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A pharaonic Kentucky Derby

Congrats to American Pharoah – and yes, it is spelled the wrong way – for winning a thrilling 141st Kentucky Derby, coming down the stretch to overtake Dortmund, the third place finisher, and hold off Firing Line, who finished second.

It was the third Derby win and second in a row for jockey Victor Espinoza, who rode beloved California Chrome last year; the fourth win for trainer Bob Baffert; and the first win in four attempts for Egyptian-born owner Ahmed Zayat, who said he has no fears for the Preakness, which will be run May 16 at Pimilco in troubled Baltimore.

With the first leg of the Triple Crown concluded, the other race begins – the one that has for 37 years has been defined by dashed hopes. Can American Pharoah do what no horse has done since Affirmed in 1978 and win the Triple Crown? His talent says yes and history says no, the experts say.

I say it’s such a pharaonic challenge as to be both an irresistible dream – and subject. (“Criterion,” the planned third novel in my series “The Games Men Play,” is told in part from the viewpoint of the title racehorse, who’s trying to win the Triple Crown.)

Part of the fun of Derby Day is, of course, the fashion, and not just at Churchill Downs. In my guise as editor of WAG magazine, I was among the judges (with WVOX Radio’s John Marino and jockey Tyler Buter) of the Derby Hat Contest at Empire City Casino at Yonkers Raceway. ...

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The transgendered nature of art

Bruce Jenner’s transition to womanhood and the profile of transgendered model Andreja Pejić in May Vogue have got me thinking about the transgendered nature of art.

Consider Thomas Hardy – whose “Far From the Madding Crowd” has been made into a new film starring Carey Mulligan, the sensual Matthias Schoenaerts and the estimable Michael Sheen. For him to create some of fiction’s greatest romantic heroines, and heroes, he had to understand a woman’s mind and heart as well as that of a man. For George Balanchine to create some of ballet’s finest works, he had to know a woman’s body as intimately as a man’s.

Art has also long been preoccupied with hermaphroditism – the condition of having the physical attributes of both sexes. In ancient Greek mythology, Hermaphroditus – son of Hermes, the messenger god, and Aphrodite, goddess of love and beauty – was a beautiful youth beloved by the water nymph Salmacis, who embraced him against his will in her pool and prayed that the two would become one. ...

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Bruce Jenner and the divided self

Much of what has been written and said about Bruce Jenner coming out as a transgendered woman has been derisive and ignorant, the two qualities usually going hand-in-hand. Watching his interview with Diane Sawyer on ABC’s “20/20,” I could only feel sadness. It must be terrible to spend your whole life thinking it’s wrong to be yourself.

The self is much under siege nowadays, no doubt as a backlash to our cult of narcissism. The self must be sacrificed to the good of others – critics say. Never mind that others can become a kind of tyranny that crushes the individual spirit.

I’m no libertarian, but you cannot sacrifice what you do not possess. Self-sacrifice implies a self to sacrifice. I thought the single most illuminating moment in the interview was the one in which Jenner said that stepdaughter Kim Kardashian reached out to him in support after her husband, Kanye West, told her that unless you’re happy in yourself it doesn’t matter how wonderful your wife and child are. ...

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To ‘Sir,’ with love

A big shout-out to opera star Renée Fleming, a woman after my heart.

In The New York Times’ T magazine column “Take Two,” which juxtaposes comments from unlikely duos on unusual products, she has this to say about “Sir” (Taschen, 700 smackeroos), photographer Mario Testino’s ode to men:

“I had a lot of fun looking at this. It has more six-packs than a 7-Eleven. I like that men are now being scrutinized in the way that women have been for so long.”

Her mighty opposite here – Arnold Schwarzenegger, who knows a thing or two about sculpted male bodies – added: “What I discovered in here was an extraordinary celebration of men. It’s the ideal Christmas present. If I’d spend $700 on a pair of shoes, why not on a book?”

Why indeed? Certainly, Mr. Darcy himself, Colin Firth – one of the subjects, along with George Clooney, Jude Law, Mick Jagger, Keith Richard and others – would alone be worth the price of the book. ...

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The ‘Pretty Woman’ theory of customer relations

The hullabaloo over the new crop of RFRAs (Religious Freedom Reformation Acts) raises an  interesting question about what we owe ourselves and others in the workplace, a subject that figures prominently in “The Penalty for Holding,” the upcoming second novel in my series “The Games Men Play.”

Granted, the workplace there is the NFL, a far more specialized and glamorous environment than most of us will ever know. But whether you work at the local Starbucks or for an NFL team, the questions ignited by the RFRA debate in Indiana and Arkansas remain the same: To what extent may I impose my personal beliefs on others? To what extent may I find offense in theirs?

The answers are actually simpler than you would think if you keep one thing in mind: A business or a corporation is a public entity, emphasis on the word “public.” If someone plunks down a Ulysses S. Grant on the counter of my bake shop, I owe that person $50 worth of baked goods. Period.

Of course, I should present the baked goods with a smile and a good attitude. I might even offer more in the way of sample cookies on the counter. But I must in any event give value for value, regardless of what I perceived the person to be.

Otherwise, we would spend our days in knots about each person we encounter. Chances are very few people are going to share the same values you hold. ...

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The shadow king

History, they say – whoever “they” are – is written by the victors.

Well, not exactly. Our age of revisionism and conspiracy theories, coupled with the unending vacuum that is the Internet, encourages us to consider just how victorious – or at least good – the victors really were and, thus, just how wronged the losers might’ve been.

That’s the backdrop of Pierre Briant’s “Darius in the Shadow of Alexander” (Harvard University Press, 579 pages, $39.95), newly translated by Jane Marie Todd and published in the United States after first appearing in French 12 years ago.  In this book, Briant – emeritus professor of the Achaemenid world and Alexander’s empire at the Collège de France in Paris – explores how and why Darius III, who lost an empire to Alexander the Great, came to “haunt the realm of historical oblivion.” It is not, for obvious reasons, a biography. But it is a fascinating, extensively researched study of how branding can be as important as any battle.

Briant’s book arrives at a time when Persia (modern-day Iran) is very much in the news due to the controversial yet productive nuclear disarmament talks and Iran’s role in fighting ISIS – which some see as a play for greater power in the Middle East. Meanwhile, Israel’s recent discovery of coins bearing the likeness of Alexander go a long way to explaining why the Greeks – who knew how to spin – won and the Persians lost.

But first a bit of background: Some 130 years before the birth of Alexander in neighboring Macedon in July of 356 B.C., the Persians invaded Greece and burnt the Acropolis atop Athens, destroying its temples and worshipers. It was Greece’s 9/11 moment.

Alexander’s father – Philip II, king of powerful, rough-hewn Macedon and hegemon, or protector, of the more refined, resentful Greek city-states – seized upon Persian atrocity in his plans to invade Persia, liberating Greek nationals along its Mediterranean coast. But Philip – who loved much but none-too-well – was assassinated by a former male lover undoubtedly at the instigation of his ex-wife (and Alexander’s mother), Olympias. At 20, Alexander found himself heir not only to Macedon and the hegemony of the Greek city-states but to his mother’s dynastic ambitions and his father’s Persian dreams. ...

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Anne Boleyn and the games men play

One of the nuggets I gleaned from attending the Algonkian Writers’ Conference last December in Manhattan was that when it comes to historical romance, it’s the Tudors or bust.

It figures. Working backward, there was Elizabeth I, England’s greatest ruler; her sister, the pathetic, misguided “Bloody Mary”; their baby bro, Edward VI; and, of course, the daddy from Hell, Henry VIII, with those – count ’em – six wives. No dramatist could conjure such symmetrical marital disaster – Catherine of Aragon, annulled; Anne Boleyn, beheaded; Jane Seymour, dead in childbirth; Anne of Cleves, annulled; Katherine Howard, beheaded; and Catherine Parr, survived Henry, but wait, would remarry and, you guessed it, wind up dead in childbirth.

Historian David Starkey (“Six Wives: The Queens of Henry VIII”) once told me that of the half-dozen, Catherine of Aragon was the only one Henry ever really loved. But his quest for a son, for proof of his manhood and for liberation from papal Rome and the memory of his older brother, Arthur, who had been Catherine’s husband, drove him into the arms of the bewitching Anne Boleyn, linchpin of the six wives’ psychodrama. Did he use Anne to gain control of the Church in England or was he, as Starkey said, so in love with her that he was willing to renounce his role as Defender of the (Roman Catholic) Faith? Perhaps a bit of both?

Anne’s rise and fall is told through the eyes of Thomas Cromwell – the blacksmith’s son-turned-chancellor – in Hilary Mantel’s Booker Prize-winning novels “Wolf Hall” and “Bring Up the Bodies.” (She’s at work on the last book in the trilogy.) Naturally, PBS’ “Masterpiece” couldn’t resist. “Wolf Hall” (April 5 through May 10) dramatizes the first two books, with British theater star Mark Rylance as Cromwell, Damian Lewis (“Homeland”) as Henry and Claire Foy (“Little Dorrit”) as Anne. “Wolf Hall” – the title refers to rival Jane Seymour’s familial estate but suggests the den of wolves the Tudors were – is a daring conceit. For what makes men like Cromwell effective, their ability to manipulate and maneuver behind the scenes, is what can make them potentially boring front and center.  (Imagine the story of Bill and Hillary Clinton told from the viewpoint of their accountant.) The beauty of the books and the miniseries is that we enter Cromwell’s mind to meet a man weary of and disgusted by the power games men play but unable to relinquish them. ...

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