A Childhood of Laughter and Forgetting

UnnamedJana Prikryl at n+1:

One day in Czechoslovakia, not long after I was born, during the gray decade that was the ’70s, my 6-year-old brother came home from school and shared what he’d learned: “Lenin was a kind person. He liked children.” Those words have acquired the force of a proverb in our family: we assure each other that Lenin liked children whenever one of us lets fly with a statement that seems dangerously optimistic. The following may fall into that category: Czechoslovakia before 1989, when the Communist regime fell, was not a bad place to be a child. For my parents, who spent a large part of their adulthoods in the country, it wasn’t all free health care and underground rock ‘n’ roll. As everyone knows by now, most people had to keep their opinions to themselves, do without traveling abroad, wait in line for bananas, accept overt and subtle limitations in their lives. As soon as kids started going to school, they too slipped under the arm of the state—witness my brother’s first-grade indoctrination. In general, though, a political system that thwarted the better instincts and ambitions of adults seems, perversely, to have been mostly congenial and comfortable for children.

I was 5 years old and my brother was 12 when my family fled the country. Instead of driving to the Dalmatian Coast with our camping gear in the trunk as we did for a few weeks every other summer, we made our way to Zagreb. My parents had heard that Czechs bound for Yugoslavia sometimes disappeared and resurfaced in more attractive countries like Italy, Germany, and France, and without quite knowing how, they hoped to do the same.

more here.

During an Eclipse, Darkness Falls and Wonder Rises

Dennis Overbye in The New York Times:

Some people scream. Some people cry. Some do both.

The regular movements of the heavens are the oldest and deepest intimations of order in the universe. So it is hard, no matter how enlightened you consider yourself to be, not to feel a primordial lurch in your gut when the sun suddenly disappears from the sky. On Aug. 21, the Great American Eclipse, as it has been branded by astronomers and trip promoters, will begin off the coast of Oregon and barrel across the country for an hour and a half before exiting off the coast of Charleston, S.C. A total solar eclipse happens about twice a year somewhere on the globe, but this is the first time since 1918 that the continental United States has had an exclusive on the spectacle, one of the true rare treasures of nature. Here’s our chance to see the shy corona, a pale sheath of energy the color of moonlight, wisping its tendrils into interplanetary space, and to stand in what feels like the Eye of Sauron as the winds rise, distant darkness spreads over the hills, and an eerie coolness invades the day. About 100 million people live within a day’s drive of the path of totality, a band about 70 miles wide. The State of Oregon is treating the eclipse as a rehearsal for a future civil defense disaster, like an earthquake or a tsunami. If the forecasts are correct, many of us are likely to be viewing the eclipse from a traffic jam.

More here.

Tuesday Poem

In Broken Images
.

He is quick, thinking in clear images;
I am slow, thinking in broken images.

He becomes dull, trusting to his clear images;
I become sharp, mistrusting my broken images.

Trusting his images, he assumes their relevance;
Mistrusting my images, I question their relevance.

Assuming their relevance, he assumes the fact;
Questioning their relevance, I question the fact.

When the fact fails him, he questions his senses;
When the fact fails me, I approve my senses.

He continues quick and dull in his clear images;
I continue slow and sharp in my broken images.

He in a new confusion of his understanding;
I in a new understanding of my confusion.

.
by Robert Graves
from To Read a Poem
Harcourt Brace, 1982
.

How Does the Imaginary Square Root of -1 Earn its Dinner?

by Jessica Collins

This is an attempt to recapture a feeling of queasiness I felt in my early teens, when I was already captivated by mathematics, but didn't yet know much about mathematics. It's an attempt to recapture that feeling of queasiness and then to resolve it in a way that it might have found resolution at the time, had I been asked the right questions.

Puzzle

I'm going to proceed somewhat indirectly and begin with a rather cute little geometrical problem. If you've got a few minutes to spare I encourage you to spend that time with pencil and paper trying to solve this puzzle before proceeding to read the rest of this piece, in which I'll describe three different ways of solving it. Here is the problem:

What is the sum of the three angles that the x-axis makes with the lines joining the origin to the points (1,1), (2,1), and (3,1) respectively?

The three angles are those shown in the following diagrams:

Diagram-1

The first angle α is obviously 45°. If you know some trigonometry you'll recall that given a right triangle one of whose other angles is θ, the tangent of the angle θ, tan(θ) for short, is the ratio of the length of the side of the triangle opposite the angle θ to the length of the side adjacent to the angle. Thus we can see from the diagram above that β, the angle that the line joining the origin to the point (2,1) makes with the x-axis, is the angle whose tangent is 1/2, and that the angle γ is the angle whose tangent is 1/3.

This means you could use the arctan or inverse tan (tan-1) function of a scientific calculator to find the answer to the question above. The question was asking in effect:

What is: tan-1(1) + tan-1(1/2) + tan-1(1/3) ?

If you do this on a calculator, you'll find that the three values are:

α = 45°
β = 26.565051177077989 . . . °
γ = 18.434948822922011 . . . °

and that these three angles sum exactly to 90°, which was not immediately obvious, at least for me, from looking at the diagram.

But, without recourse to the calculator, can you explain why this is so? Can you find a simple proof that α + β + γ = 90°? We may restate the problem:

Show that the three angles the x-axis make with the points (1,1), (1,2), and (1,3) respectively sum to a right angle.

This is the point at which you might pause for a few minutes with pencil and paper before proceeding to read what follows.

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Deep Disagreements and the Rhetoric of Red Pills

by Scott F. Aikin and Robert B. Talisse

Redpills1. Deep Disagreement

It is a common enough occurrence. In arguing with someone, as a controversial view is supported, even more controversial reasons are given, to be followed by more and more controversial commitments. A regular strategy in what might be called normal argument is that arguing parties trace their reasons to a shared ground of agreed-upon premises and rules of support, and then they test which of their sides is favored by these reasons. But disagreements one might call deep are those wherein shared reasons are not easily found. And consequently, it seems that under these conditions, argumentative exchange is doomed to failure. Robert Fogelin famously argued that "the possibility of a genuine argumentative exchange depends … on the fact that together we accept many things." Deep disagreements, consequently, "cannot be resolved through the use of argument, for they undercut the conditions essential to arguing."

Of late, our interest in deep disagreement has not been purely academic. With Donald J. Trump winning the 2016 U.S. Presidential Election and the rise of the alt-right movement in American politics, we found that we faced very real cases of what had seemed a sheer theoretical posit. In particular, the intellectual movement of the self-styled "neo-reactionary right" and the "Dark Enlightenment" seemed to be exemplary. We have been on record as what we've called Argumentative Optimists in the face of deep disagreement, so our theory now has a test case.

2. The Dark Enlightenment and the Cathedral Cathedral

When we started reading around in the neo-reactionary corpus, we found ourselves in what felt like an upside-down world – all the dialectical elements of the argument were familiar, but none of the premises presented as truisms seemed remotely plausible. The journalist James Duesterberg captures his experience first reading the literature of the Dark Enlightenment:

Wading in, one finds oneself quickly immersed, and soon unmoored. All the values that have guided center-left, post-war consensus … are inverted. The moral landmarks by which we were accustomed to get are bearings aren't gone: they're on fire.

This Alice through the looking glass experience is something that those in the literature expect. But the writers in this genre have no plans on showing their readers the way back to the world they'd left behind. In fact, this break with the world of liberal norms is one of the core commitments of the neo-reactionary program. Importantly, we, all those who have not stepped out of it, have been brainwashed by a quasi-religious political superstructural institution ruling the Western world – what those in the neoreactionary movement call The Cathedral.

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Monday Poem

Learn That First

I've wondered if dawn is like birth
and dusk like death
and if we're given these metaphors
to pique our curiosity
as if to say nothing in this world
is real. You are so naive,
you think this is a dream?

Yes, these are shadows.
Socrates said as much in the agora
trying to spread some light
but this is always difficult among men.
Men prefer to grasp at shades.

Child, this is not a dream,
that is misapprehension—
what Socrates suggests is that
life shelters in shadows
in this desert
…………… learn that first
.

Jim Culleny
8/11/17.

Alternative Facts and Realities: How the Brain Anticipates Perception

by Jalees Rehman

The Russian physiologist Ivan Pavlov is best known for his studies on classical conditioning showing that dogs repeatedly presented with a combination of food and a sound would subsequently salivate upon hearing the sound alone, in anticipation of the meal. The combination of the two stimuli – food and sound – over time "conditioned" the dogs' brains to link these two stimuli. A variation of this experiment was performed on human subjects by Ellson and published in the Journal of Experimental Psychology in 1941. In Ellson's study, 40 subjects were "conditioned" over time by hearing a sound and seeing a light. Ellson later on exposed the subjects to only the light, yet 32 of 40 subjects claimed to have also heard the sound. Ellson concluded that such conditioning could lead to hallucinations – the hearing of sounds which, objectively speaking, are not present.

Brain

Recently, the Yale University psychiatrist Philip Corlett and his colleagues conducted a very interesting variation on this earlier study by asking whether some people are especially vulnerable to having auditory hallucinations induced by conditioning. The researchers recruited four groups of study subjects: 1) Fifteen patients with severe mental illnesses who also regularly heard voices (an auditory hallucination), 2) fifteen patients with severe mental illnesses who did not hear voices, 3) fifteen individuals without any evidence of mental illnesses who also claimed to hear voices and 4) fourteen healthy individuals who did not hear voices. Group 3 consisted of voice-hearing psychics ("clairaudient psychics") who identified themselves as such via their own websites, at psychic meetings, or referrals from other psychics. Another important innovation in Corlett's study was the inclusion of brain imaging studies on all subjects, thus allowing the researchers to study functional brain responses when exposing them to auditory and visual stimuli. The researchers then repeatedly exposed the study subjects to a checkerboard image and 1 kHz tone while they were lying in the brain scanner. The subjects were asked to press one button to indicate that they heard the tone, and a second button if they did not. They were also instructed to press down the button longer, the more confident they were in having heard the tone.

After conditioning the subjects, the researchers then intermittently began to show them images of the checkerboard without playing the tone. As expected, many subjects indicated having heard the tone even when it had not been played. However, patients with severe mental illness and a history of hearing voices (group 1) as well as healthy psychics with a history of hearing voices (group 3) were significantly more likely to wrongly indicate that they had heard the non-existing tone. Members of these two groups were also more confident that their hallucination was actually real, since they pressed down the button for longer. Healthy subjects and patients with mental illness who did not have a history of hearing voices were comparatively more correct in identifying whether or not the tone was present. Importantly, when the researchers repeatedly showed the image without the tone, voice-hearing, mentally ill patients were unable to "update" their beliefs when compared to the other groups, whereas the psychics gradually recognized that the tone was non-existent.

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A Matter of Scale

by Brooks Riley

A mind in autumnAccording to a biologist who studies the properties of dirt, a single teaspoon of the stuff contains more living organisms than there are people on earth. Not a particularly salient fact, but enough to launch the imagination toward other epic notions and distortions of scale: What if our whole world is just a tiny microcosm in someone else’s teaspoon out there in the ether, no more than a microbiome in the belly of a beast so vast it swallows whole universes from a teaspoon into its black hole of a maw, itself a spoonful in a nest of universes, like Russian nesting dolls, their own spoons poised over a bottomless bowl of Beta borscht along a belt of milky ways that go on forever?

Infinity doesn’t bear thinking. ‘Do I matter’ always leads to ‘do we matter’, and along this precarious train of thought the ‘we’ keeps getting bigger, from our person to our species to our planet to our solar system to our universe and beyond. Where does it all end? That we’ll never know doesn’t diminish the question. If there’s only one universe, what is outside of it? If it has boundaries, can it be a universe? These are secular thoughts leading to the contemplation of unimaginable insignificance, and are best left to astronomers or philosophers to figure out, if we survive that long.

The notion of scale has insinuated itself of late into my sleeping life as unpopulated dreams go in search of miniscule changes in a grid pattern, or the perfect word to correct an imperfect song, or a secret combination of colors out of a staggering number of variants. Sometimes I am scaled down to the size of Thumbelina, ready to crawl up the back of a peregrine falcon before takeoff.

Awake, I feared I was slouching toward early autism, which is how I imagined the early autumn stage of my life, or as Gustav Mahler so sublimely echoed Friedrich Rückert’s words: ‘Ich bin der Welt abhanden gekommen.’ Or ‘I am lost to the world’.

But that’s not entirely true. I’m more interested in the world than I’ve ever been, but from a safe distance. I may be ‘lost to the world’ but it isn’t lost to me.

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Writing and Ashes

by Tamuira Reid

11223555_10153446007829425_3754791415596709365_oThere is something about the light in Tuscany. That is what I will remember the most. Not the pasta and the prosciutto that made my pants split open, the drop-jaw architecture, the art dripping from the walls of the Uffizi. No. It's all about the light. It's golden and strong and covers everything in an otherworldly glow. Makes sense why the Renaissance painters were so inspired. And why my father saved pennies (literally) just to stand in front of the Ponte Vecchio as a young man. These photos don't really do it any justice, he'd tell me, spreading the proof between us.

My son and I just left Italy, where I was teaching for NYU Florence. Our campus was a collection of villas dotting acre after acre of olive trees. Ollie went to Italian Catholic school and learned words like "ciao" and "grazie" and some bad ones that he laugh-whispered to me at night before bed. I spent hours wondering what it was, exactly, that made gelato taste so unbelievably good. Life was rich and simple, even if we were dirty and complicated at heart.

We've now traded the cobbled, crooked streets and statues of naked men for the A train and car alarms. The Duomo for Times Square. Peace for chaos. And the thinking of writing to the doing of writing. Summer.

Professors make fast work of the summer months. It's the time we set aside to build our masterpiece, commit ourselves to making that work, the one piece we've dreamt about our entire lives. The one that potentially defines who and what we are.

Back in my college days, I always imagined professors having these fabulously indulgent summers, shuttling off to some exotic tropical island, barefoot and sipping on margaritas, wearing ugly shorts on a golf course. Old, smart people getting laid. I never thought that they might actually, like, work.

I am a creative nonfiction writer turned screenwriter who is currently writing a novel. (I wrote a screenplay, based on a personal essay, and now I am rewriting it as fiction.)

Writing takes time. Lots of it. Insane amounts of it. Hours upon hours until you have no idea what day it is or what the weather is like or when the last time you ate something other than coffee was. When I became a mother, my world shifted entirely. Days became longer, better, harder. Time wasn't something I took for granted anymore.

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A Sad Concurrence

by Jonathan Kujawa

As we know from the Law of Small Numbers, coincidences happen. Indeed, Ramsey's Theorem tells us they are downright unavoidable. Unfortunately, not all can be happy coincidences. In the first two weeks of July we lost three remarkable women of mathematics: Maryam Mirzakhani, Marina Ratner, and Marjorie Rice.

The most famous was Maryam Mirzakhani. She passed away on July 14th. This was reported in the New York Times, the Economist, and across the internet (including, of course, here at 3QD). Her widespread fame was in large part due to the fact that she was both the first woman and the first Iranianian to earn the Fields Medal. As we discussed at the time, Mirzakhani worked in geometry. More specifically, she worked with moduli spaces: these are geometric spaces where each individual point is itself a rich geometric object.

Circle-35_42929_smThat is, imagine you are interested in studying geometric objects of a certain type (say, circles). Rather than study them one by one, you could study them as a collection. If you say two circles are "close" to each other when their radii are close in size, then you have a way of measuring distances in the space of circles and this lets you unleash 2000 years of geometric tools on the problem of circles. Of course, Mirzakhani studied moduli spaces of much more complicated gadgets than circles, but the principle remains the same.

Loyal 3QD readers saw this approach in action a few months ago. Thanks to the work of Canterella, Needham, Shonkweiler, and Stewart, we know it is possible to match the points on the sphere with triangles in a way where nearby points on the sphere match up to nearby triangles in Triangle Space. If we wanted to be fancy (say, at a geometers' cocktail party), we could have said that they showed that the moduli space of triangles can be identified with the sphere.

Their primary motivation was to give an answer to one of Lewis Carroll's bedtime problems [1]. But thinking geometrically also gives us entirely new insights. A big one is that with geometry we have the ability to talk about the shortest path between two points. But the shortest path depends on the ambient geometry. As we all know, the shortest distance between two points in the plane is given by a straight line. However, on a sphere, the shortest path is given by a "great circle".

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Heartless or Broken-hearted? Muhammad Ali Jinnah in Film and Fiction

by Claire Chambers

Muhammad Ali JinnahToday is the anniversary of 70 years of Pakistan, and tomorrow it will be Indians' turn to celebrate their nation's Independence Day. I recently wrote about South Asian cultural production that portrays Nehru, the Mountbattens, and the Edwina-Jawaharlal relationship or affair. Today I turn my attention to depictions of the Quaid-i-Azam or founder of the nation of Pakistan, Muhammad Ali Jinnah. Many influential historical accounts of the Partition have assigned sole responsibility for the country's division to Jinnah and the Muslim League. Larry Collins and Dominique Lapierre's journalistic history of Partition, Freedom at Midnight, and even Sumit Sarkar's more scholarly account of the lead-up to Independence, Modern India 1885-1947, are examples of portrayals that to varying extents adhere to the view of Jinnah as a megalomaniac evil genius who masterminded the Partition to gain power. However, this politician was much more complex, as my blog post strives to show.

Like these history books, Richard Attenborough's biopic Gandhi portrays Jinnah as a coldly inhuman monster. Indeed, Akbar S. Ahmed writes of the cinematic portrayal, 'Jinnah conveys one Gandhiimpression: menace'. The Muslim League leader has unshakeable agency and is figured forth as a supercilious and worldly politician, who can often be found standing near to Gandhi making ironic comments. Gandhi, by contrast, is saintly and otherworldly, declaring with admirable pluralism: 'I am a Muslim! And a Hindu, and a Christian and a Jew'. In the film, it is Machiavellian Jinnah who says that as a response to the Jallianwalla Bagh massacre Indian violence is only an eye for an eye. To this statement Gandhi replies with the famous and possibly apocryphal line: 'An eye for an eye only ends up making the whole world blind'.

The actor playing Jinnah, Alyque Padamsee, has aquiline features and rather sinister parti-coloured hair. In the screenplay, he is described as 'tall, slender, ascetic looking, but dressed impeccably' and, in a more barbed comment, as '[a] man made for the spotlight, a man loving the spotlight'. When Gandhi first returns to India from South Africa, Jinnah is sceptical about the dimuinutive man's abilities, enquiring whether he is a fool and suggesting that Congress should allow him briefly to vent his frustrations about South African racism before he slips into oblivion. Jinnah appeals to the Prophet Mohammed for patience when Gandhi keeps him waiting because he has travelled to meet him by way of a third class train compartment followed by a long walk. The contrast between the elegant lawyer in Western dress who drives a luxury car and this humble pedestrian clad in homespun cloth could not be clearer.

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Qasida of Water: al-Andalus in the Poetry of Darwish and Iqbal

by Shadab Zeest Hashmi

IMG_0024The ancient bricks of the mosque’s roof slowly loosen and slide apart, letting in a sudden, high torrent of water that nearly drowns me before becoming a mist of green, garden-filtered light: a recurring dream after my first visit to Cordoba, Spain, years ago. I would remain haunted afterwards by the narrow alleys of the Juderia, where, in the upper-story of an old mansion-turned hotel in Cordoba, I sense ghosts striding the rooftops, leaping across the alleys around the mosque-turned-cathedral next to a synagogue. When I write the history of al-Andalus in poems, the book ends up carving a narrative of fire, not water; it begins with the “convivencia” (peaceful coexistence) of the Abrahamic peoples gathering around the Arabic “furn,” the communal oven, baking and breaking bread, or at the kilns together making exquisite tiles out of Iberian dust— it ends with the genocidal fires of the Inquisition. The final destruction notwithstanding, the garden-filtered light of al-Andalus remains and grows in the rich tradition of Andalus-inspired poetry across the Muslim world, and the garden-filtered music of al-Andalus is the music of water reminiscent of the banks of the river Guadalquivir (from the Arabic “al-wadi al-kabir”) where waterwheels turned acres into crop-filled fields, orchards and iconic gardens with fountains and pools, transforming the land and its people for over seven-hundred years.

I praise the scholars, scribes, rulers, poets and builders of al-Andalus in my poems, but also its arabesque-rimmed public wells, irrigations canals, gardens, baths and ablution fountains in citrus-scented patios: an appreciation of water as creative material and a spectacularly-utilized gift to civilization. I recall Mahmoud Darwish’s longing in his line “water, be a string to my guitar” (Eleven Planets at the End of the Andalusi Scene”) and Iqbal’s metaphor for the Muslim spirit itself as an ocean “Watch, from that ocean-depth— what comes surging at last” in “The Mosque of Cordoba.”

If the Qasida is a journey-poem of the people of the parched Arabian desert who took the poetic form across three different continents, water may well be a metaphor for the immortal beloved in whose pursuit the endless journeys are made and in whose memory water is channeled, all manner of life supported and beautified— a response in the language of gardens to the Divine promise of elaborate gardens in the life hereafter, an homage to (“al-Hayy/al-Khaliq”), the ever-living-creator who teaches how to create. Al-Andalus quenches the mystic thirst, standing for the ultimate creative output, a robust, self-energizing spirit constantly filling its reservoir of knowledge, a paradise of human cultivation and a treasure of the Muslim legacy; its fragmentation and collapse equally unforgettable as a tragedy.

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Wines of Anger and Joy (Part 1)

by Dwight Furrow

Emotion and wineCan we make sense of the idea that wines express emotion?

No doubt wine can trigger feelings. Notoriously, at a party, wine triggers feelings of conviviality via the effects of alcohol. But the wine isn't expressing anything in that case. It's the people via their mannerisms and interaction encouraged by the wine that are expressing feelings of conviviality. The wine is a causal mechanism, not itself an expression of these feelings.

The concept of expression need not be restricted to feelings. To express is to externalize an inward state. In a very straightforward sense some wines express the nature of the grapes in a particular vintage and the soils and climate of the vineyard. But for better or worse, in aesthetics, we tend to be more interested in the expression of psychological agents rather than pieces of fruit. Perhaps that is a mere prejudice, but one we are unlikely to dispense with given the importance of human emotions to our sensibility. If wines are expressive in the sense that is of interest in aesthetics, it will be because they express some human quality.

Of course a wine expresses the winemaker's idea of what the grapes of a particular vintage and location should taste like. But that is an idea, not a feeling or emotion, and at least historically, the concept of expression in aesthetics has focused on feelings as the central case. Thus, although wine expresses ideas and nature, it will be via emotion that it earns any expressivist credentials.

The most discussed expression theory was formulated by the Russian novelist Leo Tolstoy, and we can begin to unravel the sense in which wine expresses feelings by considering his theory. While implausible as a general theory of artistic expression, Tolstoy's "transmission" theory has the virtue of being an intuitively plausible account of how some works of art express emotion, and I think it directly applies to at least some wines.

According to Tolstoy, a work of art expresses emotion when an artist feels an emotion and embodies that emotion in a work of art in a way that successfully transmits that emotion to the audience who then feel the same emotion as the artist. Thus, for example, a composer might intend to express sadness via her music using a minor key and lugubrious rhythm. If the audience then feels sad as a result of hearing the composition, the work is successful as an expression of sadness, according to Tolstoy's theory.

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Annie Dillard’s Classic Essay: “Total Eclipse”

“Seeing a partial eclipse bears the same relation to seeing a total eclipse as kissing a man does to marrying him.” —Annie Dillard

Ever since it was first published in 1982, readers—including this one—have thrilled to “Total Eclipse,” Annie Dillard’s masterpiece of literary nonfiction, which describes her personal experience of a solar eclipse in Washington State. It first appeared in Dillard’s landmark collection, Teaching a Stone to Talk, and was recently republished in The Abundance, a new anthology of her work. The Atlantic is pleased to offer the essay in full, here, until the day after the ‘Great American Eclipse’ on August 21. Ross Andersen

Annie Dillard in The Atlantic:

ScreenHunter_2789 Aug. 14 09.56It had been like dying, that sliding down the mountain pass. It had been like the death of someone, irrational, that sliding down the mountain pass and into the region of dread. It was like slipping into fever, or falling down that hole in sleep from which you wake yourself whimpering. We had crossed the mountains that day, and now we were in a strange place—a hotel in central Washington, in a town near Yakima. The eclipse we had traveled here to see would occur early in the next morning.

I lay in bed. My husband, Gary, was reading beside me. I lay in bed and looked at the painting on the hotel room wall. It was a print of a detailed and lifelike painting of a smiling clown’s head, made out of vegetables. It was a painting of the sort which you do not intend to look at, and which, alas, you never forget. Some tasteless fate presses it upon you; it becomes part of the complex interior junk you carry with you wherever you go. Two years have passed since the total eclipse of which I write. During those years I have forgotten, I assume, a great many things I wanted to remember—but I have not forgotten that clown painting or its lunatic setting in the old hotel. The clown was bald. Actually, he wore a clown’s tight rubber wig, painted white; this stretched over the top of his skull, which was a cabbage. His hair was bunches of baby carrots. Inset in his white clown makeup, and in his cabbage skull, were his small and laughing human eyes. The clown’s glance was like the glance of Rembrandt in some of the self-portraits: lively, knowing, deep, and loving. The crinkled shadows around his eyes were string beans. His eyebrows were parsley. Each of his ears was a broad bean. His thin, joyful lips were red chili peppers; between his lips were wet rows of human teeth and a suggestion of a real tongue. The clown print was framed in gilt and glassed.

To put ourselves in the path of the total eclipse, that day we had driven five hours inland from the Washington coast, where we lived. When we tried to cross the Cascades range, an avalanche had blocked the pass.

More here.

Should We “Stop Equating ‘Science’ With Truth”?

Heather Heying in Quillette:

BiologyActually: no.

In the modern world, there are ever fewer reasons to maintain the distinct roles of men and women, which evolved over millions of years. But to imagine that we are not living with that inheritance is to reject not just science, but all forms of logic and reason.

The message that liberates women is not: men and women are the same, and anyone who tells you different is oppressing you. The message that liberates women is: men and women are different. (And in fact, everyone who is intellectually honest knows this—see Geoffrey Miller’s excellent point regarding the central inconsistency in the arguments being presented by the control-left.) And not only are men and women different at a population level, but our distinct strengths and interests allow for greater possibility of emergence in collaboration, in problem-solving, and in progress, than if we work in echo chambers that look and think exactly like ourselves. Shutting down dissent is a classic authoritarian move, and will not result in less oppression. You will send the dissenters underground, and they will seek truth without you.

Evolutionary biology has been through this, over and over and over again. There are straw men. No, the co-option of science by those with a political agenda does not put the lie to the science that was co-opted. Social Darwinism is not Darwinism. You can put that one to rest. There are pseudo-scientific arguments from the left. Gould and Lewontin, back in 1979, argued, from a Marxist political motivation, that biologists are unduly biased in favor of adaptive explanations, which managed to confuse enough people for long enough that evolutionary biology largely stalled out. And, perhaps most alarming, there are concerns that what is true might be ugly.

More here.

Pakistani novelist Mohammed Hanif: The partition goes on

Tomorrow is the 70th anniversary of Pakistan and (the day after that) India's independence. Mohammed Hanif writes in Al Jazeera:

Flag-Pins-India-PakistanTwenty years ago I visited India for the first time. We were doing the same thing back then, celebrating 50 years of independence, or mourning 50 years of partition to a steady beating of breasts: why can't we live like friendly neighbours?

Like many Pakistanis I saw my first Indians in London and was surprised that they were a bit like us. Most Indians and Pakistanis have the same reaction when they meet. It seems as if they are brought up to believe that a community of ferals lives across the border.

My first Indian friend and colleague, Zubair Ahmed, came up with this rather clever idea that we should travel to each other's country, then come back and put together a series of programmes comparing our reactions. Originally we wanted to go and live with each other's families but in retrospect, wisely, we decided not to take this newfound brotherhood too far.

We applied for our visas after explaining our plan to the respective high commissioners. They loved the idea and it was followed by a lovely Lucknow-style stand-off where two gentlemen at a platform keep telling each other "No sir, you first" and then the train departs without either of them. For two months we went back and forth. Have they given Zubair the visa? But have they given Hanif the visa? Their logic was impeccable, if one of us didn't get a visa, how would there be a programme?

More here.