by Thomas Fernandes
High-acuity vision and depth perception give Portia a detailed and stable visual world. But vision alone does not explain why Portia is famous. What makes this genus remarkable is not just what it can see, but how it uses what it sees to manipulate the perceptual systems of other spiders.

Portia does not simply overpower its prey. It engineers situations in which prey behave in ways that make them vulnerable through careful behavioral manipulation.
Before examining Portia’s hunting strategies, we need to understand how it moves. Unlike almost all animals, spiders have no muscles dedicated to straightening their legs (extensor muscles). Instead, spiders evolved a hydraulic system that does this work for them by using hemolymph, the spider’s blood equivalent, as a hydraulic fluid.
To extend a leg, spiders pressurize hemolymph throughout the body, forcing fluid into each of their eight legs. Connections at the leg–body interface act as valves that open or close to adjust which legs extend. Pressure straightens the joints, while flexor muscles fine-tune movement. This is why dead spiders curl inward. When hydraulic pressure collapses, only the flexor muscles remain active, pulling the legs into the characteristic death curl.
This mechanism has several advantages. First, it reduces muscle mass at the extremities and concentrates it near the center of the body. More importantly, it makes holding an extended posture not just easier but nearly effortless, since legs are maintained by pressure rather than sustained muscle contraction. We say spiders “sit” in their webs, but they do not really sit; they hold their legs extended, waiting for information. Maintaining such stillness for hours would be nearly impossible using constantly tensed extensor muscles, especially in a web where immobility is essential. Read more »

By definition, in order to be prolific, you only need to produce and publish a lot of work.




Sughra Raza. Under the Bridge at Deception Pass, Washington. April 2026.
Donald Trump has famously called climate change and global warming a hoax. Ignorant and benighted as he is, he is far from alone. Skepticism about global warming and its causes is widespread. One overly kind reading of this skepticism is that it is, to an extent, a consequence of the general problem of dealing with very big numbers and very small numbers. Such numbers fall outside people’s familiar mid-size range, and so intuition about them isn’t well-developed. Also unfamiliar to most are the effects of exponential growth or decline.
I had meant to read Ben Lerner’s new novel, Transcription, but in a process I don’t understand, all the e-books were in use at the library; I borrowed his first novel, Leaving the Atocha Station (2011), instead. I’d never read Lerner, this despite having written a long essay defending autofiction in The Republic of Letters (Lerner is considered one of the genre’s main exemplars), focusing instead on the non-American writers of autofiction (Knausgaard, Cusk, Ferrante). I’ve always preferred European literature to American literature, the one exception being Americans who write about Europe, like Henry James or James Baldwin, but when I opened Leaving the Atocha Station, I discovered that Lerner also writes about Americans in Europe; in this case, the American is Adam Gordon, a version of Lerner who is on a poetry fellowship in Madrid, much like Lerner was a Fulbright scholar in Madrid in 2004, the year the book takes place.
The AI market continues to evolve and surprise. In recent months, Anthropic withheld their latest model Mythos, OpenAI made a U-turn and started experimenting with ads, and Meta bought a “social network for AIs”. This could point to increased divergence in AI companies’ business models. While this might increase AI risk to society in the short term, it is likely a good thing for managing risks in the longer term. It should be encouraged.
In the early 1990s, I began listening to qawwali in a serious way. In 1994 I happened upon a recording of one of the great performances of the Pakistani maestro, Nusrat Fateh Ali Khan. He must have been addressing an audience outside South Asia because he began the concert with a sentence in English (of sorts). “Now we are singing,” he announced in his gravelly voice and thick Punjabi accent, “a poetry in the Persian.” Without further preamble he and his troupe began to sing. For many years now I’ve tried to correct the sentence in my mind. Poetry in the Persian. Poetry in Persian. A poem in the Persian. A poem in Persian. But it never sounds quite right, except in Nusrat’s idiosyncratic grammar: Now we are singing a poetry in the Persian.