Mother Writes to the ‘Lion of Kashmir,’ Long Deceased

February 2020
Dear Sheikh Sahib,

They tell me,
you are buried on the left bank of Naseem lake with views
of Hazratbal shrine, your tomb guarded by India’s troops.

I tell them,
this represents one of those paradoxes’ history keeps throwing
up: the same people who jailed you for many years now guard
your tomb and the same people whose ‘Lion’ you were are un-
happy with you for throwing their lot with the illiberal Pandit
Nehru who strung up Kashmir on the flagpole of secularism.

The world approved, but for decades the Congress Party
did to Kashmir by night what today the BJP is doing by light.

Sheikh Sahib, in your heart of hearts, you must have known
that we the Muslims of Kashmir struck at the core of Hindu
nationalist idea of Akhand Bharat, united, undivided India
from Afghanistan to Myanmar Thailand Cambodia and Laos. Read more »

by Joshua Wilbur 

There are times when I can’t look away from The Avenue at Middelharnis. 

Completed in 1689 by the Dutch Golden Age artist Meindert Hobbema, the painting has entranced viewers for centuries. The English landscapists of the Romantic period admired and emulated its unusual composition. A young Van Gogh saw The Avenue in London’s National Gallery in 1884. “Look out for the Hobbema,” he would later write in a letter to his brother Theo. René Magritte allegedly produced forgeries of Hobbema’s paintings, and his Empire of Light seems to me a surreal reinterpretation of the Dutch master’s masterwork. 

I say that I can’t look away from the painting because I set it as my computer’s background a few months ago. Artsy, I know. I see The Avenue a few times a day, usually in browser-obscured flashes. Sometimes I’ll push everything aside and just space out into it. 

The painting is a great example of an “open” work of art. As described by Umberto Eco, open works encourage multiple interpretations and respond to the viewer’s evershifting historical situation, stage in life, or mood. If closed creations communicate one thing, open works communicate many things. They meet us where we are. I should say something about where I am and where we are before going further down The Avenue.  Read more »

by Mindy Clegg

In our modern society, we are awash in a near constant barrage of information. It can be difficult for even the most critically-minded among us to sift through all of that information and vet it for truthfulness. It’s likely that we all are subject to some misinformation that we believe in the course of our daily engagement with mass media. Although it’s more pervasive and immediate in today’s interconnected world, this state of affairs has existed since the beginning of the industrial age, starting with publishing in the nineteenth century and then onto broadcasting media of the twentieth century. But, if the medium is the message as Marshall McLuhan argued, what do these generations of engagement with mass forms of broadcasting actually mean for us as a society? The content fades away into the background to some degree while the medium shapes our shared experiences. Broadcasting and social media have become a shared prism on world, with differing interpretations of events experienced in a similar way.

We rarely have public discussions on what a mass mediated society means for us, taking its existence for granted. Perhaps turning to a classic treatment of mass society might remind us of the historical and social constructedness of mass media. One such compelling work was the 1967 work by Situationist Guy Debord, The Society of the Spectacle (published in English in 1970). Debord’s work has become a classic among philosophers, disaffected youth, and scholars attempting to come to grips with the role mass media plays in modern life. In this essay, I will argue that some of Debord’s assertions, such as his claim about the passivity encouraged by the spectacular industries, are incomplete. No form of mass medium was ever accepted passively. Rather, people as consumers often actively engaged with mass media, even if the goal was passive acceptance from the top down. I use the example of popular music to illustrate the point. Read more »

This alpine meadow near my house went through yellow, purple, and white phases before finally blooming with all three colors simultaneously in a “second wave” now. It probably does this every year but I had not noticed until the coronavirus lockdown got me into the habit of walking by this area daily for some exercise and I started paying closer attention to my surroundings.

by Mike O’Brien

It’s a bountiful feast for discriminating worriers like myself. Every day brings a tantalizing re-ordering of fears and dangers; the mutation of reliable sources of doom, the emergence of new wild-card contenders. Like an improbably long-lived heroin addict, the solution is not to stop. That’s no longer an option, if it ever was. It is, instead, to master and manage my obsessive consumption of hope-crushing information. I must become the Keith Richards of apocalyptic depression, perfecting the method and the dose.

Structure is important. Historical time-frames help. Covid is bad, and current, and a direct threat to me, but a once-a-century pandemic arriving right on time shouldn’t disrupt my worrying on a macro level. I’ve budgeted acute anxiety for just this kind of thing.

The protests in the US are full of promise, both for good and for ill, but the systemic problems whence they sprung are old news. The uprising should have happened decades ago. They may happen again, for the same reasons, decades hence. Waiting for the US to realize necessary and inevitable progress is a mug’s game.

I confess that I’m very Euro/America-centric in my socio-political doom-tracking. I really ought to give fair due to Indian ethno-nationalism, Russian counter-intelligence, African famine, Arab revolutions and South American neo-fascism. Sorry, I’m Canadian. After worrying about the US and the UK, there are barely any hours left in a day. Read more »

by Mary Hrovat

Because I have a lot of experience with depression, I approached George Scialabba’s How to Be Depressed with an almost professional curiosity. Scialabba takes a creative approach to the depression memoir, blending personal essay, interview, and his own medical records, specifically, a selection of notes written by various therapists and psychiatrists who treated him for depression between 1970 and 2016. I don’t know if I could bear to see the records kept by those who have treated me for depression, assuming they still exist, and I wasn’t sure what it would be like to read another person’s medical history.

I found that the clinical notes, which are the core of the book, present a painfully accurate description of chronic depression and its treatment. Scialabba’s sense of being stuck is reflected in the way the same concerns come up repeatedly: procrastination, worries about being dependent, a sense of unrealized potential, feelings that he’s not accomplishing enough, especially compared to others, and concerns about whether his relationships will last. There’s not much sense of any concrete ways in which these concerns are addressed, or if they were ever successfully resolved.

This part of the book was sometimes difficult to read, but I’m glad it was written and published. It captures a certain airless circularity that I associate with my own struggles against depression. The book as a whole also reveals how the effects of depression are compounded with time. Chronic or recurring depression is qualitatively different from the experience of a single episode, and I don’t think this fact gets the attention it deserves. When Scialabba, in an interview later in the book, spoke of bitter memories, I could see why he used the word bitter. Read more »

by Peter Wells

Saving endangered languages is an activity the virtue of which seems to be beyond question among Western liberals. Endangered languages, as conventionally identified, are usually spoken by poor and vulnerable people in remote areas of developing countries, so our sympathies are engaged. The least we could do, it seems, to alleviate their misery and show solidarity with them, would be to preserve their language.

At the same time, it is also urged that the endangered languages are valuable in themselves. Followers of the Sapir-Whorf Hypothesis (Linguistic Relativity) assert that each individual language can express concepts which no other language can express. Therefore, they insist that it is important not only to record these languages before they die, but also to keep the language communities alive so that they continue to use them.

I wish to suggest that this project, while well-meaning, is ill-conceived. It seems to employ an unscientific definition of the term ‘language’, and to rely upon a disputed theory about the nature of language. It is unrealistic in terms of what carrying it out would involve, and finally, and most importantly from the point of view of liberalism, it would tend to reduce, rather than increase, freedom. Read more »

by Thomas R. Wells

Some people claim that the prominent display of statues to controversial events or people, such as confederate generals in the southern United States, merely memorialises historical facts that unfortunately make some people uncomfortable. This is false. Firstly, such statues have nothing to do with history or facts and everything to do with projecting an illiberal political domination into the future. Secondly, upsetting a certain group of people is not an accident but exactly what they are supposed to do.

I start with the point that erecting statues is a political action and therefore subject to a political logic. Statues are political insofar as erecting them has a cost – not merely the direct costs of building it, but also the opportunity cost of using scarce public space this way rather than another – that only successful political mobilisation can meet. In particular, the more controversial the statue, the more political capital is required to overcome the opposition to its public display, and the more distinctly political must be its logic (in contrast to merely decorative public sculptures that no one much minds). So what is the political pay-off that can justify the political expense of erecting controversial statues? I believe controversial statues are a kind of political communication, a signal to supporters and opponents of the values and people in charge, in which the offensiveness of the message is key to its effectiveness.

Such statues communicate to those on the losing political team. They say, ‘Fuck you. We’re in charge’. To black people in America, the wave of monuments in the 1950s to confederate generals who defended slavery sent two clear messages. Firstly, it sent a message about domination: that the civil rights movement had not and would not change who ruled and in whose interests. Secondly, it sent a message about political values: that this domination was justified by nothing but power and would not be constrained by considerations of justice or the rule of law. Deliberately erecting statues that celebrate odious values shows to the oppressed that moral appeals are hopeless and will not even be heard; that – whatever the new voting laws say – they will never recognised as equals. Read more »

Gull on a Spar

I’m a gull on a spar —so much sea,
so little far

this perch is so unsteady
I wonder what my bearings are

the roll and sway and pitch,
the other gull-calls I am hearing

as ship slides into ditch of trough,
this captain must be drunk the way he’s steering

or the helmsman is asleep, his compass eye is off,
the sluggish rudder’s answer is as drawn-out as a stutter

and I’m clinging to this spar like a baby to its mother
as the sun is going down wind screams or it is singing

the ship’s eighth bell is ringing,  the moon is coming up—
the image in that mirror, is that me or is that other?

Jim Culleny
6/24/20

by Paul Braterman

Timefulness: How thinking like a geologist can help save the world, Marcia Bjornerud, Princeton University Press, 2018/2020, pp 208, sale price $8.84/£7.00 through publisher

There are many excellent overviews for the general reader of how life on Earth has changed over time (see, for a recent example, Neil Shubin’s Some Assembly Required, which I reviewed here recently). The history of the Earth itself has not been so well served, and Timefulness: How Thinking Like a Geologist Can Help Save the World, by Marcia Bjornerud, Professor of Geology and environmental Sciences at Lawrence University, is a welcome and timely addition to this badly under-represented genre.[1] The book is beautifully written, in plain language, with complex ideas explained with great simplicity and the use of strikingly appropriate verbal imagery. Behind this transparency of language lies a deep love and knowledge of her subject. The book should appeal to anyone looking for an overview of the Earth as the abode of life, or a perspective on our place in time, and how recklessly we are compressing the tempo of natural change.

The author presents her book as an argument for what she calls timefulness, the perception of ourselves as living in and constrained by time, of time itself as having both extension and texture, of the acceptance of our own mortality, and of our own responsibilities. This she sees as severely lacking in our society. We expect people to know something about distances on the map, but not about the timescale of the events that have shaped the Earth, as if what happened before we were born and what will happen after we die did not really exist. We have an economic system that (at least in normal times) depends on the expectation of continued growth, although if maintained over a very brief interval of geological or even historical time, such growth is clearly unsustainable.[2] Consumerism, rather than conservation, is regarded as good citizenship. Read more »

Sughra Raza. Mood June 2020.

Digital Photograph.

by Alexander C. Kafka

John Lewis: Good Trouble couldn’t be more timely. 

The new documentary, which will be available Friday on demand, arrives amid Black Lives Matter protests and renewed and deepening threats to the Voting Rights Act of 1965. It shows one of the architects and key drivers of that legislation, the longtime civil-rights activist and congressman from Georgia, in both his soft-spoken private sphere and in his amiable but passionate public life. As he despairs over a democracy in peril, both his sadness and his hope resonate profoundly, even as the 80-year-old widower battles stage-four pancreatic cancer. 

The film avoids his illness, as it does health details around his wife Lilian’s death in 2012. I wish it dealt more forthrightly with Lewis’s cancer, because a reminder of his mortality would underline how fragile is the progress he has helped bring about. It is too tempting to take this icon and his life’s work for granted.

What shines through in the film, directed with unobtrusive clarity and empathy by Dawn Porter, is Lewis’s fundamental kindness and gentleness. There is one key exception: a low-blow tactic he used against his close friend Julian Bond when they were pitted against each other in Lewis’s first congressional race in the 80s.  Read more »

by Raji Jayaraman

Audio version:

Tourists visit Germany for four main reasons: to drink beer, taste sausages, and see Schloss Neuschwanstein. Germans are understandably annoyed by this. They point to the country’s remarkable contributions to the arts and the sciences and bemoan the image of Germans as corpulent, Lederhosen-clad Bavarians, with a beer mug in one hand and a sausage in another. But there is more to tourists’ mental image of Germany than that. If you have been paying attention, you will have noticed that I said that tourists come to Germany for four reasons but proceeded to list only three. The fourth is naked people. Germans are so comfortable with nudity, I sometimes wonder whether they would bother getting dressed at all if it weren’t for the weather.

A professor of mine from university – we’ll call him Adam – spent a week visiting me in my department at the University of Munich shortly after I moved to Germany. I was delighted that he had accepted my invitation. Adam is a reticent Englishman with anxiety issues. He hates travelling, but agreed to come to Germany because he had some notion that Germans are an orderly bunch, so he would not have to deal with any unpleasant surprises.

My office at the time was in a lovely Jugendstil villa belonging to the university, just off the English Garden. On a warm summer’s day during his visit, I suggested to Adam that we take a little walk and lunch in the Garden. We left the office, grabbed some sandwiches at the nearby Italian shop, and found ourselves a shady corner at the edge of the park. We had an unfettered view of a lawn sloping down to the Isar river, which twinkled as it meandered lazily through the trees. It was idyllic. Adam and I had been having a rather serious discussion on our walk, about the meaning of life and what not. We settled down on the bench and unwrapped our sandwiches, took our first bites, and then looked up as one is wont to do when chewing a sandwich. Read more »

by Brooks Riley

by Eric Miller

1.

Tell me, what could be more pleasant than to play, in the summertime, a Stone Age re-enactor? A couple of them sat in the flowery grass near a hunebed—a Giant’s Grave or cromlech, some five thousand years old—in the town of Borger, in Drenthe, the Netherlands. The shadow in which this ersatz ancestral couple sat was of the mitigated, oscillatory sort that broadleaf trees in August cast. The year was 2014. Yellowhammers and wagtails called; bulky wood doves reminded me of their Canadian cousins, the passenger pigeons extinct exactly a century before. A puffy dog rested, tufted tail bent round nose, beside the pair who practised some craft proper to their era, I believe it was weaving. The life of a re-enactor at a hunebed cannot be called “pastoral”; it aspires to precede the idea of the pastoral. This idyll took place by the enormous side- and capstones of the megalithic monument I had come to visit. The hunebed, a sort of junior Stonehenge, had the look of a great reptile skeleton; it appeared, though it was inanimate, to enjoy mere basking. Imagine if our bones alone could relish the felicity of life! This is the rude sweetness of nude sunbathing, taken to the posthumous degree: mineral, sparkling.

Near the museum attached to the hunebed is a field of stones, boulders really. Glaciers deposited them in this neighbourhood, and the ancient engineers who built the hunebed—archaeologists have named them the Funnel Beaker People—used such granite erratics to build their tombs or temples. In 1685, a poet named Titia Brongersma came to Borger and she directed the first dig at the site. She found articles of funerary pottery; they crumbled at the crisis of their extraction. So much the eloquent guidebook informed me. At that moment, I felt Brongersma call me: in the elusive instant when, having extracted a buried urn, Titia saw it fall to bits in her palms. The act of translation is similarly precarious. Later, I looked for her only book, De bron-swaan, The Swan of the Well. No one had ever rendered more than a few verses from it into English. To write is manual labour, and a kind of re-enacting. Titia used a feather, I am pretty sure. I could sense this quill scraping while I puzzled over her words. I translated them all. Her Swan of the Well makes its reappearance this year. Read more »

by Joseph Shieber

One frustrating aspect of the problem of police-enforced repression of Black people in the United States is how timeless it can seem.

Consider this real-life example:

An up-and-coming musician, only days away from releasing his breakthrough album, was finishing a two-week engagement at a famous club in Midtown Manhattan. He was on a break; he had just escorted a young white woman to her cab and was smoking a cigarette before returning to the club for his next set.

A white police officer was walking by, saw the musician, and told him to “move on”. The musician replied that he was playing at the club, and was only outside smoking a cigarette on his break.

The officer wasn’t happy with that response, saying “I don’t care where you work, I said move on! If you don’t move on I’m going to arrest you.” As the officer reached for his handcuffs, three police detectives joined in and began beating the musician bloody.

The story made national news, but the account in the local papers — one that contradicted the testimonies of literally scores of eyewitnesses as well as of photographs taken on the night of the incident — seemed to suggest that the musician himself had been violent, perhaps even grabbing for the policeman’s nightstick.

Care to guess the name of the musician, or when the incident occurred?

Before you hazard a guess, consider the fact that many municipalities still have statutes potentially making it a crime to walk on a public street outside of a designated crosswalk or even just to spend time in a public place without an apparent reason.

Walking on a public street — even on a street that lacks sidewalks! — constitutes “jaywalking”. But of course, not all instances of jaywalking are criminalized by the police. For example, just in the first three months of 2020 alone, 99% of the jaywalking tickets issued by the NYPD went to Blacks or Latinos/Latinas. Read more »

Shadow self-portrait on aster amellus, the European Michaelmas daisies, in Vinschgau, South Tyrol, in June, 2020.

by Emrys Westacott

The coronavirus pandemic has massively disrupted the working lives of millions of people. For those who have lost their jobs, income, or work-related benefits, this can mean serious hardship and anxiety. For others, it has meant getting used to new routines and methods of working. For all of us, though, it should prompt reflection on how we think about work in general–both as a curse and as a blessing. Here, I want to focus on how work relates to time.

In ‘The Superannuated Man,’ Charles Lamb writes,

that is the only true Time, which a man can properly call his own, that which he has all to himself; the rest, though in some sense he may be said to live it, is other people’s times, not his.

This is a basic and obvious reason that many people resent having to go to work. Work takes up time, and time, as many sages have observed, is supremely valuable, irreplaceable, priceless. It is precious because we each know that we are granted only a limited amount of it.

Time is, in the words of Ben Franklin, “the stuff life is made of.” So insofar as work consumes your time, it consumes your life. If your work is what you really want to do, this is not a problem. But if much of the time when you are working–whether you are selling your services to someone else for an agreed number of hours, or drudging away at home–you would really prefer to be doing something else, then your working hours represent an enormous sacrifice. You are using up your supply of a decidedly finite, non-renewable resource. Read more »