by Bill Benzon

FDR? You mean Franklin Delano Roosevelt, 32d president of the USofA?

Not quite. I mean FDR SK8park, in Philadelphia.

“SK8park”? What’s that? Can’t you spell?

Yes I can. Sound it out.

Oh, you mean “skate park”.

Right. SK8park, FDR SK8park. It’s at the southern end of Franklin Delano Park.

What’s this skateboard nation?

It’s a notion, if you will, a conceit, a turn of phrase, a way of speaking. Perhaps, if you will, an identity of sorts. And that’s what this is about.

The do-it-yourself “spot” or park is one facet of skateboarding. A bunch of skateboarders will find an out-of-the-way spot and remake it to their purposes, installing rails, half-pipes, banks, pyramids, and other features. Some of these are fairly small, like the one I ran into some years ago in Jersey City when I was photographing graffiti. Others are quite large, like Philly’s FDR, which is one of the largest and best-known DIY parks in the world.

FDR is festooned with graffiti and street art. Most of it is a grab-bag of standard stuff, tags, throw-ups, pieces of varying quality, posters and stickers and what have you. But some of it is of a different nature. That’s what I’m interested in.

As you read this, think of yourself as an explorer, an archeologist perhaps – Indiana Jones? You’ve come across a strange civilization. You’ve talked with a native or two, but mostly you’re examining the markings they’ve made. What do they mean?

Consider the photo  at the right (from 2014).  Up at the top it says “THIS IS LIVIN’”. Whatever ‘this’ is that, presumably, is what we see these two people doing, skate boarding. And they’re passionate about it. Read more »

by Timothy Don

In my capacity as art editor at Lapham’s Quarterly, I’ve spent the last six weeks researching images for our upcoming issue on TRADE. It was not a thematic that excited me when I started, I have to admit—I’m a curator and a writer, not a businessman or an economist, dammit! But after looking at more than 10,000 paintings, sculptures, and photographs that limn the human urge to exchange goods, a faint thrill and a growing sense of despair have both begun to take root.I’ve peered into the faces of Ferdinand Bol’s Syndics of the Wine Traders Guild of Amsterdam from 1660, looking for signs of avarice, prudence, and rectitude.

I’ve turned in my hands a 3rd century terracotta figurine of a camel carrying transport amphora (a secular, material expression of the nativity scene I just disassembled with my daughter). I’ve flipped through Alex Majoli’s 1999 series of photographs of the Roque Santeiro in Angola, the largest open-air market in Africa. According to Alex, the Roque attracts roughly one million people per day, and its vendors sell anything and everything: food, weapons, drugs, even people. It hosts church services and marriages. It shelters war cripples, homeless refugees, police, prostitutes, and the insane. Babies are born and the dead are interred within and beneath its stalls. At this “market of the damned,” Hieronymus Bosch’s 15th century visions of hell have been fully realized by the predations of 20th century capitalism.

A line and a theme have emerged through the iconography I’ve been following: to trade is human. We buy and we sell; we exchange, barter, haggle, negotiate, promise, vouchsafe, con, steal, acquire, and unload. It’s what we do; it’s what we’ve always done. The allure of trade lies not so much in the goods amassed as in the frisson of exchange: the contact with another human being that occurs in the act of trade. The slipping-ness from one to another. The handshake, the greased palm, the unctuous smile. The flow, the liquidity. The intimate bond that is established between two people when they make a deal. To trade is human. It’s dirty and oily and sexy.

And yet, underneath trade, there is something else going on. Something very faint, something very fragile, something that only adds to the excitement and the value of the goods on the table, is put at risk each time a trade is made. This something is trust. Read more »

by Jonathan Kujawa

What is a number? Everyone who takes high school math learns about the real numbers. These are our old friends on the number line. You can hardly do classical algebra or geometry without them. We use the real numbers so often we find them comfortable and familiar. After all, they are just numbers you write as a (possibly infinite) decimal. They may be long to write, but numbers like

1.41421356237309504880168872420969807856967187537694807317667973799…

don’t worry us.

Let’s back up a step or two. The integers (that is, the counting numbers and their negatives: 0,1,-1,2,-2,3,-3,,…) aren’t very controversial [1]. We can all agree what it means to have 7 goats, no goats, or that I have -3 goats when I owe my neighbor 3 goats. The rational numbers aren’t too bad, either. After all, to have 7/5 of a hamburger is to slice two burgers into 5 equal pieces each and to take seven of the pieces. And, again, to have -8/3 of a burger is to owe someone two burgers plus 2/3 of a third [2].

The integers and rationals are down to earth, as numbers go. However, it doesn’t take very long before you realize you need more numbers. One day in geometry class you draw a one-by-one square, notice you can draw a straight line which connects the opposite corners, and that line self-evidently has a length. Whatever that length is, it is an honest-to-goodness number (call it D) which exists in nature. At some point, you notice two one-by-one squares can be cut along the diagonal and reassembled into a single, larger square with side length D. On the one hand, the area of this new square is D². On the other hand, it is the area of the two smaller squares taken together. That is, D²=2. The Pythagoreans already knew 2600 years ago there is no rational number whose square equals two. The apocryphal story is the existence of non-rational numbers was a closely held secret for the Pythagoreans, worthy of murder. Nowadays we tell it to school children. So much for the innocence of youth. Read more »

by Lexi Lerner

I call on the evening of the winter solstice. Two mornings later, I find myself boarding a plane to the Black Hills of South Dakota, soon to turn white from a Christmas blizzard. I have never experienced these mountains or this state before. But I have experienced many blizzards, the first of which occurred the night I was born.

Well, it’s been building up inside of me
For – oh, I don’t know how long

“I’m disappointed,” I explain in a SoHo café two weeks prior. “I thought I could find what I was looking for – maybe not in Jersey, but at least in New York. The people, the questions. But we are constantly out of phase. The people I seek don’t want to be sought by me, and vice versa. There’s nothing I can do. It just isn’t here.”

The boy listening to me looks startled, and a bit sad. Or worried? I glance down at the table and realize my tea had jumped from my clenched fists. The one-table radius around us has no audible conversation.

“Sorry,” I say.

The waitress comes over. “Would you like anything else?”

The first billboard that greets you as you leave the eight-gate airport has a cartoon diplodocus on it, featuring a generous view of its behind. A speech bubble says: “Welcome to Rapid City! Now what?”

I don’t know why, but I keep thinking
Something’s bound to go wrong

In his book Sonic Alchemy, David Howard writes that “Don’t Worry Baby” – unlike its Beach Boys A-side “I Get Around” and other emblematic California Sound hits – “suggested something entirely more pensive and even slightly dark underneath its pristine façade.”

We exit the airport on Terminal Road. The cabin itself, a good hour away, is on Last Chance Trail. Read more »

by Nickolas Calabrese

Robert Morris died last month on November 28^th at the ripe old age of 87. Very ripe indeed. If he was a fig he’d have been all jammy inside, dribbling the honeyed sugars of maturation. But he’s dead, and I’m glad he’s dead. Let me step back before explaining why – this isn’t an exposition, this is an obituary; I’m grieving; this is diffused ramblings at a podium. I went to Hunter College for undergraduate philosophy and flirted with the art department quite a bit. Morris’ legacy loomed large and hard over the department as he had both attended grad school and taught there. Any course in the art department was bound to encounter his work or his writings. I must have been assigned “Notes on Sculpture” a dozen times. Morris was, and still is, a great artist. His was a scholarly brand of art; neither annoying like Joseph Kosuth, nor dehydrated like Hans Haacke. No, Morris was a genuine student of art and thought. He studied its history, wrote about it emphatically, and contributed to its heritage. It is not difficult to view him as one of the several pillars that contemporary art stands upon today, and feel indebted to his legacy. One of his first well regarded artworks was Box for Standing, which was a handmade wooden box roughly the size of a coffin that fit Morris neatly. How fitting then, that his exit from this life should perhaps be in a box bespoke for his corpse, roughly the same size as his original Box? His expiration has a funny effect on that work, Box for Standing, where his actual death gives the work one last veneer of meaning to stack upon all the other layers. One might have seen similarity between the Box for Standing and funerary vessels before Morris died, but afterward it would be reckless not to see it. The work goes from being a sparse theatrical gesture contained in minimal sculpture, to something like a pragmatic Quaker coffin, verging on bleak humor. Read more »

by Ali Minai

Note: Translations in italics are literal translations by the reviewer, whereas those in bold italics are by the M. Shahid Alam in the book under review.

In reviewing “Intimations of Ghalib”, a new translation of selected ghazals of the Urdu poet Ghalib by M. Shahid Alam, let it be said at the outset that translating classical Urdu ghazal into any language – possibly excepting Persian – is an almost impossible task, and translating Ghalib’s ghazals even more so. The use of symbolism, the aphoristic aspect of each couplet, the frequent play on words, and the packing of multiple meanings into a single verse are all too easy to lose in translation. And no Urdu poet used all these devices more pervasively and subtly than Ghalib, and even learned scholars can disagree strongly on the “correct” meaning of particular verses. As such, Alam set himself an impossible task, and the result is, among other things, a demonstration of this.

But first the positive – and there is much. The translator has made an admirable decision to retain the couplet structure of the ghazal in all translations, and in some cases, rhyme and refrain as well. In doing this, he has often succeeded in capturing the flavor of the ghazal genre, which is defined by strict rules of form, as described in the book’s Introduction. And even where he has struggled as a translator – indeed, often most in those places – Alam has succeeded more as a poet. Ultimately, the best part of this book is its intellectually honest and diligent attempt to grapple with its difficult task. In the process, Alam succeeds in creating a valuable work of literature that many readers should find accessible and enjoyable.

Before getting to the translations, the reader must read through the translator’s Introduction, which introduces both Ghalib and the genre of ghazal simply and elegantly. Mirza Asadullah Khan (1797-1869) – better known by his nom de plume, Ghalib – is generally regarded as one of the two or three greatest poets in the rich literary tradition of Urdu poetry. He lived in “interesting” times and at the center of calamitous events. Associated with the court of the last Mughal emperor, Bahadur Shah Zafar – an emperor in name only – Ghalib saw even that nominal glory go up in smoke during the rebellion of 1857, which led to the final British takeover of India and the end of the Mughal period. In the aftermath, Ghalib saw his own prospects diminished, many of his friends executed or exiled, and his world destroyed by forces he barely understood. In both his poetry and in his marvelous corpus of letters that are regarded as masterpiece of Urdu prose, Ghalib was able to create a persona and an ethos that is simultaneously individualistic, irreverent, complex, long-suffering and – paradoxically – good humored. His poetry, which is the focus of the book under review, is famous for both its philosophical depth and its Shakespearean insight into human nature. Read more »

by Adele A Wilby

Britain’s large country houses are original and distinctive, and they can be seen gracing the landscape from prime positions in the countryside. They are admired for their many features: their elegant architecture, the artistic treasures they house, the curatorial opportunities they offer, their landscaped gardens and grounds, and their representation of British genteel living. However, despite the obvious elegance of these houses, my response to them has usually been to view them in terms of, at worst, expressions of the British class system, and gross inequalities of wealth, power and privilege, and at best, as monuments to the skills of the tradesmen responsible for the construction of those houses. But Martin Belam’s article ‘Glasgow University to Make Amends Over Slavery Profits of the Past’ (Guardian Sept 17, 2018) was to change all that. It sent me on a reading journey that ended in me rethinking the representation of those iconic features of Britain’s countryside.

Belam’s article is a commentary on the ‘Slavery, Abolition and the University of Glasgow’ report (Mullen Newman 2018). The report acknowledges the University’s pride in its history of opposition to the transatlantic slave trade, the institution of slavery, and the involvement of many of its alumni in the abolitionist movement. However, the report concluded that ‘although the University of Glasgow never owned enslaved people or traded in goods they produced, it is nonetheless clear that the University received significant gifts and support from people who derived some or occasionally much of their wealth from slavery’, particularly in the West Indies during the 18^thand 19^thcenturies. The value of the financial endowments and prizes to the University runs into tens of millions of pounds, depending on how the amount is calculated in the present-day. The findings have prompted the University to commit to the implementation of a ‘Programme of reparative justice’.

The Glasgow University’s willingness to engage with the darker side of its history is admirable, and it is to be hoped that more institutions will follow suit and make known the origins of the financial contributions received during that period of British history, and embark on their own strategies of reparative justice should they need to do so. The findings in the report have also added to our existing knowledge of the relationship between wealth created from the enslavement of peoples and the establishment of institutions in Britain. Read more »

by Emily Ogden

So little cause for carolings

Of such ecstatic sound

Was written on terrestrial things

Afar or nigh around,

That I could think there trembled through

His happy good-night air

Some blessed Hope, whereof he knew

And I was unaware.

—Thomas Hardy, “The Darkling Thrush,” 1900

The year and the century are dying; everything else is already dead. In Thomas Hardy’s “The Darkling Thrush” (1900), it is a dim day in the dimmest part of the year. Sunset will come early; night in Dorset, England, where Hardy lived, will last sixteen hours. A thrush sings, unwarrantably, of “joy illimited.” Why in the world? Or is his reason not of this world? Is he better informed than we? May we hope? Hardy’s subject is the close relationship between our own ignorance and our belief in another’s knowledge. To realize that we don’t know something is to realize that someone else might. To think that what the other knows might be good, might even be divine good, in spite of the earth’s sorry state—well, that is to celebrate Christmas.

“The Darkling Thrush” was first published on December 29, 1900, under the title “By the Century’s Deathbed.” There is a horticultural term for the season Hardy was then living at his house in Dorset, and that we in the Northern hemisphere are living now: the Persephone Days, named for the goddess of spring’s annual rape at Hades’ hands. You are in the Persephone Days, according to gardener Eliot Coleman, when fewer than ten of the twenty-four hours are light. Why ten hours? Because vegetables mostly slow or stop their growth with any less. “The ancient pulse of germ and birth / [is] shrunken hard and dry,” as Hardy wrote. Plenty of vegetables are cold tolerant. I have kale plants in my front yard now that can withstand a 10º F night. Darkness, however, stunts them. The problem winter poses for our survival is not the freezing of water. It’s the freezing of time. I’ll eat only what reaches maturity before the annual darkness comes.

Or I can always go to Whole Foods. Shopping and other glamours flurry about in the foreground these dark days, distracting us from Sol’s deadly swing toward Capricorn. Black Friday roughly coincides with the start of the Persephone Days; in Norfolk, Virginia (36.8º N latitude), they coincide exactly. Black Friday is itself a kind of heretical outgrowth from Advent, a time of holy anticipation; some of us confusedly observe them both by receiving toy catalogs, letting ourselves buy cheese balls from festive displays, and growing tired of ecstatic carolings. Call it Advert. If you were in America four weeks ago, you may have found the retail festival the most noticeable of the three, followed by the liturgical holiday, with the horticultural one coming in a distant third, if at all. But that’s the whole point of the first two: to be noticeable. So as not to notice the other thing. The very intensity of the annual danse macabre shows we have not entirely forgotten our fear of the dark. Read more »

by Mary Hrovat

In 2018, Earth picked up about 40,000 metric tons of interplanetary material, mostly dust, much of it from comets. Earth lost around 96,250 metric tons of hydrogen and helium, the lightest elements, which escaped to outer space. Roughly 505,000 cubic kilometers of water fell on Earth’s surface as rain, snow, or other types of precipitation. Bristlecone pines, which can live for millennia, each gained perhaps a hundredth of an inch in diameter. Countless mayflies came and went. As of this writing, more than one hundred thirty-six million people were born in 2018, and more than fifty-seven million died.

Tidal interactions are very slowly increasing the distance between Earth and the moon, which ended 2018 about 3.8 centimeters further apart than they were at the beginning. As a consequence, Earth is now rotating slightly more slowly; the day is a tiny fraction of a second longer. Earth and the sun are also creeping apart, by around 1.5 centimeters per year, although the effect of tidal interactions is very small. Most of the change is due to changes in the sun’s gravitational pull as it converts some of its mass into energy by nuclear fusion.

The entire solar system traveled roughly 7.25 billion kilometers in its orbit about the center of the Milky Way. This vast distance, however, is only about 1/230,000,000th of the entire orbit.

In 2018, there were two lunar eclipses and three partial solar eclipses, each a step in the long gravitational dance making up the roughly 18-year saros cycle. During one saros cycle, eclipses with particular characteristics (partial, total, annular) and a specific Earth–Moon–Sun geometry occur in a predictable sequence; at the end, the whole thing starts again. This pattern has been repeating for much longer than humans have been around to see it.

I like knowing these bits of cosmic context because they link me to a larger world. I can echo the words of Ptolemy: “Mortal as I am, I know that I am born for a day. But when I follow at my pleasure the serried multitude of the stars in their circular course, my feet no longer touch the earth.” Read more »

by Joshua Wilbur 

In college, I took a course on American poetry, but I missed the class on Robert Frost. To be honest, I slept straight through it. That particular winter was brutally cold. I lived in a worn-out house some fifteen minutes from campus, and the water heater in the basement was broken. So I skipped the ice-cold shower at 8AM, the wet walk through a foot of snow, and the monotone reading of a few representative poems by a long-tenured professor. I stayed in my warm bed, wrapped up in the comforter.

From that morning until only a few weeks ago, my mental image of Robert Frost was that of a grey-haired, folksy New Englander who wrote modest poems about country life. I knew “The Road Not Taken,” though I didn’t understand it.  I was familiar with a handful of other titles— “Fire and Ice,” “Mending Wall,” “Stopping By Woods on a Snowy Evening”— but I can’t say if I had ever really read these poems. If so, they hardly made an impression on me. In short, I had Frost figured as a quaint poet of nature, a leftover from 19th Century America.

I now realize that I was wonderfully mistaken, that Robert Frost isn’t what he seems, and that the fundamental experience of reading Frost is discovering that the poems aren’t what they seem. Harold Bloom has called Frost a “trickster and a mischief maker.” In The New Yorker,  Joshua Rothman describes Frost’s “poetic sleight of hand,” his characteristic tendency for deception. In his own words, Frost considered poetry “the one permissible way of saying one thing and meaning another.” For nearly fifty years, the poet hid ulterior meanings behind plain language. Read more »

by Jeroen Bouterse

It is simultaneously awkward and exciting to read about your own consciously and responsibly adopted beliefs as something to be anatomized. It is also something atheists are not always much disposed to. On the contrary, perhaps: many forms of atheism present themselves as a consequence of free thought, of emancipation from tradition. The internal logic of their arguments prescribes that while religious beliefs, being non-rational, are in need of cultural or psychological explanation, atheism is really just what you will gravitate towards once you finally start thinking. One question here will be whether this is necessarily the case.

Most Atheists Just Don’t Get It

To the extent that what I just said is a recognizable self-description, we deserve the injustice that John Gray does to us in his Seven Types of Atheism (2018). Of the seven types Gray distinguishes, only two – its more withdrawn, Epicurean or mystical manifestations – get a positive review. One other version (‘God-haters’) is interesting but also confused, hardly atheistic, and of course evil. The remaining four types are primarily variations upon the theme of the naive progressivist: people who think they have left behind monotheistic religion, but who have in fact replaced it with a new God: humanity, or some proxy to humanity – science, or progress, or Enlightenment, or secular political utopia.

Idolizing or deifying something while claiming to be an atheist requires some self-delusion, according to Gray, and he readily psychologizes this phenomenon. Atheists’ understanding of religion has been “unthinkingly” inherited from monotheism (5); new atheists are “unwitting disciplines” of Comte’s positivism (11); twenty-first-century atheists are “unthinking liberals” (20); secular thinkers have continued to try to harmonize Jewish and Greek views of the world “without knowing what they are doing” (29).

A charitable reading of this is that Gray is not pointing out lack of cognitive capacity, but lack of historical awareness. Read more »

by Gabrielle C. Durham

Certain phrases choke us with their ubiquity at some point:

• “Just do it.” (Nike)
• “Let’s get ready to rumble!” (Sports announcer Michael Buffer)
• “That’s hot.” (Paris Hilton)
• “Hasta la vista, baby.” (“Terminator 2: Judgment Day,” as delivered by Arnold Schwarzenegger)

Did you know these have all been trademarked? This means that you are supposed to have the owner’s permission to use any one of these phrases. These sentences were so popular at some time in history that their crafters applied to trademark and thereby protect the specific saying.

A trademark is any name, symbol, figure, letter, word, mark (such as the Nike Swoosh), or other device that is used by a manufacturer or a merchant to identify and promote a specific good or service and differentiate it from other similar goods or services from a competing manufacturer or dealer. Once you register a trademark, it is yours. You own it. In the United States, it is registered with the Patent and Trademark Office and only you can enjoy the exclusive use of your trademark. The word “trademark” was first recorded in the mid-16th century. (Property rights go way back in law; you could make the argument that they are the reason that laws arose.) Read more »