Katrina Gulliver in City Journal:

When I was 12, I went to the mall after school to look at a dress in the window at Laura Ashley. I pined after that dress. And Laura Ashley, unlike the fast-fashion outlets of today, kept the same dress in the window for weeks, its floral print illuminated by fluorescent lights.

Making people want things has always been part of mall design. In their ideal form, malls offer a smorgasbord of shopping options in a safe, climate-controlled environment. Around the next corner is another store, with another window, offering something new. Meantime, one finds places to eat, places to sit, and piped-in music to maintain the mood. What you want is not simply the object you shop for but to be at the mall. The “Gruen Transfer,” named for mall designer Victor Gruen, is defined as the point in time that mall-going ceases to be about running an errand and becomes about enjoying the visit itself.

As architecture critic Alexandra Lange notes in Meet Me By The Fountain, “People love to be in public with other people.” For the suburbs, malls offered this experience in the way that parks and town squares had in the past. Like railway stations and hotels before them, malls created a zone of public-private space: private property, yet open to the public to use within certain bounds. They are enjoyed by groups as diverse as white-haired walking groups, teenage truants, and representatives of fringe religions scouting for recruits.

More here.

Visiting the Oracle

It’s dark on purpose
so just listen.

Maybe I inhabit a jar, maybe a pot,
maybe nothing. Only this
loose end of a voice
rising to meet you.
It sounds like water.
Don’t think about that.

Let your servants climb back down the mountain
by themselves. I’ll listen.
I’ll tell you everything
I discover, but I can’t
say what it means.

Someone will always
assure you of the best of fortunes,
but you know better.

And keep this in mind: The answer
reveals itself in time
like the clue that fits
perfectly and explains everything
after the crime has been solved.

Then you will say: I should have known.
It was there all along
and never even concealed,
like the story of the letter
overlooked by the thief because
it had not been hidden.
That’s the trick, of course.

You didn’t need me.

by Lawrence Raab
from The Collector of Cold Weather
Ecco Press, 1976

Gregory Afinogenov in The Nation (illustration by Lily Qian):

As the Soviet Union was collapsing in 1991, the emerging Russian writer Vladimir Sorokin attended a literary conference in Munich. At the conference dinner, he raised a toast to Stalin—not as the victor of World War II or the hero of Soviet industrialization, but as “the creator of the repressive mechanism thanks to which I was able to succeed as a writer.”

Sorokin has always been the consummate troll, and it would be easy to write this episode off as an attempt to tweak the sensibilities of his Western colleagues. Yet in this case he was quite sincere. The regime he loathed had provided him a framework within which to operate, a system of tropes and signifiers he’d made it his mission to subvert. His reputation as an author—already considerable in avant-garde circles, though not yet the massive literary celebrity he would come to enjoy—rested on his mastery of Soviet ideological language but also the ruthlessness with which he undermined it. Their Four Hearts, written in 1991 and now released in Max Lawton’s lively translation by Dalkey Archive Press, represents the culmination of this literary project.

More here.

Patrick Iber interviews Matt Duss in Dissent:

Since 2017, Matt Duss has served as the foreign policy advisor to Senator Bernie Sanders. From that position, Duss, who has a background in U.S.–Middle East policy, has been able to draw attention to issues—such as how U.S.-supplied arms to Saudi Arabia are contributing to humanitarian catastrophe in Yemen—that often go unchallenged. But his path to his current position was an unusual one. In this interview, which has been edited for length and clarity, we talk about how his background informs his thinking, what the Biden administration is doing well and where it should be doing better, and how to build a more robust infrastructure for progressive foreign policy.

Patrick Iber: Why did you become interested in foreign policy?

Matt Duss: A few reasons. First, my father’s family are refugees from Ukraine. He was born in a [displaced persons] camp in Germany after the Second World War and came as a young child to the promised land of Greenpoint, Brooklyn. I grew up in Nyack, New York, but I spent a lot of time down in Brooklyn with my grandparents. Interacting with the community of Polish and Ukrainian and Russian immigrants in Greenpoint, hearing the conversations that took place around the table even if I wasn’t aware of their full political scope, gave me an awareness and interest in the wider world. Then, when I was ten years old, our family spent a year living in the Philippines while my parents both worked in a processing center in Bataan for Vietnamese and Cambodian refugees, who were fleeing in the wake of the Vietnam War. It was a very interesting time to be in the Philippines. It was the Ferdinand Marcos era; I was there when [opposition leader Benigno] Aquino was assassinated. It was also interesting to observe the Cold War from that vantage point. Korean Air Lines Flight 007 was shot down [by the Soviet Air Forces] when I was there. Two global superpowers eyeing each other with their hands on their guns certainly feels different when you aren’t behind them. I think those experiences planted an interest in international affairs.

More here.

What Kind of Times Are These

There’s a place between two stands of trees where the grass grows uphill
and the old revolutionary road breaks off into shadows
near a meetinghouse abandoned by the persecuted
who disappeared into those shadows.

I’ve walked there picking mushrooms at the edge of dread, but don’t be fooled
this isn’t a Russian poem, this is not somewhere else but here,
our country moving closer to its own truth and dread,
its own ways of making people disappear.

I won’t tell you where the place is, the dark mesh of the woods
meeting the unmarked strip of light—
ghost-ridden crossroads, leafmold paradise:
I know already who wants to buy it, sell it, make it disappear.

And I won’t tell you where it is, so why do I tell you
anything? Because you still listen, because in times like these
to have you listen at all, it’s necessary
to talk about trees.

by Adrienne Rich
from Collected Poems: 1950-2010
W. W. Norton & Company

Nicolas Pelham in New Statesman:

No one wanted to play football with Muhammad bin Salman. Sure, the boy was a member of Saudi Arabia’s royal family, but so were 15,000 other people. His classmates preferred the company of his cousins, who were higher up the assumed order of succession, a childhood acquaintance recalls. As for the isolated child who would one day become crown prince, a family friend recounts hearing him called “little Saddam”.

Home life was tricky for bin Salman, too (he is now more commonly known by his initials, mbs). His father, Salman, already had five sons with his first wife, an educated woman from an elite urban family. mbs’s mother, Salman’s third wife, was a tribeswoman. When mbs visited the palace where his father lived with his first wife, his older half-brothers mocked him as the “son of a Bedouin”. Later, his elder brothers and cousins were sent to universities in America and Britain. The Bedouin offspring of Prince Salman stayed in Riyadh to attend King Saud University.

More here.

Nora Krug in The Washington Post:

My bookshelves are a mess. It’s not just that I have too many books and too little space. I’m also simply disorganized. It wasn’t always so. Shelves I put together years ago, pre-children, remain generally intact: a full bookcase of poetry, alphabetized by author, and several jam-packed bookcases of fiction, also by authors’ last names. These shelves now serve primarily as decoration or reference or as a lending library for guests. But there’s more, much more: the tumbling pile on my desk — propping up the computer I am typing on — and the volumes stuffed frantically in the bookcase in my bedroom and stacked in towers on and around my nightstand. These are the books that are part of my daily life — for work, for pleasure, sometimes both. There is no rhyme or reason to how I arrange them, but as I read in one of the books I consulted (then discarded) to help deal with my little problem: “If it’s where you meant it to be, then it’s organized.” I am adopting that as my book-organizing principle. Don’t tell my kids.

More here.

David-Antoine Williams in The Life of Words:

In the summer of 2012 Seamus Heaney wrote to me on some questions I had sent him about dictionaries and words and etymologies. Bits of what he had to say made it into a couple of talks I did around that time, but I recently rediscovered the original text, and thought it should see the light of day. So here’s a very lightly edited rendition of our exchange:

D-AW: An anecdote in ‘Feeling into Words’ describes having grammatical and lexical facts recited to you in the form of rhymes as a child. Do you have any early memories of consulting dictionaries?

SH: I cannot remember the words of my mother’s rhyme, but it was a chant that somehow incorporated the links to be found between Latin and English vocabularies. The first dictionary I remember was a red-backed old Chambers in the Mossbawn house. I must have been eleven or twelve when I used it – if I used it.  The physical book and the authority that was lodged in and around it are what stay with me most.

More here.

Erik Stokstad in Science:

By giving a Chinese rice variety a second copy of one of its own genes, researchers have boosted its yield by up to 40%. The change helps the plant absorb more fertilizer, boosts photosynthesis, and accelerates flowering, all of which could contribute to larger harvests, the group reports today in Science.

The yield gain from a single gene coordinating these multiple effects is “really impressive,” says Matthew Paul, a plant geneticist at Rothamsted Research who was not involved in the work. “I don’t think I’ve ever seen anything quite like that before.” The approach could be tried in other crops, too, he adds; the new study reports preliminary findings in wheat.

More here.

Roger Pielke, Jr. in The New Atlantis:

In a recent interview in New York Times Magazine, energy expert and polymath Vaclav Smil found himself being pressured by his interviewer to acknowledge that climate change was either a catastrophe or not a problem. The famously cantankerous Smil bristled at the framing: “I cannot tell you that we don’t have a problem because we do have a problem. But I cannot tell you it’s the end of the world by next Monday because it is not the end of the world by next Monday. What’s the point of you pressing me to belong to one of these groups?”

For well over a decade, the American debate over climate change has largely been a battle between two extremes: those who view climate change apocalyptically, and those castigated as deniers of climate science. In institutions of science and in the mainstream media, we see the celebration of the catastrophists and the denigration of the deniers. Predictably, the categories map neatly onto the extremes of left-versus-right politics.

More here.

Ricky Moody at Salmagundi:

Pretexts:
https://www.youtube.com/watch?v=Nh17jXzgI1E
https://www.youtube.com/watch?v=rWGLRx5wIsQ
https://www.youtube.com/watch?v=iJFMAfYoWYo&t=144s

1.  First, let it be known that the first single from the new Regina Spektor album¹ is not “new” in the sense that an early live performance, available on YouTube, dates to November 2014 or eight years ago (as of this writing). In the recording of this 2014 performance, Spektor ad libs in a prefatory way: “Here’s another new song—well, new to you anyway.”
2.  If “Becoming All Alone,” the “new” single is not from “now” (from the time of BA.2, the time of the Ukrainian invasion and subsequent war, the time of renewed gun violence, the time of the imminent Supreme Court decision overruling Roe v. Wade), then from when? If it is from earlier than 2014, which it could be as Spektor implies it is not new to herself (like others on the new album), then from when? Could it be from the earliest years of her career? Could it be from the beginning of her career? Could the beginning of her career be defined as the moment in which “Becoming All Alone” is written, such that we can define the notion of songwriting as a becoming alone, dating this idea to the earliest time of a songwriting Spektor? Could it be from her childhood? Could it be “primordial?”

more here.

From Phys.Org:

Researchers in the Biomedical Engineering Department at UConn have developed a new cardiac cell-derived platform that closely mimics the human heart, unlocking potential for more thorough preclinical drug development and testing, and model for cardiac diseases. The research, published in Cell Reports by Assistant Professor Kshitiz in collaboration with Dr. Junaid Afzal in the cardiology department at the University of California San Francisco, presents a method that accelerates maturation of human cardiac cells towards a state suitable enough to be a surrogate for preclinical drug testing.

“There is a very strong need to create human cardiac constructs for all sorts of applications. Small animal models just do not recapitulate human heart biology, and human samples are scarce,” says Kshitiz. “This matters because all drugs need to be tested for their toxicity to heart. It is widely believed that a large number of them unnecessarily fail clinical trials because we do not have human samples to test them with.” Kshitiz and Afzal first identified the need to create a matured human cardiac tissue during their time together at Johns Hopkins Medicine. “When methods were developed to differentiate human pluripotent stem cells to cardiac cells, it created a big hope that finally we will have human heart constructs to work with,” said Afzal. “While it is straightforward to get human cardiac cells, they are similar to fetal cells. What we need is adult cells.”

More here.

Nathan Heller in The New Yorker:

Around you, there is piracy and chaos. But you’re enterprising, and keep to your path. At university, you hardly sleep, and you eat what you can afford. Why do you work yourself this way? It’s not as if you’re getting paid for it. Another version of yourself, in another time, though, is. Now, living in the California sun with some success, you reflect on your poor, wan, sleepless younger self and feel a wave of gratitude, and then of prickly regret. The kid you were had different dreams; it strikes you as unfair that you sit pretty on the spoils of that person’s efforts. If you could take some of your wealth and send it backward in time, to your younger self, you would.

We usually think of inequalities as extending from bottom to top: I earn a little wealth over eight hours; Bill Gates earns much more. But there are also inequalities that extend longitudinally, from the past into the future. Your young self does labor for which your older self collects rewards. Such timing issues—how much money you receive or can spend now and later—have effects on your financial fate. In a more equal world, you cannot help but think, people would draw on their lifetime wealth throughout their lives, not merely at the pinnacle of their careers. You notice that older generations and big corporations rule the roost in the United States, but it’s not clear why this should be so.

More here.

the poem requires

A long time ago
A brilliant woman once told me
“The poem requires what the poem requires.”
I carried it with me
Trying to write the shackles off my wrists
Loosen the gag from my tongue
Wedging a pen between my past and future
Yet it is only now I realize
That I was the poem all along

Do you know what it feels like
To stretch the lyrics laced across your shoulders until they fit
One line of prose to be cut and devoured and reassembled again
To make metaphor of the little fires dancing behind your eyes
Praying that they don’t melt everything unrecognizable
To make hyperbole of the salt water bodies hiding in your lungs
Until the fight feels better fought from the outside looking in

Do you know what it feels like
To have the hand of God quiver ever so slightly in the midst of your midnight tremor
To wait for the chain of despair to sink to the bottom of the bloodied ink on the page
To hope that the tears streaming from every pore don’t give away the very last of what is left

I always thought
The poem didn’t know what it required
It was my job to manipulate it beautiful
Twist and bend it until its acrobatic instinct overwhelmed the scales
Stack mountains within its stanza so the valleys no longer exist
The plateau never comes
The limits never return
I always thought it was my job to carve the poem
Line by line
Until the bittersweet taste felt like a psalmist praise
Shake the fruit from its limbs
So that when it reaches the ultimate resting place
It forges ahead alone

But the poem requires what the poem requires
Without the personification of fear
Without the seamless perfection of imagery in the ghost of a former self’s likeness
Without the internal rhymes internal destruction
Without the word play no longer having fun

The poem requires what the poem requires
And now
Life can finally begin

by Najya Williams
from Split This Rock