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Rain Roulette: Raices counts the ways that the monsoon can break your heart

“Some LIke It Hot,” by Rand Carlson In the sky above, a tempest threatens.  Several artists have abstracted the beauty of the rains. In “Rillito,” Ciri Johnson painted a memory of the river’s seasonal waters, using acrylics to make gentle violet ripples on a small square of canvas. George Welch, a retired Pima art prof, imagined the storms in pale pastels and elusive shapes in the handsome “Monsoon Global.”  Glory Tacheenie-Campoy painted a light-hearted watercolor of “Raindrops and Umbrellas” dancing through the air, each the size of a thumbprint, shaped like a raindrop and colored in crayon brights. You can’t look at it without hearing the cheerful old song “Raindrops Keep Falling on My Head”   Turning to serious subjects, a mother-daughter pair, Hughette Nordin and Trina Davis, used the monsoon as a metaphor for life and death. Together they painted a large diptych of the monsoon sky, with dark clouds on the left, white on the right, and, in between, a post-storm rainbow.  Nordin, a talented painter who made a perfect agave acrylic for the recent “Mujeres” show, is suffering from a serious cancer.

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The suspicions boiled over when Comey made an 11th-hour statement that the bureau was reviewing “new” emails found in a separate investigation, into Anthony Weiner, the disgraced husband of Clinton’s close aide Huma Abedin. By doing so, Comey hurled a thunderbolt into the election only days before the vote — something aides quoted anonymously claim he wanted to avoid. Historians may long debate who had a bigger influence on the outcome: the F.B.I. director or the Russian leader. For anyone who believes in the better angels of American politics, “Russian Roulette” is a depressing book. The Russian hacking, it is now clear, simply exploited the vulgarity already plaguing American political campaigns, which churn on spin and strategy (and money) far more than vision or values. The book does have its flaws. The simplistic vilification of Russia — without evidence or better context — reinforces the view of some thoughtful Russians that Americans have become irrationally hostile toward the country and even the culture. The sourcing is also sloppy in places. The authors are respected journalists, and one can trust their use of anonymous sources or not, but in the span of four pages describing the Miss Universe pageant in Moscow in 2013, for example, they quote four different ones.

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