Melissa Anderson at Bookforum:

First published in 1952, Lillian Ross’s Picture, an eyewitness report of director John Huston’s adaptation of The Red Badge of Courage, remains the paradigm of a slim genre, the nonfiction account of a movie’s making (and unmaking): from shooting to editing to studio meddling to publicity planning to preview screening to more studio meddling to, finally, theatrical release. The book is populated by raffish heroes (Huston) and tyrannical philistines (Louis B. Mayer), by the beleaguered (producer Gottfried Reinhardt) and the overweening (MGM head of production Dore Schary), and by various hypocrites, toadies, greenhorns, and wives. Envisioned by Ross as “a fact piece in novel form, or maybe a novel in fact form,” Picture endures as a key work of proto–New Journalism. Though Ross, a writer for more than sixty years at the New Yorker—where Picture, under the title “Production Number 1512,” was first published, in five installments—was renowned for her fly-on-the-wall reporting, she is not always invisible in the book; “I” pops up intermittently.

more here.

Mark Prince at the TLS:

In the era of Instagram and YouTube, when photography has mostly become a means of projecting oneself into the world to gauge its reaction, it takes an imaginative leap to recognize how revolutionary Diane Arbus’s murky photographs of some of the more disturbing corners of New York life must have looked back in the late 1950s, when they first appeared. Before her, photographers who wanted to be artists strove for impartiality, as if the camera were the eye of a stern god. Photographing passersby, they might tuck a camera into an overcoat to conceal from the subject (and viewer) the exchange being enacted between seeing and being seen. Arbus changed all this, taking pictures that record a direct encounter between photographer and stranger, and in so doing transformed a documentary medium, which had evolved out of the myth of its own objectivity, into a meeting of two pairs of eyes, with the lens standing in for one of the pairs. We never see her, but her presence, as an implicated observer, is everywhere apparent. These are pictures which never claim we can assume their images apply to any other viewpoint than her own.

more here.

Alexander Larman at The Guardian:

In our increasingly secular age, it comes as a shock to discover that one in three people believe in the existence of angels. This is attributed more to the egocentric idea that we have a “guardian angel” watching over us, ready to intervene in our ill fortune, rather than any wider appreciation of angelology.

Peter Stanford’s thorough and engaging study recognises the way in which popular culture – from Antony Gormley’s Angel of the North sculpture to the messengers in the films It’s a Wonderful Life and Wings of Desire – portrays angels as present within our own lives. This may be because they are possessed of a secular accessibility that makes them easier to believe in than other supernatural beings. As Stanford acknowledges, when Robbie Williams sang “I’m loving angels instead” on his 1997 hit Angels, he was not doing so in the context of religious belief, but in the universally applicable form of a love song.

more here.

From ANOW:

In this episode Fred Weibull interviewed Abbas to learn about the origins and intentions of 3QD, the reasons behind its extraordinary commitment to public service and the emphasis on the art of curation over content production. Abbas expands on 3QD’s process of locating and discerning content, about the organisation of the editorial team, scattered across the world and the particular work discipline and practices of a skilled curator…

Now in its 15th year 3 quarks daily occupies an interesting place in the world of ideas, which belongs neither to the intellectual establishment institutions nor its commercial media counterpart. Yet it is frequented by the intellectual elite, indicated by endorsements from the thinking world’s upper echelon…

More here.

Molly Crabapple in the NY Review of Books:

American sex workers are today more organized, and more oppressed, than they have been in years. Last year the US government passed the twin laws of SESTA and FOSTA—the Stop Enabling Sex Traffickers Act and the Allow States and Victims to Fight Online Sex Trafficking Act, respectively, which have closed online spaces where sex workers found clients and shared information—forcing them to work with pimps or to work on the streets where they may be beaten and murdered. Sex workers have responded with ferocious activism. Collectives like Survivors Against SESTA and the Sex Workers Project are lobbying, marching, and canvassing to overturn these laws. More surprisingly, Democratic politicians like New York state senators Jessica Ramos and Julia Salazar have listened to them, canvassed with them, and even promised to introduce laws to decriminalize prostitution.

On February 22 sex trafficking made its way into the headlines when New England Patriots owner Robert Kraft, a billionaire septuagenarian and Trump crony, was arrested during a series of prostitution stings on massage parlors in three Florida counties and charged with two misdemeanor counts of soliciting prostitution. During the seven months police spent investigating the parlors, they secretly installed cameras in massage rooms and made videos of the women as they gave handjobs to their customers. The Vero County police department refused to answer questions from sex workers’ rights advocate Kate D’Adamo as to whether their officers had had sexual contact with any of these women in the course of their investigation, but one detective confirmed to the sports website Deadspin that he had.

Police described the investigation as an anti-trafficking operation, but no trafficking charges have been made. Four women who ran the massage parlors were arrested. Among other crimes, they were all charged with prostitution. All of them have spent more time in jail than any of the men they allegedly serviced.

More here.

Nicholas Mulder in n+1:

Where most of the charges that the right levels against the EU are hard to take seriously, the left has produced cogent and sophisticated critiques of the organization. Leftist skepticism about the project of integration goes back to the beginnings of the European Economic Community, but was generally a minority current; the Eurozone economic crisis and Britain’s ongoing attempts to depart from the EU have reanimated this tradition, with some arguing for a left exit, or “Lexit.” The Lexit position points to a split among the Union’s left-wing critics: varying diagnoses of the EU’s democratic deficit and neoliberal bias in turn suggest different paths to a more progressive and democratic Europe.

Currently, there are two broad varieties in left-wing anti-Europeanism. The first line of criticism is that the EU is an unaccountable technocracy constitutionally opposed to democracy. On this reading, unelected Eurocrats at the European Commission threaten national sovereignty as they enforce budgetary rules, laws, and regulations with no accountability. A related but distinct accusation is that the EU is terrible for national democracy because it is a vehicle for German empire. On this reading, the technocrats are either simply doing the Germans’ bidding, or else the Germans are responsible for long ago having rigged the rules of the union in favor of the continent’s largest and most powerful country.

These left-wing analyses focus on a real problem: the constraints of current EU and Eurozone economic policies, which have deepened and prolonged the continent’s crisis. Yet in their urge to counter the tyranny of the market, left nationalists misread the nature of the neoliberal project in European politics. 

More here.

Marshall Cohen in The LA Review of Books:

THE BOUNTIFULLY GIFTED Stanley Cavell was unique among American philosophers of his generation in the range of his philosophical, cultural, and artistic interests. He resisted the split between Anglophone and Continental traditions that has characterized post-Kantian philosophy, writing with distinction about epistemology and aesthetics, Emerson and Thoreau, Shakespearean tragedy and Hollywood comedy, as well as about modernism in film and music. Modernist works, he believed, divide audiences into insiders and outsiders, create unpleasant cults, and demand for their reception the shock of conversion. Such works are not easily received, as Cavell, who regarded himself as a modernist writer, painfully discovered. Many features of his writing have been found troublesome and even offensive by a significant number of readers. I believe these features are not an expression of modernist impulses but rather manifestations of personal idiosyncrasies that Cavell’s autobiographical reflections, in his 2010 book, Little Did I Know: Excerpts from Memory, can help us to understand, if not accept.

Little Did I Know obeys a double time scheme. It comprises a series of entries presented in their order of composition from July 2, 2003, to September 1, 2004. The depicted events reporting Cavell’s Emersonian journey occur in loose chronological order, interrupted by philosophical meditations, portraits of friends, and editorial comments about the original drafted entries. The formal arrangement honors the fundamental importance granted to the time and context of utterance in the work of J. L. Austin and the late Wittgenstein. The depictions allow Cavell to exploit techniques reminiscent of psychoanalysis (free association) and film (flashbacks and flash forwards, jump cuts, close-ups, and montage). And modernism’s experimental departures from traditional narrative facilitate his representation of philosophy as an abstraction of biography.

More here.

On Entering Elysium

On entering Elysium, Erato gives us a key
to the library of poems we did not write.
It is a moment of unbearable sadness. Some
refuse it. Some take the key, but never try
the lock. Some enter, find a chair and fall asleep.

Most shelves hold the dreams to didn’t remember,
or remembered for a while, but didn’t write down.
Next, shelf after shelf of journals of days unwritten,
not remembered, ideas that came so fast, a blink
blew them away, and the bits and pieces, poems even,
from your unopened or lost journals, and a little corner
for the few that found their way into the world.

At the end, waits the shelf of great poems you didn’t
have the confidence, courage, or ambition to attempt.

by Nils Peterson
from All the Marvelous Stuff
Caesura Editions, 2019

Susie Lopez at Lit Hub:

The Wake has been called “the most colossal leg pull in literature” and even Joyce’s patron fell out with him over it. But Wake scholarship is thriving more than ever. In the words of Joyce Scholar Sam Slote almost “any analysis will be incomplete.” After Ulysses, Joyce was interested in the subconscious interior monologue, our dreaming lives. He also wanted to shatter the conventions of language to form an almost eternal every-language. It sounds somewhat like the dial of a radio in Joyce’s time, static turning into myriad languages. Joyce intentionally made passages more obscure to evoke radio. PHD candidate Yuta Imazeki has calculated “numbers of portmanteaux and foreign words in the radio passage” that are higher in frequency than any others; intentionally obscure. So is it an indecipherable ruse or a harbinger of hypertext? Could it even be… therapeutic? As a self-taught enthusiast, how did I even get into this?

more here.

Josie Thaddeus-Johns at The Baffler:

IN 1997, when Jenny Holzer created Installation for Bilbao for the Spanish city’s newly opened Guggenheim, social media did not exist. Google had yet to be founded; dial-up internet meant listening to an inhuman caterwaul every time you connected; and when a webpage included a large image, one line of pixels arrived at a time, like tweets on a moving feed.

Twenty-two years later, the minimalist artist has returned to the Frank Gehry-designed museum with an extensive collection of new and archival works. Though “Thing Indescribable” is not quite a retrospective, the show covers her entire career, beginning with the series Truisms, a now-iconic set of phrases that she wrote between 1977 and 1979. Originally pasted up in public spaces around New York, they later made their way onto benches, electronic signs, and T-shirts, turning her words into public sculptures.

more here.

Sudip Bose at The American Scholar:

He was, to be sure, one of those candles that burn twice as bright but half as long, an all-American violinist in an age dominated by the European virtuoso. He was born on this date in 1936, into a highly musical Manhattan family, his father a violinist in the New York Philharmonic, his mother a piano teacher who had studied at Juilliard. At the age of three, Rabin demonstrated perfect pitch, and soon he was taking piano lessons with his mother, a larger-than-life figure whose Olympian standards were exceeded only by her work ethic and drive. Anthony Feinstein writes in his biography of the violinist that the “force of her character demanded obedience and gratitude. She was unable to brook dissent, and displayed a ruthlessness when it came to enforcing her will.” She had lost her first son, who had shown great promise as a pianist, to scarlet fever, and perhaps because of this, she was all the more determined to make something of her younger son’s talent. Her demands, Feinstein writes, were clear: “the relentless pursuit of excellence, the drive for perfection, the expectation of long, exhausting hours dedicated to practicing music.”

more here.

Charles Bramesco in The Guardian:

Director-documentarian-deity Werner Herzog has stared death in the face, blazed a path through madness, and charted the outermost limits of human experience. For a man of such stature, sitting down with one of the most significant public figures of the twentieth century was no biggie.

“We had an instant rapport,” Herzog says of his recent rendezvous with Mikhail Gorbachev, in an interview with the Guardian during the Tribeca film festival. His new non-fiction feature Meeting Gorbachev chronicles three tête-à-têtes across the span of six months between the film-maker and the final general secretary of the Communist party of the Soviet Union, in which two personalities known for exuding an intense presence immediately took a shine to one another.

“We have similar backgrounds,” Herzog explains, “growing up after the war and knowing what it means to be hungry, having traveled very extensively, living in a very remote area without even running water, a devastated landscape. We knew of one another. Apparently, Gorbachev had seen some of my films and done a lot of homework on me. He had a huge stack of remarks about my work … We brought him chocolates without sugar from a London chocolatier.”

More here.

More here.  [Thanks to Misha Lepetic.]

Matthew Herper in Stat:

Nils Lonberg, a scientist at the center of a revolution in cancer therapy, has had a career full of fateful decisions. One of the most crucial: buying an entire bottle of whiskey at a hotel bar.

It was 1998. Lonberg had just been part of a group dinner with Jim Allison, the charismatic, harmonica-playing scientist who would go on to win a Nobel Prize. After the meal, Lonberg took Allison aside and invited him to have a drink; they stayed up drinking, and talking, until the wee small hours of the morning.

Allison had been trying to find a company to turn his discoveries into life-changing medicines. Lonberg, at the time an executive at a small company, wanted to be the one to make it happen.

More here.

Tania Lombrozo in Nautilus:

Last November Chinese scientist He Jiankui announced the birth of twin babies whose germline he claimed to have altered to reduce their susceptibility to contracting HIV. The news of embryo editing and gene-edited babies prompted immediate condemnation both within and beyond the scientific community. An ABC News headline asked: “Genetically edited babies—scientific advancement or playing God?”

The answer may be “both.” He’s application of gene-editing technology to human embryos flouted norms of scientific transparency and oversight, but even less controversial scientific developments sometimes provoke the reaction that humans are overstepping their appropriate sphere of influence. The arrival of the first IVF baby in 1978, for example, was denounced as playing God with human reproduction¹; more than 8 million “IVF-babies” have been born since.² As we face a global climate crisis, an article at Religion News Service questions whether proposed climate fixes based on geoengineering are playing God with the climate system.³ For many, the idea that mere humans can or should interfere in lofty natural or human domains, whether it’s the earth’s climate or human reproduction, is morally repugnant.

Where does this aversion to playing God come from? And might it present an obstacle to scientific and technological advance?

More here.

From here.

Generations

people who are going to be
in a few years
bottoms of trees
bear a responsibility to something
besides people
…………………. if it was only
you and me
sharing the consequences
it would be different
it would be just
generations of men
…………………. but
this business of war
these war kinds of things
are erasing those natural
obedient generations
who ignored pride
………………………. stood on no hind legs
………………………. begged no water
………………………. stole no bread
did their own things

and the generations of rice
of coal
of grasshoppers

by their indivisibility
denounce us

love rejected
hurts so much more
than love rejecting;
they act like they don’t love their country
no
what it is
is they found out
their country don’t love them.

Lucille Clifton
from Good Woman: Poems and Memoir 1969-1980
University of Massachusetts Press, 1980

Ari Shapiro at NPR:

It’s the stuff of a Hollywood blockbuster: Five hundred years ago, a son of Christopher Columbus assembled one of the greatest libraries the world has ever known. The volumes inside were mostly lost to history. Now, a precious book summarizing the contents of the library has turned up in a manuscript collection in Denmark.

The newly discovered manuscript is “an absolutely gorgeous thing,” says Edward Wilson-Lee, author of The Catalogue of Shipwrecked Books — a biography of Columbus’ son Hernando Colón. “It’s about the size of a coffee table book. It’s almost a foot thick. It’s 2,000 pages long in beautifully, beautifully clear handwriting.”

The reference volume, called the Libro de los Epítomes, was designed to help a user find books in the enormous library.

Colón was “looking for the Google algorithm of print,” Wilson-Lee explains: “How to take vast amounts of information and make something usable out of it.”

More here.

From Phys.org:

How do you observe a process that takes more than one trillion times longer than the age of the universe? The XENON Collaboration research team did it with an instrument built to find the most elusive particle in the universe—dark matter. In a paper to be published tomorrow in the journal Nature, researchers announce that they have observed the radioactive decay of xenon-124, which has a half-life of 1.8 X 10²² years.

“We actually saw this decay happen. It’s the longest, slowest process that has ever been directly observed, and our dark matter detector was sensitive enough to measure it,” said Ethan Brown, an assistant professor of physics at Rensselaer, and co-author of the study. “It’s an amazing to have witnessed this process, and it says that our detector can measure the rarest thing ever recorded.”

The XENON Collaboration runs XENON1T, a 1,300-kilogram vat of super-pure liquid xenon shielded from cosmic rays in a cryostat submerged in water deep 1,500 meters beneath the Gran Sasso mountains of Italy.

More here.