Roslyn Bernstein in Guernica:

A striking show of sculpture from 14th century Europe to the present, Like Life: Sculpture, Color, and the Body, currently on view at the Met Breuer, is full of surprises. How, the show asks repeatedly, did artists over the centuries depict the human body? Works of art that we expect to find in art museums are juxtaposed with much more jarring examples—in many cases, objects not traditionally seen as art at all. There are casts taken from real bodies; paint applied to works of art to imitate flesh tones. There are works with human blood, hair, teeth, and bones. One of the most shocking is The Digger (1857-1858) by Alphonse Lami, where the flayed figure’s (écorché) life-size body is so realistic that we see all the details of his musculature. He is leaning on his shovel but he hardly seems to be working. His body is painted red, with a sheen that radiates from what seem to be medically delineated tendons.  The Met Breuer’s website reminds us that although most écorchés were created as anatomical teaching models for students of painting and sculpture, Lami “conceived of this figure as a genuine work of art, exhibiting it at the Parisian Salon of 1857 and signing its bronze base before it was subsequently displayed at the Académie des Sciences.”

The timing of my visit to Like Life was fortuitous. I was on my way to Italy with friends, one of them Professor Bert Hansen, a historian of medicine, whose research trip involved visits to anatomical theaters, medical museums, and archives, which housed collections that journalists rarely saw. Before Italy, though, I made a short stop in Pittsburgh and saw It’s all about ME, Not You, the Greer Lankton installation at The Mattress Factory on the city’s North Side. The bald-headed doll-mannequin on the posters for the Like Life show in New York was actually a Lankton work: a papier-mâché doll of the performance artist Rachel Rosenthal, which was once hung, fully clothed, in a store window in the East Village. Hairless, her rib bones protruding from her emaciated chest and harshly made up with red lipstick, arched eyebrows, and long red nails, the androgynous figure stares off into the distance with a stern, sad look. Here is another exhibit that focuses on the human body, in this case on Lankton’s, and on her life as a transgender woman.

More here.

Bruno Latour in the Los Angeles Review of Books:

I WAS TOLD by Stephan Harding that “if there was the slightest chance of a cold, we will have to cancel. He had bronchitis not long ago; we can’t afford to take any risks.” But, despite the Arctic cold that had descended on England in February, I wasn’t coughing or anything, so we decided to embark. Nevertheless, we took the precaution of washing our hands carefully with antiseptic soap a few times. And then we were off for the coast of Dorset, in the south of England, in the direction of Cornwall.

At 98, James Lovelock is a very old man. His thinking is all the more important in that it avoids the academic, and he was the first to theorize what in ecology and Earth sciences is called the “Gaia” hypothesis, which I can provisionally summarize at this stage of my inquiry: the Earth is a totality of living beings and materials that were made together, that cannot live apart, and from which humans can’t extract themselves.

I had never imagined I would meet the father of Gaia. I had read all his books, but I was not all that keen on his recent statements in the press, his somewhat bizarre political ideas, and his inflated enthusiasm for the nuclear industry. Nor was I one for visiting the places where my favorite authors wrote their books. But Harding, his friend and disciple, had assured me that Lovelock wanted to meet me. He was wondering why a French philosopher was interested enough in the Gaia theory to devote a whole book to it [Bruno Latour’s Facing Gaia: Eight Lectures on the New Climatic Regime, was published by Polity in 2017].

More here.  [Thanks to Asad Raza.]

Liv Boeree in Vox:

One summer night, when I was a child, my mother and I were scouring the night sky for stars, meteors, and planets.

Suddenly, an object with a light that pulsed steadily from bright to dim caught my eye. It didn’t have the usual red blinkers of an aircraft and was going far too slowly to be a shooting star.

Obviously, it was aliens.

My excitement was short-lived as my mother explained it was a satellite catching the sun as it tumbled along its orbit. I went to bed disappointed: The X-files was on TV twice a week back then, and I very much wanted to believe.

Today that hope is still alive and well, in Hollywood films, the public imagination, and even among scientists. Scientists first began searching for alien signals shortly after the advent of radio technology around the turn of the 20th century, and teams of astronomers across the globe have been taking part in the formal Search for Extraterrestrial Intelligence (SETI) since the 1980s.

Yet the universe continues to appear devoid of life.

Now, a team of researchers at the University of Oxford brings a new perspective to this conundrum.

More here.

Rhys Tranter in the San Francisco Chronicle:

Cynthia L. Haven’s “Evolution of Desire: A Life of René Girard” is the first full-length biography of the acclaimed French thinker. Girard’s “mimetic theory” saw imitation at the heart of individual desire and motivation, accounting for the competition and violence that galvanize cultures and societies. “Girard claimed that mimetic desire is not only the way we love, it’s the reason we fight. Two hands that reach towards the same object will ultimately clench into fists.”

Often a controversial figure, Girard trespassed into many different fields — he was, by turns, a literary critic, an anthropologist, a sociologist, a psychologist, a theologian and much else besides. Haven’s biography is the first book to contextualize Girard’s work within its proper historical, cultural and philosophical context. The book presumes no prior knowledge, and includes several useful primers of the texts that established his reputation: “Deceit, Desire, and the Novel” (1961), “Violence and the Sacred” (1972), “Things Hidden Since the Foundation of the World” (1978), and his study of Shakespeare, “A Theater of Envy” (1991). But it is the author’s closeness to the man once described as the new Darwin of the human sciences” that brings this fascinating biography to life.

Haven was a friend of Girard’s until his death in 2015, and met with family members, friends and colleagues closest to him to prepare for the book.

More here.

I Sing the Body Electric

…..— excerpt

4

I have perceiv’d that to be with those I like is enough,
To stop in company with the rest at evening is enough,
To be surrounded by beautiful, curious, breathing, laughing flesh
… is enough,
To pass among them or touch any one, or rest my arm ever so
… lightly around his or her neck for a moment, what is this then?
I do not ask any more delight, I swim in it as in a sea.

There is something in staying close to men and women and
… looking on them, and in the contact and odor of them, that pleases
… the soul well,
All things please the soul, but these please the soul well.
.

Walt Whitman
from I Sing the Body Electric

Text of The W. G. Sebald Lecture on Literary Translation by Arundhati Roy in Raiot:

At a book reading in Kolkata, about a week after my first novel, The God of Small Things was published, a member of the audience stood up and asked, in a tone that was distinctly hostile:

I hadn’t claimed to have written a masterpiece (nor to be a “he”), but nevertheless I understood his anger toward a me, a writer who lived in India, wrote in English, and who had attracted an absurd amount of attention. My answer to his question made him even angrier. “Nabokov,” I said. And he stormed out of the hall.

The correct answer to that question today would of course be “algorithms.” Artificial Intelligence, we are told, can write masterpieces in any language and translate them into masterpieces in other languages. As the era that we know, and think we vaguely understand, comes to a close, perhaps we, even the most privileged among us, are just a group of redundant humans gathered here with an arcane interest in language generated by fellow redundants.

Only a few weeks after the mother tongue/masterpiece incident, I was on a live radio show in London. The other guest was an English historian who, in reply to a question from the interviewer, composed a paean to British imperialism. “Even you,” he said, turning to me imperiously,

Not being used to radio shows at the time, I stayed quiet for a while, as a well-behaved, recently civilized savage should. But then I sort of lost it, and said some extremely hurtful things.

More here.

Cathryn J. Prince in The Times of Israel:

Born to an Ashkenazi Jewish father and mother of Irish and German descent, science and heredity has long fascinated Carl Zimmer.

But when his wife became pregnant with their first child, heredity became a matter of urgency. He wondered what his child would inherit from him and how that inheritance would get passed down to future generations. Being a dedicated science journalist, Zimmer embarked on a quest to decipher the meaning of heredity.

To properly tell the story he knew he needed to delve into one person’s genome. And whose better than his own?

After he had it sequenced, he showed the results to several researchers and had them interpret the findings. He discovered he carries genes for two serious diseases and that he has many identical genes with a typical Nigerian and Chinese person. But perhaps most importantly, Zimmer learned heredity isn’t what we think it is.

More here.

Janet Malcolm at the NYRB:

In Diana and Nikon I reproduced four pictures from The Snapshot to illustrate the new aesthetic. Except that one of the pictures was not actually from the book, but from Gardner’s desk: the snapshot of the couple on the tennis court. The temptation was too great. The gates stood too wide open. When the book appeared, there on pages 70–71, illustrating the work of The Snapshot’s “sophisticated photographers,” was a spread of four pictures with the captions under them of Joel Meyerowitz, Untitled; Robert Frank, Untitled; Nancy Rexroth, Streaming Window, Washington D.C., 1972; and G. Botsford, Untitled, 1971.

The reader may be wondering how this act of mischief could have gone undetected. Didn’t anyone at David Godine, the book’s publisher, notice? Or was the estimable and amiable Godine in on the mischief? As an A.J. Liebling character once said, “memory grows furtive.” I no longer remember how it was done or whether Godine knew.

more here.

Mark Greif at n+1:

Cavell, rather than being the type of all college professors, turned out to be unique. His tutelage at that time seemed the big experience of my life, and I can’t say that it wasn’t, even now. I was afraid of him, personally—afraid, I mean, of damaging the relation by something personal. I went in later years to his lectures on aesthetics, attended his screenings of operas and films, tried to focus on sessions on Wittgenstein, on language and epistemology.

I have often asked between then and now what I got myself in for, not that it was Cavell’s fault, not that I wouldn’t have gotten in for it anyway. Nietzsche, when young, advised the initiate, in “Schopenhauer as Educator,” which we read at Cavell’s direction, to cultivate an impersonal self-hatred in order to grow, hating that within yourself which is weak and inferior. It took me more years than it should have to learn that this advice wouldn’t work for me; hatred became personal. (This year, fourteen years later, I saw a note of Nietzsche’s set down when he was fourteen years older: “I wish men would begin by respecting themselves: everything else follows from that. To be sure, as soon as one does this one is finished for others: for this is what they forgive last: ‘What? A man who respects himself?’—”)

more here.

Elizabeth Arnold at the Shorenstein Center of Harvard University:

In July of 2008, as a national broadcast correspondent, I reported on environmental conditions in Newtok, a remote community of roughly 400 Yup’ik people in Northwest Alaska. Newtok was losing forty to a hundred feet of coastline a year to erosion, and sinking because of “permafrost” that is no longer permanent, the direct result of a warming climate. Flooding threatened homes, the school, and the only supply of clean water. I chose to report on Newtok because the community was actively working on a relocation plan after voting to move to higher, more stable ground. My story compared the actions of Newtok with Kivalina, an Inupiaq community of the same size situated on a barrier island further north. Kivalina faced similar conditions and had filed suit that same year against ExxonMobil Corp. for damages caused by climate change.

In the decade since my report aired on National Public Radio, news outlets from all over the world visited Newtok, Kivalina, Shishmaref, Shaktoolik and a dozen other Alaska Native communities forced to consider relocation because of the effects of climate change. The national stories all fit the same narrative pattern. With images of houses tipping precariously off cliffs, and phrases such as “impending doom,” and “cultural extinction,” the reporting paints a picture of tragedy and hopelessness, framing community members as victims to sell the urgency of mitigation to the public. As a CNN correspondent unabashedly reported, “a trip here is like a trip into a disturbing future.”

The repetition of this narrow narrative in national and international media for more than ten years has not resulted in a groundswell of support for mitigation or adaptation. Nor has it resulted in public policy at the state or federal level. It may have even undermined the ability of these coastal communities to help themselves.

More here.

Donald Hall at The American Scholar:

Old houses are full of holes. Creatures sneak into the living room. A summer ago, a garter snake entered and slithered across my living room. I stepped on its head and threw it outside. The same year, I discovered a visitor who became my favorite for persistence. A chipmunk took up residence and remained on the first floor for two or three months. Every day I would hear chirping, at first sounding like an electronic signal. Then the chipmunk came into sight, pausing with its paws tucked or folded before it, I suppose sustained by my cat’s kibble and water. As for my cat, she stared at it intently, fascinated. My housekeeper, Carole, bought a tiny Havahart trap and baited it with whatever we imagined was a chipmunk treat. Every morning the bait was gone, but so was the chipmunk. One morning the creature skittered from the kitchen into the toolshed, where the door showed a wide space at its bottom, and never appeared again. I felt abandoned. When autumn descended into winter, I walked into the cluttered dining room, never used in old age, and smelled something rotten in a box of unsorted snapshots. Under a layer of pictures I found the small body of our chipmunk. It had not escaped after all. With a paper towel I picked it up, rigid and almost weightless, and threw it from the door as far as I could. Next morning when I opened the door to pick up the newspaper, half of his small mummified corpse lay beside the door.

more here.

More details about this exciting project here.

Rachel Cooke in The Guardian:

Books are so intimate, somehow, and perhaps this is one reason why so many of the current glut of reading memoirs leave me cold. Even as they strain for this sense of disclosure – don’t you feel like this, too? they ask – their tone is proprietorial, hellbent on exceptionality (I love the Brontës even more than you). You would, I think, accept this from a lover, but not from a writer you’ve never met – unless, I will now add, that writer happens to be Edmund White, the tone of whose new book, The Unpunished Vice: A Life of Reading, quite often resembles the gentle whisper of a sweetheart. Ownership, you see, is not at all his style. In fact, he doesn’t claim always to understand the books that he loves most. “I’ve read it 10 times, though I’m none the wiser for it,” he writes of Anna Karenina, the novel he believes to be the greatest in all of literature.

White’s book is a collection of essays, each connecting the seemingly thousands of books he has read – I find it impossible to imagine anyone better read than White, though with typical modesty he insists he knows lots of people who are – to his long writing life (the author of A Boy’s Own Story is now 78). This is done in loose fashion; like any passionate reader, he hops “from one lily pad to another”. Colette cosies up to Jean Cocteau, and Penelope Fitzgerald to Henry Green, and you must therefore concentrate quite hard, particularly in the matter of writers with whose work you are not familiar (in my case, these included two of his favourites, Jean Giono and Pierre Loti). But it’s wonderful, too: wisdom and a certain kind of tenderness are to be found on every page.

More here.

Carl Zimmer in The New York Times:

Since 1900, average life expectancy around the globe has more than doubled, thanks to better public health, sanitation and food supplies. But a new study of long-lived Italians indicates that we have yet to reach the upper bound of human longevity. “If there’s a fixed biological limit, we are not close to it,” said Elisabetta Barbi, a demographer at the University of Rome. Dr. Barbi and her colleagues published their research Thursday in the journal Science. The current record for the longest human life span was set 21 years ago, when Jeanne Calment, a Frenchwoman, died at the age of 122. No one has grown older since — as far as scientists know. In 2016, a team of scientists at Albert Einstein College of Medicine in the Bronx made the bold claim that Ms. Calment was even more of an outlier than she seemed. They argued that humans have reached a fixed life span limit, which they estimated to be about 115 years.  A number of critics lambasted that research. “The data set was very poor, and the statistics were profoundly flawed,” said Siegfried Hekimi, a biologist at McGill University. Anyone who studies the limits of longevity faces two major statistical challenges. There aren’t very many people who live to advanced ages, and people that old often lose track of how long they’ve actually lived. “At these ages, the problem is to make sure the age is real,” said Dr. Barbi.

…But that’s not what Dr. Barbi and her colleagues found. Among extremely old Italians, they discovered, the death rate stops rising — the curve abruptly flattens into a plateau. The researchers also found that people who were born in later years have a slightly lower mortality rate when they reach 105.

More here.

Barbarians

They do not come with furred caps
Smelling of maresmilk, scimitared,
Dour, as tellable as kites.

They live quietly next door,
Speak almost the same language,
Wear almost the same clothes.

Inside the walls. But
Do not think they lack
Precisely the same intentions.
.

John Fowles, 1973
from Poems, John Fowles
Ecco Press, 1973