by Claire Chambers
In these dying days of summer, as I steel myself for the onslaught of an uncertain term ahead, I’ve been reading J. A. Mensah’s Castles from Cobwebs (Saraband, 2021). By way of a disclaimer I must note that J. A. – Juliana – is my colleague. However, she took up her creative writing lectureship during the pandemic, so we’ve never actually met. As preparation for getting to know each other properly I wanted to read this, her prize-winning debut novel. Castles from Cobwebs did not disappoint. I found myself devouring the book twice in quick succession, noticing different flavours with each consumption.
Castles from Cobwebs is set in three locations – northern England, Ghana, and the United States of America. Similarly, the novel’s tripartite structure to some extent reflects the three corners of the triangular trade. Indeed, characters discuss this vicious trade as they visit a ‘castle’ in Ghana, the site in fact having been used as a fort for the imprisonment of slaves. Not only that, but the blood-soaked contours of the Black Atlantic continue to shape the lives of Mensah’s contemporary characters.
The novel’s first part, ‘Sunsum’ (loosely translated as ‘spirit’), is set in northern England. Mensah’s is a saltspray-soaked, sodden vision of Northumbria. While reading the whole novel, I regularly felt immersed in water. Seas, rivers, floods, and storms abound, probably because the triangulated locations are positioned on assorted coastlines. From first-person present tense focalization by protagonist Imani, whom we watch grow from a six-year-old girl into a young woman, we learn that one of her ways of self-identifying is as a strong swimmer. What is more, Imani has a fascination with local heroine Grace Darling. This lighthouse keeper’s daughter had saved shipwrecked people near the Farne Islands in the early nineteenth century. Read more »

The Italian author Sandro Veronesi’s latest novel, his ninth, The Hummingbird, is a clever book that offers the reader both literary pleasure and serious thought. The novel is essentially a family saga, and like all family histories and stories it has a complexity of interpersonal relationships and human emotions all woven into the story. It sounds so typical of life and the reader might begin to think that the novel is a family saga that could be tedious, but that is far from the truth. Veronesi has skilfully used structure to fracture any complacency or perception of the characters and the story, and his novel is a superb piece of skilled writing with unexpected twists and turns.
Andrea Chung. From the series Vex, 2020.
The day I began writing this essay, Portland Oregon braced for yet another round of uncharacteristic heat. Over several months of preparation, as I had been reading and pondering Kim Stanley Robinson’s big, detailed, hyper-realistic science-fiction book The Ministry for the Future, our normally cool northwest town had found itself repeatedly facing drought and high temperatures. Now we were about to be trapped under a “heat dome” of 115 degrees Fahrenheit (46° C) – Las Vegas temperatures, Abu-Dhabi temperatures – for days on end.

Theories that specify which properties are essential for an object to be a work of art are perilous. The nature of art is a moving target and its social function changes over time. But if we’re trying to capture what art has become over the past 150 years within the art institutions of Europe and the United States, we must make room for the central role of creativity and originality. Objects worthy of the honorific “art” are distinct from objects unsuccessfully aspiring to be art by the degree of creativity or originality on display. (I am understanding “art” as a normative concept here.)
Even though I arrived at Economics with the aim of interpreting history, it soon gave me a more general perspective. First, it showed me the value of precision and empirical testing in thinking about socially important issues. This immediately appealed to me, as two of the first courses I liked in college were on Deductive and Inductive Logic. More importantly, Economics gave me a deeper understanding of the incentive mechanisms that sustain social institutions. It made me think why some of the glib solutions suggested by my leftist friends were difficult to sustain in the real world, unless based on motivations/norms and constraints of people in that world. Why are cooperatives and nationalized industries, suggested as substitutes for private enterprise, often (not always) dysfunctional? Economics asks the question: if there is a social problem, why does it not get resolved by the people on their own, and if your answer is that it is the ‘system’ that is to blame—which was the main message of many leftist stories I read and plays/movies I watched—Economics teaches us to go beyond and look into the underlying mechanism through which that ‘system’ is perpetuated or occasionally broken.
Recently I came upon this photo of my friend Eric, me, and his father, tucked into a book that I was trying to place in the correct place on my shelves as a part of a recent book-organizing effort and it made me think about one of the scarier events in my life. It was 2004. It was also only a couple of years after 9/11 and by then the Patriot Act was in full effect and I personally knew completely innocent people who had been caught up in the “bad Muslim” dragnet and had been detained, deported from America, etc. It was in this atmosphere that I was invited to attend my good friend Eric’s wedding on a lake in Michigan. I found the cheapest ticket possible which would involve a stopover in Pittsburgh on the way to Detroit from NYC and a stop in Philadelphia on the way back. I also reserved a rental car at the Detroit airport to get to the rural lake where the wedding was going to be.
Philosophers are prone to define
This week I had planned to present the 3 Quarks Daily readership with a fluffy little piece about my memories of a grade school foreign language teacher. It was poignant, it was heartfelt, it was funny (if I do say so myself). Above all, it was intended as a brief respite from the nonstop parade of horrors scrolling past our screens every day—a parade in which my own recent writings have occupied a lavishly decorated float. We all deserve a break, I thought. It would be nice to look at some baton twirlers for a minute, listen to an oompa band.
Sughra Raza. Karachi Afternoon Sun, 2010.

