Samuel R. Delany’s Dhalgren is—like Moby-Dick, Naked Lunch, or “Chocolate Rain”—an essential monument both to, and of, American craziness. It doesn’t just document our craziness, it documents our craziness crazily: 800 epic pages of gorgeous, profound, clumsy, rambling, violent, randy, visionary, goofy, postapocalyptic sci-fi prose poetry. The book is set in Bellona, a middle-American city struggling in the aftermath of an unspecified cataclysm. Phones and TVs are out; electricity is spotty; money is obsolete. Riots and fires have cut the population down to a thousand. Gangsters roam the streets hidden inside menacing holograms of dragons and griffins and giant praying mantises. The paper arrives every morning bearing arbitrary dates: 1837, 1984, 2022. Buildings burn, then repair themselves, then burn again. The smoke clears, occasionally, to reveal celestial impossibilities: two moons, a giant swollen sun. To top it off, this craziness trickles down to us through the consciousness of a character who is, himself, very likely crazy: a disoriented outsider who arrives in Bellona with no memory of his name, wearing only one sandal, and who proceeds to spend most of his time either having graphic sex with fellow refugees or writing inscrutable poems in a notebook—a notebook that also happens to contain actual passages of Dhalgren itself. The book forms a Finnegans Wake–style loop—its opening and closing sentences feed into one another—so the whole thing just keeps going and going forever. It’s like Gertrude Stein: Beyond Thunderdome. It seems to have been written by an insane person in a tantric blurt of automatic writing.

more from Sam Anderson at New York Magazine here.

There is an aspect of the American aesthetic that approaches design like a child. There’s a giddy lack of propriety, a joyful dismissal of taste, a love of big colors and sparkle. It’s connected to our attitude toward wealth, which often equates beauty with prosperity. In other words, if it looks rich, it must be beautiful. The shinier the better. This aesthetic of bling, though, is not simply about playacting at wealth; it’s about becoming lost in a fantasy of layers upon layers of artificiality and imitation. The Versailles that Larry Hart imitated in the Hartland Mansion (Versailles itself the classic contribution to Artifice) was not even the actual Versailles, but an idea of Versailles based on pictures of Versailles in a book and created with the mass-produced materials available to him at craft and hardware stores. All craft is imitation. There are cultures that imitate things they find in nature, or gods, or traditions that go back thousands of years. In America, imitation isn’t just about copying other essential things; imitation is the essential thing, the basis for whatever it is that “American craft” is. Sure, you’ve got exceptions like the Shakers, who designed elegant originals such as the flat-bottomed broom (which is an amazing thing, truly) and the clothespin. But the clothespin never screamed AMERICA! until Claes Oldenburg made a supersized imitation of it in downtown Philly.

more from Stefany Anne Golberg at The Smart Set here.

Rigorists

….“We saw reindeer
browsing,” a friend who'd been in Lapland, said:
“finding their own food; they are adapted

….to scant reino
or pasture, yet they can run eleven
miles in fifty minutes; the feet spread when

….the snow is soft,
and act as snow-shoes. They are rigorists,
however handsomely cutwork artists

….of Lapland and
Siberia elaborate the trace
or saddle-girth with saw-tooth leather lace.

….One looked at us
with its firm face part brown, part white,—a queen
of alpine flowers. Santa Claus' reindeer, seen

….at last, had grey-
brown fur, with a neck like edelweiss or
lion's foot,— leontopodium more

….exactly.” And
this candelabrum-headed ornament
for a place where ornaments are scarce, sent

….to Alaska,
was a gift preventing the extinction
of the Esquimo. The battle was won

….by a quiet man,
Sheldon Jackson, evangel to that race
whose reprieve he read in the reindeer's face

by Marianne Moore

from News of the Universe;
Sierra Club Books, 1995

From Scientific American:

Like many people, rats are happy to gorge themselves on tasty, high-fat treats. Bacon, sausage, chocolate and even cheesecake quickly became favorites of laboratory rats that recently were given access to these human indulgences—so much so that the animals came to depend on high quantities to feel good, like drug users who need to up their intake to get high. A new study, published online March 28 in Nature Neuroscience, describes these rats' indulgent tribulations, adding to research literature on the how excess food intake can trigger changes in the brain, alterations that seem to create a neurochemical dependency in the eater—or user. (Scientific American is part of Nature Publishing Group.) Preliminary findings from the work were presented at the Society for Neuroscience meeting in October 2009.

Like many pleasurable behaviors—including sex and drug use—eating can trigger the release of dopamine, a feel-good neurotransmitter in the brain. This internal chemical reward, in turn, increases the likelihood that the associated action will eventually become habitual through positive reinforcement conditioning. If activated by overeating, these neurochemical patterns can make the behavior tough to shake—a result seen in many human cases, notes Paul Kenny, an associate professor in the Department of Molecular Therapeutics at The Scripps Research Institute in Jupiter, Fla., and co-author of the new study. “Most people who are overweight would say, 'I would like to control my weight and my eating,' but they find it very hard to control their feeding behavior,” he says. Despite a growing body of research, it has been unclear whether extreme overeating was initiated by a chemical irregularity in the brain or if the behavior itself was changing the brain's biochemical makeup. The new research by Kenny and his colleague Paul Johnson, a graduate student, shows that both conditions are possible.

More here.

From MSNBC:

Does the Shroud of Turin show the “real face of Jesus”? That claim is impossible to judge, even though it serves the title of a documentary about the 3-D analysis of the Shroud of Turin premiering tonight on the History Channel. What can be said is that the centuries-old image wasn’t just painted freehand. Computer analysis of the imprint on the shroud suggests that it had to be left behind by someone draped in cloth. “Is this the artifact of a real person or not? Definitely it is,” Ray Downing, the digital illustrator at the center of the show, told me today. Downing worked with specialists on the shroud to come up with a photorealistic representation of the man whose body's imprint appears faintly on a famous 14-foot-long length of linen. For some Christians, the stain serves as the miraculous snapshot of their risen Lord. For most scientists, it is a cleverly done fake from the 13th or 14th century, but nothing more. Back in 1988, carbon-14 dating tests were conducted on a sample from the shroud in an effort to determine whether the cloth was created in Jesus' time. The verdict from three laboratories was that the cloth was produced in medieval times. But the shroud's fans have insisted that the sample was actually taken from a patch, rather than from the original linen. Just this month, a chemist proposed a new series of non-destructive dating tests that would give an estimate for the entire cloth.

From a marketing perspective, the timing of the History Channel show couldn't be better: Good Friday and Easter Sunday, the Christian holy days that mark Jesus' death and resurrection, are just a few days away. What's more, the shroud is due to go on display for six weeks at Turin Cathedral, starting April 10. The last time the relic was exhibited, a decade ago, more than 3 million people came to Turin to see it. More than a million reservations have been received already for next month's viewing. Have scientists been wrong about the shroud? Downing noted that historical records referring to the shroud predate the current carbon-14 estimate. “We know the carbon-14 [test] is wrong,” he said. “The question is, how wrong are they? The further back you go, the less likely it is that anybody could have faked it.”

More here.

Michael Bérubé in Dissent:

Earlier this year I had a lively email exchange with an exceptionally bright young Chomsky admirer who was deeply annoyed by my book, The Left At War. Part of the exchange was frustrating, insofar as he seemed to believe that if you give up ye olde “false consciousness” explanation for people’s behavior you have no effective way of saying that they are just flat-out wrong. But after a week or so of back-and-forth, we hit upon something that (for me, anyway) shed a nice bright light on what was at stake in the discussion.

He adduced this 2009 essay, “The Torture Memos and Historical Amnesia,” as an example of why he regards Chomsky as so valuable (his word) to a critical understanding of U.S. policy…

My interlocutor explained that whenever he lapses into a merely-liberal Krugman-like faith in American ideals, he finds Chomsky to be a bracing reminder that those ideals have routinely been traduced, and that the justification of torture by American officials is nothing new. And that’s why he’s vexed by left criticism of Chomsky, which he thinks is really “liberal” rather than properly “left.”

It cannot be denied that we have often traduced our ideals. And Chomsky’s essay is in many respects quite good, especially with regard to the history of how “in ordinary American practice, torture was largely farmed out to subsidiaries.” (Though I can do without the ritual repetition of “The 9/11 attack was doubtless unique in many respects. One is where the guns were pointing: typically it is in the opposite direction.” I still find it impossible to read those words without hearing, “and it was about time.” And his attempt to construe the extermination of Native Americans as a “humanitarian intervention” is yet another form of doubling down on his hands-off-the-Balkans position.) But I had two other responses to this young man.

Susan Douglas in In These Times:

Spring 1997.

This was the Spice Girls moment, and debate: Were these frosted cupcakes really a vehicle for feminism? And how much reversion back to the glory days of prefeminism should girls and women accept—even celebrate—given that we now allegedly had it all? Despite their Wonderbras and bare thighs, the Spice Girls advocated “girl power.” They demanded, in their colossal, intercontinental hit “Wannabe,” that boys treat them with respect or take a hike. Their boldfaced liner notes claimed that “The Future Is Female” and suggested that they and their fans were “Freedom Fighters.” They made Margaret Thatcher an honorary Spice Girl. “We’re freshening up feminism for the nineties,” they told the Guardian. “Feminism has become a dirty word. Girl Power is just a ’90s way of saying it.”

Fast-forward to 2008. Talk about girl power! One woman ran for president and another for vice president. Millions of women and men voted for each of them. The one who ran for vice president had five children, one of them an infant, yet it was verboten to even ask whether she could handle the job while tending to a baby. At the same time we had a female secretary of state, and the woman who had run for president became her high-profile successor. And we have Lady Gaga, power girl of the new millennium. Feminism? Who needs feminism anymore? Aren’t we, like, so done here? Okay, so some women moaned about the sexist coverage of Hillary Clinton, but picky, picky, picky.

Indeed, eight years earlier, career antifeminist Christina Hoff Sommers huffed in her book, The War Against Boys: How Misguided Feminism Is Harming Our Young Men, that girls were getting way too much attention and, as a result, were going to college in greater numbers and much more likely to succeed while boys were getting sent to detention, dropping out of high school, destined for careers behind fast-food counters, and so beaten down they were about to become the nation’s new “second sex.” Other books like The Myth of Male Power and The Decline of Males followed suit, with annual panics about the new “crisis” for boys. Girl power? Gone way too far.

First Sam Harris in Project Reason:

[M]any people strongly objected to my claim that values (and hence morality) relate to facts about the wellbeing of conscious creatures. My critics seem to think that consciousness and its states hold no special place where values are concerned, or that any state of consciousness stands the same chance of being valued as any other. While maximizing the wellbeing of conscious creatures may be what I value, other people are perfectly free to define their values differently, and there will be no rational or scientific basis to argue with them. Thus, by starting my talk with the assertion that values depend upon actual or potential changes in consciousness, and that some changes are better than others, I merely assumed what I set out to prove. This is what philosophers call “begging the question.” I am, therefore, an idiot. And given that my notion of objective values must be a mere product of my own personal and cultural biases, and these led me to disparage traditional religious values from the stage at TED, I am also a bigot. While these charges are often leveled separately, they are actually connected.

I’ve now had these basic objections hurled at me a thousand different ways—from YouTube comments that end by calling me “a Mossad agent” to scarcely more serious efforts by scientists like Sean Carroll which attempt to debunk my reasoning as circular or otherwise based on unwarranted assumptions. Many of my critics piously cite Hume’s is/ought distinction as though it were well known to be the last word on the subject of morality until the end of time. Indeed, Carroll appears to think that Hume’s lazy analysis of facts and values is so compelling that he elevates it to the status of mathematical truth:

Attempts to derive ought from is [values from facts] are like attempts to reach an odd number by adding together even numbers. If someone claims that they’ve done it, you don’t have to check their math; you know that they’ve made a mistake.

This is an amazingly wrongheaded response coming from a very smart scientist. I wonder how Carroll would react if I breezily dismissed his physics with a reference to something Robert Oppenheimer once wrote, on the assumption that it was now an unmovable object around which all future human thought must flow. Happily, that’s not how physics works. But neither is it how philosophy works. Frankly, it’s not how anything that works, works.

Carroll appears to be confused about the foundations of human knowledge. For instance, he clearly misunderstands the relationship between scientific truth and scientific consensus. He imagines that scientific consensus signifies the existence of scientific truth (while scientific controversy just means that there is more work to be done). And yet, he takes moral controversy to mean that there is no such thing as moral truth (while moral consensus just means that people are deeply conditioned for certain preferences). This is a double standard that I pointed out in my talk, and it clearly rigs the game against moral truth.

Sean Carroll's rejoinder:

I wanted to try to clarify my own view on two particular points, so I put them below the fold. I went on longer than I intended to (funny how that happens). The whole thing was written in a matter of minutes — have to get back to real work — so grains of salt are prescribed.

First, the role of consensus. In formal reasoning, we all recognize the difference between axioms and deductions. We start by assuming some axioms, and the laws of logic allow us to draw certain conclusions from them. It’s not helpful to argue that the axioms are “wrong” — all we are saying is that if these assumptions hold, then we can safely draw certain conclusions.

A similar (although not precisely analogous) situation holds in other areas of human reason, including both science and morality. Within a certain community of like-minded reasoners, a set of assumptions is taken for granted, from which we can draw conclusions.

Toward the end of John Banville’s new novel, “The Infinities” (Knopf; $25.95), a more or less contemporary tale over which the Greek gods Zeus and Hermes rather startlingly preside, a snooty character to whom someone is describing an “updated” production of a play about the parents of Hercules declares that he “does not approve of the classics being tampered with”: the Greeks, he says, “knew what they were doing, after all.” The joke is that the pretentious young man doesn’t know what he’s talking about. The play in question, “Amphitryon”—whose themes, of adultery, confused identities, and improbable Olympian interventions, are actually the model for Banville’s novel—isn’t Greek at all. Rather, it’s an early-nineteenth-century German reworking of late-seventeenth-century French and English rewritings of a second-century-B.C. tragicomedy written in Latin. And that was just then. In the twentieth century alone, the Amphitryon myth has been adapted by a French novelist, two German playwrights, an opera composer, an anti-Nazi filmmaker, and Cole Porter. Have we ever done anything but tamper with the classics?

more from Daniel Mendelsohn at The New Yorker here.

The 20th century dawned not on the first day of 1900 (or, for purists, 1901) but on a September evening in 1894, when a cleaner at the German embassy in Paris found a torn-up letter in the military attaché’s wastebasket. The cleaner was working for French intelligence, and the letter, once reassembled, was found to contain military secrets being offered by an unnamed French Army officer. After a cursory investigation, authorities arrested Alfred Dreyfus, a Jewish artillery captain working at General Staff headquarters. Thus began the Dreyfus Affair, in which an innocent man was unjustly convicted, amid rising xenophobia and anti-Semitism, and sent off to rot on a deserted island in South America. A vigorous public campaign against the howling injustice of the affair raged for more than a decade before the captain’s final vindication, which divided France into warring camps of Dreyfusards and anti-Dreyfusards, republicans and traditionalists. Dreyfus’s ordeal was the first big test of a modern justice system, and it defined one of the central issues of democracy: should the rule of law be applied consistently, or are there cases in which it should be bent to fit a current crisis or pressing national concern? Even today, hardly a month passes without an alleged misstep of justice somewhere in the world being labelled a “new Dreyfus Affair”.

more from Donald Morrison at the FT here.

Yiping Huang in Vox:

Most economists would agree with Krugman that the renminbi is probably undervalued. But the extent of misalignment remains a controversial subject. For instance, applying a purchasing power parity approach, Menzie Chinn of University of Wisconsin at Madison and his collaborators estimated an undervaluation of about 40%. But after the World Bank’s 40% downward revision of Chinese GDP in PPP terms, that undervaluation disappeared completely. Nick Lardy and Morris Goldstein of the Peterson Institute of International Economics suggested that the renminbi was probably only undervalued by 12-16% at the end of 2008. My colleague Yang Yao and his collaborator at the Peking University found even less misalignment.

The renminbi exchange rate is but one, and perhaps not even the most important, factor behind China’s large trade and current account surpluses. Among other factors, economic studies have attributed the recent surge in China’s external imbalances to the unique population dividend and the relocation of industries from other Asian economies. My own research has also highlighted the importance of distortions in domestic factor markets, which were largely legacies of the pre-reform economic systems of central planning.

To resolve the global imbalance problem, China, the US, and other countries will need to work together and adopt more comprehensive reform packages, focusing not only on the exchange rate regime but also on domestic structural reforms in their respective countries. Exclusive focus on the renminbi exchange rate issue is likely to be both ineffective and counter-productive. Between mid-2005 and mid-2008, the renminbi appreciated by 22% against the dollar and by 16% in real effective terms. But China’s external imbalances continued to widen rapidly.

The US started to lose manufacturing jobs way before China emerged as a global manufacturing centre. China’s current account surplus increased after 2004. But America’s current account deficits mushroomed from around the turn of the century. There is no denying that China and the US should work together to resolve the imbalance problem. But to say that China’s surplus caused America’s deficits, which emerged much earlier, is simply at odds with common sense.

So what would happen were the Obama administration to follow Krugman’s advice?

In The Millions:

The Millions: Your acrobatic sentences may remind contemporary American readers of Donald Barthelme, or even of Diane Williams, but I’m guessing that when you turned to novel-writing during the Kádár era, such linguistic self-consciousness was sui generis. Can you tell us a bit about how your style developed, and how it fit into the social, political, and aesthetic climate of Budapest in the ’70s?

Péter Esterházy: My admittedly conscious use of language, I think, was not conscious. It was my hand or my stomach that knew. In short, I didn’t approach writing from the vantage point of theory, but from the side of practice – much like a stonemason. A stonemason is brick-centered, too. At the time this was considered marginal, but at the time marginality seemed the natural state of being. The center is suspect. Everything that is official is suspect. Except, in essence, it’s basically the official that exists. This is what we call a dictatorship.

TM: Did you feel yourself to be part of a broader movement of younger writers or artists, or did you have a sense of doing something quite radical? And how did your academic training as a mathematician inform your approach to fiction?

PE: I think that as far as my reflexes are concerned I would have liked to have been a so-called l’art pour l’art writer. But in a dictatorship everything takes on political coloring, and though a writer may declare, or rather practice, that a text is a text is a text (and a rose), still all this ends up in a pronounced moral sphere, it takes on social function; in fact, whether the writer intends it or not, that’s the role it plays. But that’s all right. It is what happened to my books as well.

At first I noticed similar aspirations among contemporary poets (Dezső Tandori, Imre Oravecz). Clearly, the same thing comes off as a sort of radicalism in prose. But my temperament is less radical than it is consistent.

Later this spring, a team of scholars at Germany’s Berlin-Brandenberg Academy of Sciences will complete the first phase of what will ultimately be an unprecedented, two-decade effort to throw light on the origins of the Koran. The project, called the Corpus Coranicum, will be something that scholars of the Koran have long yearned for: a central repository of imagery, information, and analysis about the Muslim holy book. Modern research into Islam’s origin and early years has been hampered by the paucity and inaccessibility of ancient texts, and the reluctance of Muslim governments in places like Yemen to allow wide access to them. But, drawing on some of the earliest Korans in existence — codices found in Istanbul, Cairo, Paris, and Morocco — the Corpus Coranicum will allow users to study for themselves images of thousands of pages of early Korans, texts that differ in small but potentially telling ways from the modern standard version. The project will also link passages in the text to analogous ones in the New Testament and Hebrew Bible, and offer an exhaustive critical commentary on the Koran’s language, structure, themes, and roots. The project’s creators are calling it the world’s first “critical edition” of the Koran, a resource that gathers historical evidence and scholarly literature into one searchable, cross-referenced whole.

more from Drake Bennett at The Boston Globe here.

Ballad

forgive me if i laugh
you are so sure of love
you are so young
and i too old to learn of love.

the rain exploding
in the air is love
the grass excreting her
green wax is love
and stones remembering
past steps is love,
but you. you are too young
for love
and i too old.

once. what does it matter
when or who, i knew
of love.
i fixed my body
under his and went
to sleep in love
all trace of me
was wiped away

forgive me if I smile
young heiress of a naked dream
you are so young
and i too old to learn of love.

by Sonia Sanchez

Sameer Rahim in The Telegraph:

This weekend, a sad scene is playing itself out on a busy west London high street. The Kilburn Bookshop, which has served readers for 30 years, is closing its doors for the last time. Many factors are involved – the recession and rent increases among them – but the bookshop’s manager, Simon-Peter Trimarco, believes there are deeper reasons for the closure. One problem is that browsers now rarely put their hand in their pocket. “Only one in 10 customers will end up buying a book.” They find what they want and then go to Tesco or Amazon where there are heavy discounts. (There is even an iPhone app that lets you scan a book’s bar code and find the cheapest price.) The Kilburn Bookshop is friendly and has something of a literary pedigree: “Zadie Smith came in as a little girl,” Trimarco says. If this shop can’t survive, then which can? Very few, it seems. Last year, one in 10 independent bookshops closed, at a rate of three a week. “I’m despairing,” Trimarco says.

The death of independent bookshops is just one symptom of a much wider crisis in publishing. Discounted books, online bookselling and the advent of ebooks are destroying old patterns of reading and book buying. We are living through a revolution as enormous as the one created by Gutenberg’s printing press – and authors and publishers are terrified they will become as outdated as the monks who copied out manuscripts. How this happened is down to ambitious editors, greedy agents, demanding writers and big businesses with an eye for easy profit. Combine that with devilishly fast technological innovation and you have a story as astonishing as the credit crunch – and potentially as destructive.

More here.

Sandeep Jauhar in The New York Times:

“I’m tired of paying for everyone else’s stupidity,” is a comment I read on the Internet last week after the health care bill was passed. It summed up the views of many Americans worried about shelling out higher premiums and taxes to cover the uninsured. Why should we pick up the tab when so much disease in our country stems from unhealthy behavior like smoking and overeating?

In fact, the majority of Americans say it is fair to ask people with unhealthy lifestyles to pay more for health insurance. We believe in the concept of personal responsibility. You hear it in doctors’ lounges and in coffee shops, among the white collar and blue collar alike. Even President Obama has said, “We’ve got to have the American people doing something about their own care.” But personal responsibility is a complex notion, especially when it comes to health. Individual choices always take place within a broader, messy context. When people advocate the need for personal accountability, they presuppose more control over health and sickness than really exists.

More here.

Sughra Raza. Karachi ki dopeher. March, 2010.

Digital photograph.

Erica Westly in IEEE Spectrum:

The term molecular gastronomy conjures up images of strangely colored droplets and foams arranged on a plate. As a result, this scientific approach to cooking is often derided as cold and unfeeling—the opposite of what good food is supposed to be. At its heart, though, molecular gastronomy—or, as it’s sometimes called, molecular cooking—involves using technological tools to create dishes that are delicious as well as innovative. One of the genre’s best tricks is applying seemingly mundane technologies from the food-processing industry to high-end ingredients like oysters and lobster. As the following five examples illustrate—three of which premiered in February at the prestigious Flemish Primitives culinary festival, in Belgium—the resulting techniques stand to benefit restaurant chefs and even home cooks.

1. At this year’s Flemish Primitives, Bernard Lahousse, a food consultant with a bioengineering degree, used a high-pressure processing (HPP) machine to infuse oysters with tomato and other flavors without sacrificing freshness or textural integrity. This marked the first time an HPP machine was used for culinary purposes, but the technology is a staple of the seafood-processing industry, which started employing the technology to extract meat from shellfish in the late 1990s. At US $500 000 to $2.5 million, HPP machines are too expensive for most restaurant kitchens, but chefs have been known to create tabletop versions of industrial equipment. Take, for example, the Reveo meat tumbler, a miniature version of an industrial meat tenderizer that retails for about $170.

Cathleen McCarthy profiles some academic bloggers, including Brad DeLong, Dan Drezner, John Holbo and Cosma Shalizi, in California Magazine (via bookforum):

Whether blogs are bringing anyone closer to the truth, Holbo’s not sure. “People aren’t nearly as blunt in academic writing as they often are in the blog space. Even so, when academics argue with other academics on a blog, it’s generally pretty well-mannered—sarcastic, but well- mannered,” he says.

Cosma Shalizi ’93 is a case in point. Of all the blogs that brainiacs love to love, Shalizi’s The Three-Toed Sloth is one of the most esoteric. His undergraduate degree from Berkeley is in physics and he is now an assistant professor in statistics at Carnegie Mellon University. Bloggers from every discipline comment on his posts despite the fact that, if you have no statistics training, they read like a foreign language. His posts are sporadic, well researched, and loaded with a scientist’s idea of tongue-in-cheek humor. Just one can effectively eviscerate the latest popular theory.

If there’s one thing Shalizi can’t stand, it’s misinformation bandied about in the name of science. “A lot of the time, when I’m motivated enough to post something, it’s because I think someone is ‘being wrong on the Internet,’ as the saying goes—and this cannot stand,” Shalizi says. “It’s usually something I’ve read more than once and it seems such a pack of lies, or utter misunderstandings, that I feel like writing something. I wish I wasn’t so destructively motivated, but I am.”

When asked how much time and effort that takes, he says, “Quite a bit, to be honest. Part of that is the fact that I’m way over trained as an academic, and part is also wanting to leave people no excuse or way out,” Shalizi says. “If I can show that they’re just totally wrong, thoroughly wrong, then I will try to do that.”

“Of all the things I’ve written about, IQ and Wolfram got the most reaction,” he says, referring to his dissection of Stephen Wolfram’s best-selling A New Kind of Science, and to a series of posts in 2007 debunking the theory of IQ—particularly “the statistical myth” of g, or general factor of intelligence. “I wouldn’t say Wolfram is lying as much as utterly self-deluded. The IQ people I do think are lying.”

Shalizi rebutted Wolfram’s book in a post titled “A Rare Blend of Monster Raving Egomania and Utter Batshit Insanity.” He opens with “It is my considered, professional opinion that A New Kind of Science shows that Wolfram has become a crank in the classic mold, which is a shame, since he’s a really bright man, and once upon a time did some good math ….”

Julie Bindel in The Guardian:

Iceland is fast becoming a world-leader in feminism. A country with a tiny population of 320,000, it is on the brink of achieving what many considered to be impossible: closing down its sex industry.

While activists in Britain battle on in an attempt to regulate lapdance clubs – the number of which has been growing at an alarming rate during the last decade – Iceland has passed a law that will result in every strip club in the country being shut down. And forget hiring a topless waitress in an attempt to get around the bar: the law, which was passed with no votes against and only two abstentions, will make it illegal for any business to profit from the nudity of its employees.

Even more impressive: the Nordic state is the first country in the world to ban stripping and lapdancing for feminist, rather than religious, reasons. Kolbrún Halldórsdóttir, the politician who first proposed the ban, firmly told the national press on Wednesday: “It is not acceptable that women or people in general are a product to be sold.” When I asked her if she thinks Iceland has become the greatest feminist country in the world, she replied: “It is certainly up there. Mainly as a result of the feminist groups putting pressure on parliamentarians. These women work 24 hours a day, seven days a week with their campaigns and it eventually filters down to all of society.”

The news is a real boost to feminists around the world, showing us that when an entire country unites behind an idea anything can happen. And it is bound to give a shot in the arm to the feminist campaign in the UK against an industry that is both a cause and a consequence of gaping inequality between men and women.

According to Icelandic police, 100 foreign women travel to the country annually to work in strip clubs. It is unclear whether the women are trafficked, but feminists say it is telling that as the stripping industry has grown, the number of Icelandic women wishing to work in it has not. Supporters of the bill say that some of the clubs are a front for prostitution – and that many of the women work there because of drug abuse and poverty rather than free choice. I have visited a strip club in Reykjavik and observed the women. None of them looked happy in their work.

So how has Iceland managed it?