Ellen Jovin in Literary Hub:

In the late afternoon of September 21, 2018, I exited my New York apartment building carrying a folding table and a big sign reading GRAMMAR TABLE. I crossed Broadway to a little park called Verdi Square, found a spot at the northern entrance to the Seventy-Second Street subway station, propped up my sign, and prepared to answer grammar questions from passersby.

This might seem bizarre to some, but to me it felt like destiny. I’ve been teaching writing and grammar for decades. I love grammar. I’ve studied twenty-five languages for fun. My bookshelves are filled with grammar and usage books, carefully alphabetized by language from Albanian to Zulu.

More here.

Jonathan Shaw in Harvard Magazine:

INTERPRETING ANCIENT DNA—a scientific approach that has grown powerfully during the past decade—reveals that human history is a story of mixing and migration at a scale and complexity that no one previously imagined. Waves of people and genes have flowed across oceans and continents for millennia, creating a mosaic of admixture. Genetically, “race” is a broken concept, this work shows, because every population is a mixture of other populations—which are themselves mixtures of still earlier populations. The analysis of ancient DNA can nevertheless reveal genetic signatures of people who lived in a particular time and place—proving that today’s inhabitants are not necessarily descended from the inhabitants of thousands of years ago. Britain, for instance, has experienced no fewer than five major waves of migration in the last 10,000 years. Three of these migrations involved near-total replacement of the then-native population.

Genetic studies have also provided objective evidence that has helped answer or refine longstanding questions in archaeology, anthropology, and linguistics. How did farming spread, or Indo-European languages? What happened to the Neanderthals? The research has upended certain theories and affirmed others, as it rapidly matures into a freestanding discipline. In 2010, scientists had assembled just five ancient human genomes, including three Neanderthals. Today, the lab of professor of genetics and of human evolutionary biology David Reich alone has sequenced more than 16,000 ancient humans from around the world.

More here.

Chantel Prat in Nautilus:

I remember all too well that day early in the pandemic when we first received the “stay at home” order. My attitude quickly shifted from feeling like I got a “snow day” to feeling like a bird in a cage. Being a person who is both extraverted by nature and not one who enjoys being told what to do, the transition was pretty rough.

But you know what?

I got used to it. Though the pandemic undoubtedly affected some of your lives more than others, I know it touched every one of us in ways we will never forget. And now, after two years and counting, I am positive that every person reading this is fundamentally different from when the pandemic started. Because that’s how our brains work. They are molded by our experiences so that we can fit into all kinds of different situations—even the decidedly suboptimal ones. This is actually one of the most human things about all of our brains. In fact, according to some contemporary views of human evolution, our ancestors underwent a “cognitive revolution” precisely because they were forced to adapt. Based on evidence suggesting that the size of our ancestors’ brains increased following periods of extreme weather instability, one popular explanation for our remarkable flexibility is that the hominids who were not able to adapt to environmental changes didn’t survive. In other words, the brains of modern humans were selected for their ability to learn and adapt to changing environments.

More here.

Guy Gunartne in The Guardian:

“One morning Anders, a white man, woke up to find he had turned a deep and undeniable brown.” So begins Mohsin Hamid’s inventive new novel, The Last White Man. Anders, as it turns out, is not an isolated case. More people in an unnamed town begin to change, including Oona, a yoga instructor and a friend of Anders. Violence inevitably erupts around them. White vigilante gangs terrorise the transformed, while some doggedly refuse to accept an end to whiteness. At its heart, this is a novel about seeing, being seen, loss and letting go. The loss of privilege that comes from being perceived as white, and no longer being able to view the world from within whiteness, are some of the anxieties examined here.

The immediacy of the novel’s opening may evoke Franz Kafka’s Metamorphosis, but Hamid’s prose style is much more akin to José Saramago. His often paragraph-long sentences are set to an unbroken rhythm. At times, it reads like a parable. We move briskly from hypnotic early depictions of social rupture to the tenderness of the closing stages. Hamid’s decision to foreground the themes of loss and mourning allows the novel to speak most incisively to the condition of whiteness itself.

More here.

T V Padma in Nature:

An injectable drug that protects people at high risk of HIV infection has been recommended for use by the World Health Organization (WHO). Cabotegravir (also known as CAB-LA), which is given every two months, was initially approved by the United States Food and Drug Administration in December 2021.

Cabotegravir is currently manufactured by ViiV Healthcare, a UK-based company jointly owned by GSK in London, Pfizer in New York City and Shionogi in Osaka, Japan. On 28 July, the day that the WHO issued its recommendation, ViiV announced a voluntary licensing agreement in which up to three other companies would be allowed to produce and supply generic versions of the drug; these would be intended for use in 90 of the world’s lowest-income countries, where the majority of new HIV cases occur.

“We believe that widening access to cabotegravir could be game-changing in HIV prevention and could significantly contribute towards the goal of ending the HIV epidemic,” a ViiV Healthcare spokesperson said. But many are concerned that the drug will be too expensive to have an impact. Campaign groups say that the drug’s price tag — estimated at US$3,700 per vial in the United States — puts it out of reach of the poorest countries. The medical charity Doctors Without Borders has called the license “limited and disappointing”.

ViiV has promised to provide the drug at a “not for profit price” for public programmes in low income countries. It has not said what this price would be — but it has told Nature that it will be more than $10 per dose, the price that campaign groups are urging.

More here.

Jennifer Szalai at the NYT:

Care work — tending to the sick, the very young or the very old — has long been denied the kind of recognition (and remuneration) that such essential labor deserves. Activists have argued that society should treat it as a social good, affording people the time and the resources to attend to loved ones as needed.

But there’s still the stubborn fact that for some people and some relationships, caregiving will always feel like a burden, no matter how assiduously one might try to manage it. In “Mothercare,” the novelist and critic Lynne Tillman offers an account that is startling in its blunt, even brutal, refusal of sentimentality. “Handling Mother’s body violated her and me,” Tillman writes, recalling how she would help her mother use the bedside commode. “Carrying it full from her bedroom to the toilet and dumping it disgusted me. I would gag, and that never stopped.”

more here.

Will Di Novi at Hazlitt:

Ever since ancient Uruk, the world’s first major city, founded around 4000 BC in what is now Iraq, alleys have served as a borderland between private and public life. Uruk’s covered lanes, no more than eight feet wide, offered respite from the sun when residents walked to the temple, as well as a space to escape from tiny windowless homes. A place to meet and make mischief, tucked away from the plazas where power and privilege reigned, these were sites where urban ideals collided with human desire.

That would never change. Even as the back alley shifted form and function, inspiring local variants in every urban culture—the “castra” alleyways in Roman fortress towns, the hutongs of Beijing, the terraced lanes of Istanbul with howling packs of dogs—it stayed the city’s unofficial social laboratory. The lower and middle classes of early modern Seoul defied a rigid caste system in narrow Pimagol: “Avoid-Horse-Streets” where nobles couldn’t ride.

more here.

Melinda Cooper in Phenomenal World:

When the Federal Reserve turned to unconventional monetary policy in 2008, many feared that we would soon see a return to the wage-price spiral of the 1970s. The combination of deficit spending and monetary ease raised the old specter of debt monetization, in which the Treasury sells its debt directly to the central bank instead of the bond market, thereby freeing itself from interest obligations and market discipline. (Pejoratively, this is referred to as “printing money.”) But while quantitative easing (QE) did involve the mass purchase of Treasury bonds by the Federal Reserve, the Fed was buying these bonds from private financial institutions, not from the Treasury itself. Instead of opening a direct line from the central bank to the Treasury (a public—and, in theory, democratic—entity) , the Fed’s “money printing” operation detoured around the Treasury to create new reserves on the books of primary-dealer banks.

This was, at best, an indirect form of debt monetization. But inflation hawks nevertheless turned to the well-worn scripts of the 1970s to make sense of what was happening. By driving down interest rates on future government borrowing, they warned, QE would encourage wanton social spending and release workers from the discipline of the market. Wages would inevitably be driven upwards at the expense of profits. They need not have worried. Beginning with the Troubled Asset Relief Program or TARP, which bailed out private financial institutions while leaving indebted households underwater, post-crisis fiscal stimulus has prevented a collapse in consumption but done little to offset the astounding concentration of wealth and income at the top. For all these reasons and more, the Fed’s decade-long (and counting) experiment with the money printer has failed to resurrect the wage-push consumer-price inflation of the early 1970s.

More here.

Thea Riofrancos in The Nation (illustration by Tim Robinson):

n 1957, as the postwar economic boom led to a “great acceleration” in hydrocarbon energy use, a group of scientists working for a Texas-based petroleum company called Humble Oil (later renamed ExxonMobil) embarked on a study prompted by growing public concern over air pollution and new research on the consequences of burning fossil fuels. What they found was that the “enormous quantity of carbon dioxide” in the atmosphere was linked to the “combustion of fossil fuels.” Sixty-five years later, reality has proved to be even worse than their findings. With the unchecked combustion of fossil fuels releasing enormous quantities of carbon, the world is now on track to reach 5.8 degrees Fahrenheit above preindustrial levels. At the most recent UN Climate Change Conference, the assembled heads of state produced, yet again, zero binding commitments to reduce those emissions. And despite the green rhetoric, only 6 percent of the fiscal stimulus packages implemented by the G20 nations in 2020 and 2021 have contributed to emissions reductions, even as oil company profits soared to record highs. Amid government inaction, it has also become clear that the private sector will not save us. We’ve been told that benevolent investors would reroute capital away from dirty energy sectors and toward the green industries of the future. But the promise of “socially responsible finance” has proved to be mostly a scam. Despite pledges to do otherwise, Blackrock, the world’s largest asset manager, has continued to invest in fossil fuel companies, and the production of coal—the dirtiest fossil fuel—is now on the rise.

Meanwhile, with neither states nor capital doing all that much to slash carbon use, emissions have fully rebounded from their pandemic slump.

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Gordon Peake and Miranda Forsyth in Aeon:

We live in Canberra and Washington, DC, two stately capital cities that embody all the trappings and the ethos of the bureaucratic state. With their monuments, statues and symmetrical lines, the architects of both cities dreamt them as manifestations of the rational administrations that would work there. Imposing government buildings are the dominant architectural feature of both places, rising like redwood plantation trees in a planned forest. Irrespective of the decade or the party in charge, policies and plans that emerge from these buildings have the hallmarks of a planned forest, too: ordered, consistent and ostensibly guided by clear rules.

In terms of their scale, size and administrative grandeur, Canberra and Washington, DC are as different as can be from another city where we have both spent time: little Buka Town, the tumbledown, sun-scorched capital of Bougainville, presently an autonomous region of Papua New Guinea (and possibly soon the world’s newest country, after a 2019 referendum on independence, in which 97.7 per cent of the population voted in favour). In Buka, there is no capacious national repository to store administrative documents: the Bougainville government’s archives are a rusty-red shipping container into which papers get chucked periodically.

Ironically, though, it was in Buka that we found ourselves constantly bumping into the ghost of Max Weber, considered the father of bureaucracy (although he himself might bristle at that designation).

More here.

Amphibian

In my sleep, in my sleep, I am pulses of purple. My eyes
I can see from the outside. The sea is around and around
The small me in my sleep. Amniotic hypnosis pulls me
To the depths. I am born of the sea, I am shaped like these
waves.

In the daylight I walk to the corner and edge, to the tooth
And the elbow, to pyrite and glass. Every step becomes firm
On the concrete — the echoes staccato, the distance discrete.
I know where I am headed. I see all directions for miles.

When the sunlight intrudes on the sea, it illumines the beasts.
When the sea washes over the land, I am knocked from my feet.
I’m at home where I am, I’m in danger always, I can breathe
Through my skin. And the shoreline traversed changes nothing
at all.

by J-T Kelly
from the Eco Theo Review

Sujata Day in Salon:

When my parents first told me I was going to Hindu camp, I was not happy. And, to be honest, I was more than a little scared. My parents claimed they knew what was best for me, vom. Most of my summer vacations were spent back in India with family, so it was almost a treat to be able to stay home for once. I’d miss swimming at Park N Pool, riding bikes to Dairy Queen and picnicking at Idlewild Park. Why would I want my perfect summer in the ‘burbs to be interrupted by some stupid camp where I wouldn’t know anyone? Would there be bears? And even more terrifying, would there be cute boys?

I pouted in the backseat while my dad drove our family up the 79, past the Grove City outlets, through Meadville and finally reaching Lake Erie. I was also bummed because the temple sent a list of things we should pack and a lehenga was one of them. As a tomboy who lived in jean shorts and T-shirts, a girly ‘fit wasn’t on my list of favorite things.

Wearing my best frown, I walked past squealing reunited campers and shuffled my way to the girls’ cabin. Its tragic emptiness was a perfect match for my pathetic, Eeyore state of mind. I wanted to run after my parents and beg them to take me home, but instead I tossed my bag on an unoccupied bunk and begrudgingly unpacked. Then, the cabin door sprang open and Mishti bounced in. She peppered me with a barrage of questions. Where was I from? What school did I go to? Was I any good at softball?

More here.

Clive Thompson in Smithsonian:

Steven Preister’s house in Washington, D.C. is a piece of American history, a gorgeous 110-year-old colonial with wooden columns and a front porch, perfect for relaxing in the summer. But Preister, who has owned it for almost four decades, is deeply concerned about the environment, so in 2014 he added something very modern: solar panels. First, he mounted panels on the back of the house, and they worked nicely. Then he decided to add more on the front, facing the street, and applied to the city for a permit.

Permission denied. Washington’s Historic Preservation Review Board ruled that front-facing panels would ruin the house’s historic appearance: “I applaud your greenness,” Chris Landis, an architect and board member, told Preister at a meeting in October 2019, “but I just have this vision of a row of houses with solar panels on the front of them and it just—it upsets me.” Some of Preister’s neighbors were equally dismayed and vowed to stop him. “There were two women on my front porch snapping pictures of my house and declaring, ‘You’ll never get solar panels on this house!’” Preister says.

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Philip Sherburne at Pitchfork:

Marina Herlop wants to talk about basketball. I did not see this coming—Herlop is a classically trained pianist and experimental composer who combines Romantic impressionism and Carnatic vocalizations into art pop as severe and luminous as fine-tipped crystals. But here in a sweltering upstairs cafe near her apartment in Barcelona, she asks me if I’ve seen Space Jam. It is one of three times that she will bring up Michael Jordan or the Chicago Bulls over the course of the afternoon.

“There’s this ball that’s charged with energy,” she says, explaining the plot of the 1996 Jordan and Bugs Bunny buddy comedy, cupping her hands around an imaginary orb. In her analogy, the basketball is meant to represent her new album, Pripyat.

more here.

Jerry Saltz at New York Magazine:

His huge Technicolor paintings, draped without frames, crossed over into sculpture — tabernacles to fearlessness and radicality. Hung from the ceilings or tacked to the walls, they looked like canvas mountain ranges or gigantic tents and huts, marching cities on the plain.

The epic scale of these paintings intensified the minds of viewers. They felt fun, thrilling, revolutionary — an advanced vocabulary of familiar things acting strangely. Here were paintings that were storm-blown into swooping, cresting shapes, great oceanic structures that were metaphors for the sublime. You could not turn away. By his 30s, Gilliam had already cracked the code of the canon. He took color-field and stain painting, Ab Ex all-over-ness, and cross-wired it with the shaped paintings of the early 1960s, which bent and broke through the traditional rectangular frame.

more here.