life. People would talk about things like “foreshadowing.” It was like being in high school. An ideal book club would consist exclusively of writers. Those guys know how to pick good books. They're in that line of trade. If I could be in a book club with Thomas McGuane, Jane Smiley, Julian Barnes and Jane Gardam, I'd sign up today.

Q.

You haven't shopped many times at the Strand bookstore in New York,
 which surprised me. As a place to browse and a place for older and odder 
titles, I find it invaluable. What keeps you away?

A.

No charm. I feel like I'm trapped in a Jose Saramago novel where a customer named Borges keeps turning up and asking for a copy of “Don Quixote.” Too much of a good thing is a bad thing.

Q.

In itemizing your library, you say you own “perhaps 30 books I keep
 around as a joke.” Do you buy these y ourself or are they given to you as
 gag gifts? What makes a book a joke rather than just a bad book?

A.

They mostly turned up over the transom at jobs I used to work at. “Hoosier Home Remedies” is my favorite. That is the best title for a book ever. I am not saying that the book itself is a joke - the remedies are excellent - but I only keep it around for laughs. I have held on to “Steve Allen on the Bible, Religion, and Morality” because Steve Allen gave it to me, and because it holds out hope that I may one day be given “Jay Leno on the Bible, Religion, and Morality” or “Ellen on Leibniz.” Of such dreams is a full life made.

Bad books are not so much funny as ridiculous. “1945″ by Newt Gingrich and some industrious history professor is insanely bad. Still, if Gingrich had gotten himself elected president he wouldn't have had time to get these books co-written for him. The republic would have benefited greatly.

Q.

You've written a great deal about movies, often scathingly. Let's get
 sunny: do you have any favorite movies that were adapted from books?

A.

“L.A. Confidential” was a brilliant book and a brilliant movie. The same is true of “True Confessions.” “The Sweet Hereafter” is a great book and a great movie. So is “Black Robe.” “Brokeback Mountain” is a great movie based on a beautiful novella. You can say the same thing about “Emma,” “Sense and Sensibility,” “Great Expectations,” the most recent “Jane Eyre” and several versions of “Pride and Prejudice.” Not to mention “Ran.” As for The Iliad, well, they haven't gotten that one right yet. Still can't figure out what to do with the gods.

Q.

What's the next book you're planning to read?

A.

It took me 34 years to finish “Middlemarch.” The first 31 years were the hardest. I started “Moby-Dick” about 20 years ago and never got past page 100. Captain Ahab, batter up. If I could get through “Middlemarch,” I can get through anything.



Defining the Subway

Todd Heisler/The New York Times

Dear Diary:

Subway (noun):

The underground place of transformation from weary cynic to believer; where you meet a 7-year-old boy to your right who asks you for a helpful hint on his puzzle as he gently kicks your leg as the train rocks along, while on your left, a lady helps shush your baby back to sleep.

The place where you rush after having stood impatiently in line in the punishing cold for an egg white and cheese on a roll - the line that sentenced you to a late arrival at work; where the memory of all that vanishes, and you quietly give your breakfast away without a second thought.

Where a complete stranger with a perhaps not so very clean hat just might nod off on your should er, someone who is already done with their day's work before yours even begins, and you decide you don't even really mind at all; the place from where you emerge, blinking in the daylight on the busy street above, renewing your vow to take better care of your neighbors.

Whoever said New York was too cold and rushed and rude for their liking has never been to my New York.

Read all recent entries and our updated submissions guidelines. Reach us via e-mail: diary@nytimes.com or telephone: (212) 556-1333. Follow @NYTMetro on Twitter using the hashtag #MetDiary.



Midland Beach, 1:33 P.M.

Some of the 777 workers that the city parks department has hired to clean up storm damage worked on the beach today in Midland Beach on Staten Island.Daniel Avila/NYC Parks & Recreation Some of the 777 workers that the city parks department has hired to clean up storm damage worked on the beach today in Midland Beach on Staten Island.

Escaped Zebra Is Now in Relocation Program

Razzi the zebra has left the city.Randy Leonard for The New York Times Razzi the zebra has left the city.

And what of Razzi the runaway zebra?

When we left him on Wednesday evening, Razzi, a 4-month-old foal who lives on Staten Island, had returned from his unauthorized tour of the neighborhood in the company of his friend and mentor Casper the pony and was resting quietly on the property of his owner, Giovanni Schirripa.

But the animals' brief escape attracted the attention of the authorities.

On Thursday, said Chanel Caraway, a spokeswoman for the city health department, “a health inspector visited the property, but did not find a zebra.”

That's because Razzi has moved to New Jersey, Mr. Schirripa said.

“The zebra's not here no more,” he said by phone, adding that he took him Wednesday night to a barn near Phillipsburg where he keeps some of his horses.

Mr. Schirripa said he thought inspectors might have been concerned about the conditions the zebra was living in. Possibly, he became mindful that the health department said Wednesday night that he did not have the required permit to keep a zebra on his property (no such permit is required to keep a pony for personal use, the health department said).

Mr. Schirripa said the inspectors told him there was nothing they could do if the zebra wasn't there.

Casper could not be reached for comment about the departure of his friend.



Low-Tech Thief Smashes Store Windows

How does a thief inconspicuously smash a plate-glass door of a clothing store in the middle of Manhattan?

A burglar was captured on video breaking into the Lucky Brand store in the Flatiron district early Wednesday morning.N.Y.P.D. A burglar was captured on video breaking into the Lucky Brand store in the Flatiron district early Wednesday morning.

It helps, apparently, to do it at 3:30 a.m., as the star of the security video above (or here) did, according to the police, on Wednesday at the Lucky Brand store at 172 Fifth Avenue in the Flatiron district.

T he thief helped himself to some clothing, the police said. The same man smashed the window of an AT&T store nearby, at 1099 Broadway, on Monday and made off with some property (see video below or here), and on Nov. 15 stole cigarettes and DVDs from a Duane Reade in the vicinity, the police said.

The police do not have a detailed description of the man. Anyone with information about him is asked to contact Crime Stoppers.



Gillibrand Chokes Up Describing Death of 2 Boys in Storm

It was the kind of moment not often seen in the stuffy hearing rooms of Capitol Hill.

At a hearing Thursday morning to assess the impact of Hurricane Sandy, Senator Kirsten E. Gillibrand, a Democrat from New York, began recounting for her colleagues the devastation caused by the storm, citing the loss of life and damages to homes and businesses.

Then, she turned to the story of Brandon and Connor Moore, two young brothers who were swept away from their mother, Glenda, as she and the children tried to escape surging, ten-foot flood waters on Staten Island during the storm's height.

“The most heartbreaking story was when I went to Staten Island and we,'' she said, before pausing for several seconds to hold back tears.

Composing herself briefly, Ms. Gillibrand, continued. “`We met with first responders whose job was to find two children,'' she said, her voice cracking and her eyes welling with tears.

“And what happened in this case was a mother was worried because she lost power and her husband told her to find a different place to stay with the children and urged her to go to Brooklyn to see her mother,'' the senator recounted.

“She took the children in the car,'' Ms. Gillibrand continued. “But what happened in Staten Island was the storm was so severe, a ten-foot wave came across the road. Her vehicle stalled. She took the children out of the car. She tried to get them to higher land.''

“And they were taken from her,'' she went on, her voice quavering. “These children were two-years-old and four-years-old. And the mother could do nothing about it because the storm was so strong.''

The hearing room, packed with senators, Congressional aides and journalists, became spellbound during Ms. Gillibrand's soberin g account to the Environment and Public Works committee.

Ms. Gillibrand, a mother of two boys ages 9 and 4, eventually went on with the rest of her prepared testimony. When she finished, Senator Barbara Boxer of California, the chairwoman of the committee, said she was touched and thanked Ms. Gillibrand for allowing her “emotions to come to the surface.''

For Ms. Gillibrand the story of the two boys was more than just an account she had read.

Two days after the storm ravaged Staten Island, Ms. Gillibrand traveled there for the first time and the first thing she saw was a New York Police Department scuba team searching for the boys.

Then, an officer took her to the Moore's battered and abandoned van.



Fairouz Opera Premiere Will Open the Prototype Festival

The world premiere of Mohammed Fairouz's “Sumeida's Song,” an opera based on the Egyptian playwright Tawfiq El-Hakim's “Song of Death,” will be directed by David Herskovits, and conducted by Steven Osgood, with a cast that includes Rachel Calloway, Dan Kempson, Edwin Vega and Amelia Watkins. The show is to open the first Protoype: Opera/Theater/Now festival, which runs Jan. 9-18 in New York.

The performances are at Here, a theater at 145 Sixth Ave. in TriBeCa that has fostered avant-garde and genre-mixing opera in recent seasons, as well as at the Michael Schimmel Center for the Arts at Pace University and the 3LD Art and Technology Center. The festival is a co-production of the Here Arts Center and Beth Morrison Projects.

Mr. Fairouz's opera is about a young Egyptian who refuses to take part in a multigenerational feud and tries to pull his village into modernity, with tragic results. Though a recording of Mr. Fairouz's opera has just been released (on Bridge Records), it has not yet had a full staging.

David T. Little's “Soldier Songs,” a multimedia work based on interviews with veterans of five wars, will have its New York premiere in a production directed by Yuval Sharon, with the baritone Christopher Burchett as the Soldier, and Todd Reynolds conducting the Newspeak Ensemble at the Schimmel Center.

The Dutch ensemble 33 1/3 Collective will present the North American premiere of “Bluebeard,” a work based on the same story as Bartok's “Bluebeard's Castle,” with a recorded soundscape by Michael de Roo, vocal lines sung by Ilse van de Kasteelen and video by Douwe Dijkstra, Coen Huisman and Jules van Hulst, at the 3LD Arts and Technology Center.

The festival also includes a series of multimedia concerts by Timur and the Dime Museum, a Los Angeles ensemble that calls itself a “dark glam band” and produces a theatrical blend of pop, opera and vaudeville, as well as a workshop performance of “Aging Magician,” an opera with music by Paola Prestini and a text by Rinde Eckert. Mr. Eckert will perform the work with the Brooklyn Youth Chorus.



Levine\'s Comeback Concert to Include Work By Schubert and Beethoven

Schubert's Symphony No. 9, “The Great,” the prelude to Act I of Wagner's “Lohengrin” and Beethoven's Piano Concerto No. 4, with Evgeny Kissin as soloist, will make up the program for James Levine's comeback as a conductor on May 19. Mr. Levine will lead the Metropolitan Opera orchestra at Carnegie Hall, and it will be his first public performance in two years after a series of health problems. The program replaces the original version, which was announced when it was not clear whether Mr. Levine could conduct and no conductor was listed. The lineup then was Sibelius' Symphony No. 4, the Grieg piano concerto and Schumann's “Konzertstück” for four horns and orchestra.

In mid-October, Mr. Levine announced his return to conducting, including several opera productions next season at the Met, where he has remained music director despite a number of absences. The Met released the new Carnegie program on Thursday, a sign that Mr. Levine, 69, remains confident th at he can return to conducting after lengthy physical therapy following damage to his spine and back operations. Fabio Luisi, the Met's principal conductor, will lead the orchestra at Carnegie on Dec. 2.



Found Money Well Spent

It's not Brewster's millions, but a $50 pile of fives, ready to be distributed on the city's streets.Emily S. Rueb/The New York Times It's not Brewster's millions, but a $50 pile of fives, ready to be distributed on the city's streets.

What would you do if you found $100 on the ground?

Last week at a coffee shop near work, I found two crisp fifties staring up at me from the white stone floor. After making an honest attempt to find the owner, I decided the money was mine to spend as I wished. But how? A thoughtful discussion on City Room followed a prompt for your advice.

“I think it is O.K. that you just keep the money for your own use,” said Jason Shannon from Jersey City. “As my father used to say, ‘Don't lo ok a gift horse in the mouth.'”

But as a lapsed Catholic, I felt that keeping it all would be greedy.

“Why do you feel guilty?” asked RMC from New York. “Because you didn't earn it? Because someone else lost it?”

She continued, “If I found $100 and didn't need it to pay a bill, I'd take my husband out for dinner.”

Since there were two bills, I decided to keep $50 and take the advice of @NYTFridge:

After treating a friend to a meal, I would give the rest away. Many readers suggested lofty causes, like Hurricane Sandy relief, The Times's Neediest Cases Fund or helping pay down the national debt. But I wanted to return the money to the streets from which it came.

Betty from Shrewsbury, N.J. suggested handing out five-dollar bills to homeless people or others in need. “Spread a little unexpected joy around,” she said.

“To be able to brighten the day of a handful of people, at no personal cost to you, seems a bit of a gift in and of itself!” said C.Gadd of Bethlehem, Pa., who had the same idea.

So on Wednesday, I walked the streets and subway platforms with a pocketful of bills, seeking a mix of people who seemed in need of a small boost. I met a man listening to soft rock on a portable radio as he collected bottles, a woman digging through trash cans in Times Square, an opera singer whose lovely voice floated above the din of subway commuters and a blonde crouched on a sidewalk near Grand Central who said she was pregnant and needed to get home to Maine.

Only one person, a woman sitting in a pedestrian plaza near Macy's, refused my offer.

But 10, included in a series of tweets below, received the small gesture with wide smil es, nods and even the jingle of a bell.

[View the story "$50 Well Spent" on Storify]

One of last week's commenters, bklynbar, worried that a homeless person might spend the money on “booze or drugs,” but if I'm using my share on empty calories, who am I to judge what others do with theirs?

In one afternoon, I put a little good karma out in the universe. But there were so many others out there â€" mostly men clutching small signs, lying on cardboard padding on subway grates and in doorways â€" who were in need, too. It was all I could do.

Giving is a matter of feeling, wrote Felicia from Dallas. “Whatever your heart moves you to do, you should do.”



Seeing Orientalist Art as an Aid to East-West Dialogue

The Philosopher by Ludwig Deutsch (1905) from the collection of Shafik Gabr. Enlarge.Michel Lebrun “The Philosopher” by Ludwig Deutsch (1905) from the collection of Shafik Gabr. Enlarge.

One of the world's leading collectors of Orientalist art believes the genre can teach the diplomatic world much about East-West relations. Shafik Gabr, an Egyptian businessman and philanthropist, says the sort of immersion that Western painters had in the Middle East in the 19th century is the sort of personal interaction that can lead to better understanding between cultures.

So he's holding a symposium on diplomatic relations based on the concept of Orientalist painting on Monday to be followed by a big party at the Metropol itan Museum's Temple of Dendur.

The symposium at 583 Park Avenue, presented by Mr. Gabr's new foundation, includes a panel discussion on “Early Globalists: What Do the Orientalist Travelers Have to Teach Us Today?”

Others in the Middle East and elsewhere have disparaged Orientalist art, with its scenes of harems and fortune tellers, as patronizing.

But Mr. Gabr sees the genre's impact and origins differently.

“Their record of painting, their mission and what they accomplished,” he said in an interview this fall with the International Herald Tribune, “was a truly strong bridge-building experience very early in the 19th century.”



Short Plays From Edinburgh Fringe to Run Off Broadway

Theater Uncut, a scrappy, all-volunteer collective that drew standing room crowds at the Edinburgh Festival Fringe last summer, will present a series of short plays Off Broadway at the Clurman Theater Jan. 29-Feb. 3, the company has announced.

Run by co-artistic directors Emma Callander and Hannah Price, Theater Uncut was launched in March 2011, when a number of British writers were asked to write short plays in response to the brutal cuts in public spending announced by the coalition government in 2010. The resulting scripts were made available for anyone in the world to download and present for free for one week, and about 75 groups took part in that inaugural effort.

In 2012, the company asked a global group of writers, both emerging and established (Neil LaBute was a participant), to respond to the current political climate in their home countries. About a dozen of the resulting scripts were presented at the Traverse Theater in Edinburgh last summer, and th e full collection of 2012 plays was then offered for free download once again. According to Ms. Callander, more than 200 people in 17 countries participated in the recent “international week of action,” held Nov. 12-18.

It is a selection of these latest works that Theater Uncut will present in New York, including Mr. LaBute's “In the Beginning,” about the Occupy movement.

The Theater Uncut series is being offered at the tail end of a previously announced run of “Midsummer [A Play with Songs],” a romantic comedy written and directed by the Scottish playwright David Greig, with songs by Gordon McIntyre. “Midsummer” will run at the Clurman Theater Jan. 9-26. Both shows are being produced by the Carol Tambor Theatrical Foundation. “Midsummer,” loosely inspired by Shakespeare's “A Midsummer Night's Dream” (with the city of Edinburgh replacing the Athenian forest as an enchanted locale) was presented at the Edinburgh Festival Fringe in 2009, whe n it was well-received by critics. The original two-person cast, of Cora Bissett and Matthew Pidgeon will appear in the New York production.



Kids Draw the News: Runaway Zebra

Violet, 8, Brooklyn N.Y.

New Assignment

You can see just about anything on the streets of New York City, but a zebra chasing a pony is something that no one had seen until this week, when Razzi the baby zebra and his friend, Casper the pony, escaped from their pen on Staten Island and went trotting down the street.

A man took a video of them running through a parking lot.

They were eventually caught and returned to their owner, who also keeps chickens and peacocks in his yard.

Here is an article about the runaway zebra foal and the pony. You may illustrate any aspect of the story you wish.

To submit drawings by children 12 years of age and under, follow the instructions here: Submit Artwork '

The Last Assignment

Thanks to all of you who illustrated Hurricane Sandy. Your pictures may be seen in the slide show that accompanies this post.



MoMA Adds Video Games to Its Collection

Pac-Man was included in an exhibition at the Smithsonian American Art Museum earlier this year.Brendan Hoffman for The New York Times Pac-Man was included in an exhibition at the Smithsonian American Art Museum earlier this year.

If you have been disparaging video games â€" or, perhaps, trying to wean yourself from an addiction to them â€" it's time to think again. Video games are now high culture, with the imprimatur of the Museum of Modern Art, which announced on Thursday that it has acquired the first 14 titles in a planned collection of about 40 games. These constitute a new category among the museum's collections, and will be on display in the Philip Johnson Galleries starting in March. (An exhibition devoted to video games will open in December at the Museum of the Moving Image, and another exhibition at the Smithsonian American Art Museum, closed in September.)

“Are video games art?” Paola Antonelli, senior curator in the museum's department of architecture and design, asked in a post on the museum's web page. “They sure are, but they are also design, and a design approach is what we chose for this new foray into this universe. The games are selected as outstanding examples of interaction design - a field that MoMA has already explored and collected extensively, and one of the most important and oft-discussed expressions of contemporary design creativity.”

The games, Ms. Antonelli wrote, would be selected according to the same criteria the museum uses for other collections, including “historical and cultural relevance, aesthetic expression, functional and structural soundness, innovative approaches to technology and behavior, and a successful sy nthesis of materials and techniques.”

The first items in the museum's new collection are Pac-Man (1980), Tetris (1984), Another World (1991), Myst (1993), SimCity 2000 (1994), vib-ribbon (1999), The Sims (2000), Katamari Damacy (2004), EVE Online (2003), Dwarf Fortress (2006), Portal (2007), flOw (2006), Passage (2008) and Canabalt (2009).

The museum's wish list for future acquisitions runs from the early Spacewar! (1962), through Minecraft (2011). The initial 14 games are to be installed in an exhibition in the museum's Philip Johnson Galleries in March.



Watchlist: \'Last Chance Kitchen,\' the Rare Web Series to Challenge the TV Original

Every self-respecting television show has an online extension these days - webisodes, behind-the-scenes clips, comic Q&A's with the stars. But no one has integrated TV and Internet offerings as completely as the producers of Bravo's “Top Chef.” For the second season in a row they are offering the Web series “Top Chef: Last Chance Kitchen” as an essential part of their menu - the starch to the TV show's protein.

“Last Chance Kitchen,” whose new season began Wednesday night on bravotv.com, is sort of like a repechage bracket in a judo competition or the national college baseball tournament. Chefs who have been eliminated on television meet in a stripped-down version of the main show for a chance to stay alive in the competition. On Wednesday night the four contestants cut so far in the current “Top Chef: Seattle” faced off in a single challenge, making a dish in two minutes using the same ingredients that had been their downfall on TV.

Unlike most athletic repechages, however, “Top Chef: Last Chance Kitchen” - following the more sentimental dictates of reality TV - offers the losers the opportunity not just to come back, but to win the whole shebang. That chance is even stronger this season, when the winner of “Last Chance Kitchen” gets an automatic bye into the “Top Chef” finale. (Last year's “Last Chance” winner was re-inserted into the TV show three episodes from the end and didn't make it to the finale.)

Some viewers may find that they prefer the online show to its television parent. It's “Top Chef” distilled into one claustrophobic, jittery, 10-minute scene, with no shopping trip or backstage posturing - just cooking with an even greater edge of desperation. And instead of a panel of judges, there's just the stone-faced Tom Colicchio, doling out praise as if it were sips of Romanée-Co nti and grudgingly choosing one chef to move on.

The Web series could even challenge “Top Chef” on its own turf, the Emmys, where the TV show has won twice (for picture editing and, in 2010, for outstanding reality competition). The first season of “Last Chance Kitchen” was actually nominated for an Emmy in a category called Outstanding Special Class - Short-Format Nonfiction Program. Perhaps demonstrating the television academy's true feelings about the role of online content, however, the award went to the Directors Guild of America for a series of old-fashioned, hilariously self-congratulatory online shorts called “DGA Moments in Time.”



Neil Young Announces Hurricane Sandy Benefit Concert

Neil Young and Crazy Horse performing in Central Park in September.Julie Glassberg for The New York Times Neil Young and Crazy Horse performing in Central Park in September.

Neil Young and Crazy Horse will do a benefit concert at a casino in Atlantic City to raise money for people displaced by Hurricane Sandy. The concert, “A Special Evening with Neil Young & Crazy Horse,” will be held at the Borgata Hotel Casino & Spa on Dec. 6, a publicist for Mr. Young announced on Thursday. Everest, an alternative rock band from Los Angeles, will open the show. Tickets, which go on sale Friday on the casino's Web site, will cost between $75 and $150. Mr. Young has pledged all the proceeds will go to the American Red Cross's relief fund for vi ctims of the storm.

Mr. Young is only one of several rock stars and pop musicians who are using their celebrity and talent to raise money for recovery efforts. Juanes and Juan Luis Guerra gave their profits from a concert in Brooklyn last week to the Red Cross. At Madison Square Garden on Dec. 12, Jon Bon Jovi, Bruce Springsteen, Billy Joel, Paul McCartney, the Who and other rock luminaries will perform at a benefit concert called “12-12-12.”

Other lesser-known artists have donated tracks to a charity album, waiving their royalties. TuneCore, an online distributor of music, has released a compilation album called “After the Storm” that features artists like Foxymoron, Gavin Mikhail and teh Infamous Stringdusters. All of the proceeds are being directed towards rebuilding efforts in New York City.



Psst, We\'re Showing a Film on This Guy\'s Wall, and, Oh, Don\'t Warn Him

At a flash-mob screening of a short documentary about climate change and Occupy Sandy, the film was projected on a wall above an East Village gas station on Wednesday night.Yana Paskova for The New York Times At a flash-mob screening of a short documentary about climate change and Occupy Sandy, the film was projected on a wall above an East Village gas station on Wednesday night.

At a Hollywood film premiere, sequined starlets drift across red carpets. At an Occupy Wall Street film premiere, people trespass on gas station parking lots.

So it went on Wednesday night when 200 people - academics, environmental activists, dudes on bikes - descended flash-mob style on a Mobil station at Houston Street and Avenue C for a guerrilla screening of a documentary film about climate change and Occupy Sandy,  the movement's ongoing effort to assist the victims of last month's storm.

In classic Occupy fashion, the 20-minute film, “Occupy Sandy: A Human Response to the New Realities of Climate Change,”  was projected onto a wall above the service station's gas pumps by a vehicle called the Illuminator, a mobile media center built this spring by a crew of Brooklyn artists and with the patronage of Ben Cohen, the ice cream tycoon.

The gala event - if one can speak that way of an occasion whose precise location was announced by text and Twitter message only 15 minutes before it began - was an attempt to place both Hurricane and Occupy Sandy into the context of climate change.

The filmmaker, Josh Fox, whose movie “Gasland” examined the oil- and natural gas-drilling process called hydraulic fracturing, or fracking, spent 10 days documenting Occup y Sandy's efforts in the Rockaways section of Queens and in Sheepshead Bay, Brooklyn, as well as at the group's headquarters, at a church in Clinton Hill, Brooklyn.

“I'd heard so much about this thing, I had to figure it out,” said Mr. Fox, bespectacled and boyish. “I wandered over there” - to the church - “with a camera and was just blown away.”

His movie, put together on the fly, included interviews with residents affected by the storm and with Bill McKibben, the author and environmentalist. The film was streamed live during the screening at occupytheclimate.com, where it can still be seen.

The complex origins of the unpermitted, which is to say illegal, event suggest the natural interconnectedness of the Occupy idea machine. The idea began with a woman named Elana Bulman, an Occupy Sandy organizer, who got to talking with friends about ways to connect Occupy Wall Street's storm-relief efforts to the broader environmental movement. Ms. Bulman found her way to Justin Wedes, a creator of Occupy Wall Street's summer camp, who has been working for Occupy Sandy, often in Sheepshead Bay.

About 200 people gathered in the glow of a Mobil sign to watch the film.Yana Paskova for The New York Times About 200 people gathered in the glow of a Mobil sign to watch the film.

Mr. Wedes knew Mr. Fox; indeed, he was interviewed for the film. Mr. Fox, meanwhile, was an old friend of Mark Read, the designer of the Illuminator, having been arrested in Mr. Read's presence more than a decade ago while passing out anti-something-or-the-other leaflets at a Citibank branch.

Those wanting to know the location of the screening were asked to send a text to a certain phone numbe r on Wednesday morning or to follow the hashtag #climatecrime on Twitter. An initial communiqué was sent about 9 a.m. on Wednesday saying that the screening would be “somewhere in the East Village.”

At 4:13 p.m., a second dispatch narrowed the location to “the neighborhood south of 10th St btwn Aves A & D”; a third message sent at 5:53 p.m. (“Hello friends! Thanks for your adventurous spirit!”) narrowed it further to the area south of 7th Street between Avenues B and C.

Finally, about 6:15, the site at the Mobil station was announced.

The organizers thoughtfully sent an ambassador to the poor service station owner, who seemed a bit nonplused at having a flash mob of Occupiers - not to mention a marching band - c onverging on his parking lot.

That said, everything went smoothly. A banner was unfurled and people driving by honked their horns. The band played well and loudly. “People are actually showing up; I'm amazed this is working,” Mr. Fox said. “There are folks here, and tubas.”

Then the film began. While the Illuminator's sound system performed fairly well, the image - bleached by the scouring lights of the parking lot - left a little to be desired. Not that it mattered to Joan Flynn and Steve Jambeck, a couple from the Rockaways who received help from Occupy Sandy in the early days after the storm.

“We were really lucky,” Ms. Flynn, 64, said. “They came in and pulled out the soaked rugs, the flooded carpets, the wet insulation.” Mr. Jambeck, also 64, added, “This whole thing is a reality check on the unintended consequences of 50 years of bad decisions over carbon use and corporate greed.”

When the movie ended, the audience, in the wa y of film premieres, was off to the after-party - this one, at the Bell House in Brooklyn. Mr. Read was packing up the Illuminator after another night's work.

“You know, I can't believe we did a whole film and no police,” he said.

Could that be disappointment in his voice?

He shrugged, made a face. “Maybe a little bit,” he said.

The film was projected from a van known as the Illuminator.Yana Paskova for The New York Times The film was projected from a van known as the Illuminator.


In Performance: Aasif Mandvi of \'Disgraced\'

We're excited to introduce “In Performance,” a regular theater video series, that kicks off this week with Aasif Mandvi in a scene from Ayad Akhtar's “Disgraced,” now at the Claire Tow Theater at Lincoln Center. “In Performance,” which features actors performing monologues and songs from their current shows, has only a few simple rules: Scenes are about two minutes long. The actors wear street clothes and no makeup. And, of course, they keep their language clean.

In “Disgraced,” Mr. Mandvi (of “The Daily Show With Jon Stewart”) plays Amir Kapoor, a corporate lawyer who lives with his wife, Emily (Heidi Armbruster), on the Upper East Side of New York. Here Amir tells Emily about a not-so-subtle episode of racial profiling at the tony law firm where he's expecting to be made a partner.

Over the next few weeks watch for performances by Shuler Hen sley (“The Whale”), Michael Learned (“The Outgoing Tide”), Jackie Hoffman (“A Chanukah Carol”) and others.



Children\'s Book Coming From \'Hunger Games\' Author

Suzanne Collins, the author of the wildly successful “Hunger Games” trilogy, as well as the five-volume teen fantasy series “The Underland Chronicles,” has completed a a new book, “Year of the Jungle,” a 40-page children's book, which will be published next September by Scholastic.

The book, Collins's first since “Mockingjay,” the conclusion of the “Hunger Games” series, in 2010, is based on Collins's memories of her father's deployment in Vietnam in the late 1960s, when she was the first grade. It is for readers 4 and up, and was illustrated by James Proimos, The Associated Press reported.

“For several years I had this little wicker basket next to my writing chair with the postcards my dad had sent me from Vietnam and photos of that year,” Ms. Collins, 50, said in a statement. “But I could never quite find a way into the story. It has elements that can be scary for the audience and it would be easy for the art to reinforce those. It c ould be really beautiful art but still be off-putting to a kid, which would defeat the point of doing the book.

“Then one day I was having lunch with Jim and telling him about the idea and he said, ‘That sounds fantastic.' I looked at him and I had this flash of the story through his eyes, with his art. It was like being handed a key to a locked door. So, I just blurted out, ‘Do you want to do it?' Fortunately he said ‘Yes.'”

The book's protagonist will be a child named Suzy, whose father has gone off to war, and will touch upon her feelings as he misses family gatherings, her fears about whether he will return and the adjustments she must make when he returns, changed by the experience.



American Ballet Theater Dancer Daniil Simkin Promoted to Principal

Daniil Simkin, who joined American Ballet Theater as a soloist in 2008, has been promoted to principal dancer effective immediately, Kevin McKenzie, the company's artistic director, announced on Thursday.

 Daniil Simkin and fellow members of American Ballet Theater performing in Andrea Mohin/The New York Times Daniil Simkin and fellow members of American Ballet Theater performing in “Swan Lake.”

Mr. Simkin, 25, was born in Russia and raised in Germany, and made his first stage appearances when he was six, four years before he began his formal ballet training. His parents, Dmitrij Simkin and Olga Aleksandrova, are both dancers. Mr. Simkin began entering competitions when he was 12, and won first prizes at sever al, including international competitions in Vienna and Helsinki, as well as the USA International Ballet Competition in Jackson, Miss.

Mr. Simkin's repertory at the American Ballet Theater has included the Nutcracker-Prince in “The Nutcracker,” Benvolio in “Romeo and Juliet,” the Bronze Idol in “La Bayadère,” Franz in “Coppélia,” and Puck in “The Dream.” Reviewing Mr. Simkin's work in The New York Times, Alastair Macaulay has praised his penchant for “taking exciting risks” and his “bravado.”



Ecstatic Music Festival Unveils Genre-Crossing Line-Up

In its first two seasons, the Ecstatic Music Festival has helped transform Merkin Concert Hall from a relatively staid chamber music hall in the shadow of Lincoln Center into a lively home for the experimental, genre-crossing music of the indie classical world. The third installment of the festival includes 10 programs â€" most of them double or triple bills, with collaborations between the ensembles and soloists â€" and runs from Jan. 25 through March 21.

The festival is directed and programmed by the composer Judd Greenstein, who also assembled the first two festivals, as well as a spin-off series last summer at the World Financial Center. This year's festival opens with a collaboration between Shara Worden, the singer, composer and multi-instrumentalist best known for her work with My Brightest Diamond, and the Brooklyn Youth Chorus, for which Ms. Worden has written two new works. That performance will be at the Greene Space, the concert hall of WNYC and WQXR, and will be streamed live as a video webcast on WNYC's Q2 Web site. The rest of the festival will be at Merkin Concert Hall.

Also among the festival's highlights are programs featuring the composer and violinist Carla Kihlstedt and her band, Causing a Tiger; the new-music ensemble ICE and Face the Music; the Kaufman Center's teenage new-music orchestra, on Jan. 26; another appearance by Ms. Worden with the composer Sarah Kirkland Snider and the chamber-rock band Clogs, on Feb 6; the composer and visual artist Arnold Dreyblatt and the folk-jazz-ambient band Megafaun, on Feb. 27; the Bang on a Can All-Stars annual People's Commissioning Fund concert, on March 14;  the New York premiere of Steve Mackey's “String Theory,” by the JACK Quartet and Big Farm, a band that includes Mr. Mackey on guitar and Rinde Eckert,  the singer-accordionist, on March 20; and a folk-rock-classical crossover program with the pianist Simone Dinnerstein and the singer-songwriter Tift Merritt, on March 21



A Life Dedicated to Pursuing Nazis, and Remembering Their Victims

Serge Klarsfeld, a French lawyer who has dedicated his life to memorializing Holocaust victims and hunting Nazis, spoke on Monday at New York University.Yana Paskova for The New York Times Serge Klarsfeld, a French lawyer who has dedicated his life to memorializing Holocaust victims and hunting Nazis, spoke on Monday at New York University.

As Serge Klarsfeld tells it, he had the “luck” to see his father and other French Jews in Nazi-occupied Nice carted off to Auschwitz by Germans. It spared him the pain of seeing them rounded up, as often happened, by their own French countrymen. Since Sept. 30, 1943, when he huddled behind a secret closet wall with his mother and sister while his father was seized by the SS for deportation a nd death, Mr. Klarsfeld, now a prominent French lawyer, has dedicated his life to memorializing victims of the Holocaust and bringing their killers to justice, most notably the notorious Gestapo chief in France, Klaus Barbie.

The quest, pursued alongside his German-born, non-Jewish wife, Beate, and their son, Arno, brought him and Arno Monday night to New York University in Greenwich Village with a monumental new work of documentation, a colossal volume of 12 inches by 19 inches weighing some 18 pounds, as intractable and chilling as the mass murders it chronicles.

“True emotion comes from precision,” Mr. Klarsfeld has said. “You have not to be guided by hand to the emotion.”

We'll get to the book, but first the man himself who drew 300 avid listeners to a talk co-sponsored by the N.Y.U. Center for French Civilization and Culture and the N.Y.U. School of Law. Whatever a Nazi-hunter (or “militant of memory,” as he prefers to call himself) is supposed to look like, he doesn't. At 76, he is portly with glasses, a balding dome and frizz of white hair. Oh, and the rosette of a commandeur de la Légion d'Honneur in the buttonhole of his blue pinstripe suit.

For Arno, 46, a high-ranking French judge who lived for a time with Carla Bruni, the model who is now Mrs. Nicolas Sarkozy, it was a kind of homecoming; he attended law school at N.Y.U.

In fluid English with a pronounced French accent, Mr. Klarsfeld, in conversation with Peter Hellman, a journalist and friend who profiled the Klarsfelds in The New York Times Sunday magazine in 1979, said his family's fate mirrored that of France's 350,000 prewar Jews. Almost a quarter were murdered. In his little family of four, three-quarters, too, survived.

Meeting his German wife-to-be, Beate Künzel, daughter of a Wehrmacht soldier, in the Paris metro in 1960 forged a powerful alliance. “We were weak individually,” he said . “Together, we had the strength of the Jewish people and Germany together.” One of their first exploits, he recounted, was infiltrating Mrs. Klarsfeld into the West German Bundestag in Bonn on Nov. 7, 1968, where she publicly confronted and slapped Chancellor Kurt Georg Kiesinger, whose history as an early Nazi Party member and radio propagandist had been largely ignored.

The shocking and symbolic act - a postwar generation's rebuke to its Nazi elders - was particularly risky amid the security mania that followed the assassinations of the Kennedy brothers and the Rev. Dr. Martin Luther King Jr., but it sealed Kiesinger's political demise. Mrs. Klarsfeld served four months of a year's sentence but won striking vindication this year as a protest candidate of a small leftist party for president of Germany.

I was a Times correspondent in Bonn in 1968-69 and vividly remember the uproar. I subsequently kept in touch with the Klarsfelds myself and consulted them when searching for the possible hide-out of the long-missing Auschwitz doctor, Josef Mengele, who later turned out to have drowned in Brazil in 1979. His secretly buried body was exhumed and conclusively identified in 1985.

With the same savvy agitprop that gained the civil rights movement its leverage to transform American society, the Klarsfelds kept shaming German and French authorities with their unexpiated wartime sins. Tracking down the former Gestapo chief Kurt Lischka, who was living peacefully in Cologne in 1973, Mr. Klarsfeld held a gun to his head, before laughing and walking away.

“We show you we can kill criminals but don't want to,” Mr. Klarsfeld explained at N.Y.U. “But if you don't judge them, it will happen.”

In what Mr. Hellman called “a scene out of the Marx brothers,” the Klarsfelds also sought to kidnap Lischka from a trolley stop. After the comical plot unraveled - the hulking ex-Nazi proved too tall to knock out with a billy club - Mrs. Klarsfeld presented herself to the police demanding to be arrested. Lischka was finally tried, convicted and sentenced to 10 years.

Mr. Klarsfeld said he was particularly honored to have forced France to come to terms with its collaborationist history. At this year's annual commemoration at the Vel d'Hiver, where French Jews were rounded up for deportation to Auschwitz, President François Hollande declared, “The truth is that this crime was committed in France, by France.”

But his proudest accomplishment, Mr. Klarsfeld said, lay on a reception table at the law school: an updated version of his masterwork, Le Mémorial de la Déportation des Juifs de France, a giant coffee-table volume that now for the first time lists all 76,000 deported Jews by family name and address, even if they were separated on different death trains. His previous books recorded the victims by convoy number and provided many of their photos, particularly the childre n.

“All the narratives of the Holocaust pale in comparison,” said Mr. Hellman.

Mr. Klarsfeld said because the book cost as much as $121 to mail from France he was able to provide copies only to the New York Public Library, and Jewish and academic institutions.

Ralph Preiss, 82, a retired computer engineer, traveled from Poughkeepsie to hear Mr. Klarsfeld and afterward hunched over the book searching for relatives. He found them grouped under Wohl - Erna, Erich, Frank and Ernst, at 4 Gabrielle D'Estrées in Paris. They had fled Berlin in 1934 to seek refuge in France. One day, Mr. Preiss said, “they disappeared from their apartment.”