Olga Khazan in The Atlantic:
Nurses spend 16 hours on the phone, medications take months to arrive, and patients suffer as they wait.
Lynn Lear finished her final round of chemotherapy for breast cancer in December. To help keep the cancer from coming back, Lear’s doctor told her about a new medication she could take called Nerlynx. Lear, who is 46, wanted to do everything she could to remain healthy, so she asked her doctor to order the drug for her. Unlike, say, an antibiotic or an antidepressant, a Nerlynx prescription can’t be filled at a neighborhood CVS or Walgreens. Instead, Nerlynx is dispensed either through certain doctors’ offices or through specialty pharmacies, which exist specifically to process expensive drugs for difficult conditions and often deliver medications by mail. On December 18, 2018, Cheri Bateman, a nurse in Lear’s doctor’s office near Virginia Beach, Virginia, sent the prescription to Accredo, the specialty pharmacy that worked with Lear’s insurance.
So began Lear’s Kafkaesque journey to getting this life-saving drug, which she wouldn’t be able to start taking until nearly two months later.
More here.

How much do Americans know about science? There’s a new science quiz from Pew Research Center. You can test yourself
Humans always defeat lions in paintings because there are no lion painters. With this lesson, the griot gets up to leave, as Dani Kouyaté’s Keïta! (1995) comes to an end. The film is set in late twentieth-century Burkina Faso. The aphorism culminates a series of lessons that a folk storyteller imparts to an urban youth, all cautioning that traditional knowledge must be preserved in order to survive the country’s rapid modernization. City dwellers should learn French, but also Mandinka; they should know the oral epic Sundjata as well as they know capitalism.
What led you to write a book about irrationality?
Since the midterm elections, a feud has been raging on Twitter between Nate Silver, founder of FiveThirtyEight, and Nassim Nicholas Taleb, hedge-fund-manager-turned-mathematical-philosopher and author of The Black Swan. It began, late last year, with Silver boasting about the success of his election models and Taleb shooting back that Silver doesn’t “
One can fly
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In her first chapter, “The Case for Nothing,” Odell recounts the near-daily visits she began making in 2016 to the Morcom Amphitheatre of Roses (a.k.a. the Rose Garden) in Oakland, California. Seeking post-election consolation, she sat in the public park, whose fragrant bushes are meticulously tended by volunteers, whose branching paths invite meandering, and whose architecture “holds open a contemplative space against the pressures of habit, familiarity, and distraction that constantly threaten to close it.” The difficulty of holding open space in the mind is mirrored by the difficulty of holding open space in public. Built by the Works Progress Administration, the Rose Garden was almost turned into condos in the 1970s. Local residents had to work together to block construction. The parallel Odell draws between the two struggles—for private, mental space and public, communal space—is characteristic of her method. She routinely finds formal similarities among seemingly disparate phenomena, thereby bringing them onto the same plane. In this case, the individual’s time to think and the public good become two bright points in the same constellation. “’Doing nothing’—in the sense of refusing productivity” entails both enjoyment of roses and birds, and “an active process of listening that seeks out the effects of racial, environmental, and economic injustice and brings about real change.”
By turns dreamy, rollicking, and dramatic, Rip van Winkle shows just how well Chadwick absorbed the lessons of his German teachers, in that it marries 19th-century European symphonic technique to a quintessentially American subject. In 1880, the year Chadwick returned to Boston, he was invited to conduct the work with the city’s prestigious Handel and Haydn Society. This early compositional period produced, among other pieces, a comic opera called Tabasco, which was so popular in its day that, in the words of the conductor Karl Krueger, “some of its tunes were whistled from one end of the country to the other.”
For centuries, people across the globe have testified to the relaxing and invigorating qualities of tea. The traditional calming effects of the plant Camellia sinensis have elevated the drink, which is produced from its leaves, to a role beyond quenching thirst — it is drunk as an aid for meditation, to help soothe the nerves or simply to unwind. But although the mental-health benefits of C. sinensis are common knowledge among tea drinkers, scientists are only now beginning to examine how tea exerts its effects on mood and cognition.
Australia has had an outsized influence on philosophy, especially in the middle and late-20th century. The field still shows a broad Australian footprint. For many years, Princeton University in New Jersey, perennially one of the highest-ranked philosophy departments, has had three or four Australians on its faculty (depending on when you look and on how you count Australians). Princeton has always been an especially clear case, but the influence is all over, an ongoing export of both people and ideas. Given the modest size of Australia (with a population of about 25 million now, but under 17 million until the end of the 1980s), and the popular image of the country’s intellectual life, this is a bit surprising. What is going on? How did this happen?
Cynthia Haven: Violence has been a theme of this conference: Juan Gabriel Vásquez on the Colombian drug wars, three sessions for the Nigerian journalist and author Helon Habila, who spoke about the kidnapped Boko Haram girls and the ongoing terrorism in Nigeria—even the French writer and critic Raphaëlle Leyris from Le Monde noted that several books a month are still coming out on the Charlie Hebdo massacre in Paris. And today’s session on literature and evil. You, too, have written about unspeakable violence going on in the middle of Europe, at the beginning of the twenty-first century. Several have commented in Bergen on how the cataclysms of mid-century Europe seem to be revisiting us today, and they wish they could shake that feeling.
Psychologists have lots of evidence that implicit social biases—our unconscious, knee-jerk attitudes associated with specific races, sexes and other categories—are widespread, and many assumed they do not evolve. The feelings are just too deep. But a new study finds that over roughly the past decade, both implicit and explicit, or conscious, attitudes toward several social groups have grown warmer.
As young people rightly demand real solutions to climate change, the question is not what to do — eliminate fossil fuels by 2050 — but how. Beyond decarbonizing today’s electric grid, we must use clean electricity to replace fossil fuels in transportation, industry and heating. We must provide for the fast-growing energy needs of poorer countries and extend the grid to a billion people who now lack electricity. And still more electricity will be needed to remove excess carbon dioxide from the atmosphere by midcentury.
The light is dim, the air richly scented. Little purple tea lights flicker in the votive candle rack and the walls are decorated with twining sunflowers, exuberant passionflowers and several canvases of blousy green carnations monogrammed with Oscar Wilde’s prisoner ID number C.3.3. The Temple is a deconsecrated church with an attractive dark wood ceiling and matching antique chairs. A half-size marble statue of Wilde presides. The artists, McDermott and McGough, have painted various icons spelling out pejoratives such as ‘pansy’, ‘faggot’ and ‘cocksucker’, adorned with gold leaf and richly-coloured paint. Towards the back are intricate woodcut-style depictions of massacres with titles like ‘Nun Cutting Rope of Dead Homeric’, black canvases with cut-out fatality statistics, and monochrome portraits of individuals more recently killed by homophobia and transphobia, such as Justin Fashanu, Brandon Teena and Marsha P. Johnson. A placard in the hallway spells out all of the bigotries the temple stands against, ending with the instruction ‘only love here’. Opposite is a purpose-built offertory box ‘For the Sons and Daughters of Oscar Wilde’.