Tuesday Poem

“Nature is part of our humanity, and without some awareness
and experience of that divine mystery, man ceases to be man.

Touch the Earth

The world today is sick to its thin blood
for lack of elemental things, for fire
before the hands, for water welling
from the earth, for air, for the
dear earth itself underfoot. In
my world of beach and dunes these
elemental presences lived and had
their being, and under their
arch there moved an incomparable
pageant of nature and the year…

Hold your hands out over
the earth as over a flame.
To all who love her, who
open to her the doors
of their veins, she gives
of her strength,
sustaining them with
her own measureless
tremor of dark life.

Touch the earth, love
the earth, honor the
earth,
her plains,
her valleys,
her hills,
and her seas;
rest your spirit
in her solitary places.

For the gifts of life
are the earth’s and they
are given to all, and they
are the songs of birds at
daybreak, Orion and the Bear,
and dawn seen over ocean
from the beach.

by Henry Beston

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Kate Winslet on Her Film Directing Debut, ‘Goodbye June’

From Newsweek:

Kate Winslet has made a career out of playing strong, confident, forthright women: Lee Miller, Mare Sheehan, Rose DeWitt Bukater, Clementine Kruczynski. Her resume is studded with awards recognition (an Academy Award for Best Actress for 2008’s The Reader, a pair of Emmys for playing the eponymous characters in HBO’s Mare of Easttown in 2021 and Mildred Pierce in 2011, an armful of BAFTAs across a 27-year span) and boasts cumulative box-office earnings in the billions (working with James Cameron on a couple of Avatar sequels and Titanic certainly helps there).

The native of Reading, England, is practiced at toggling between those large-scale productions with swollen budgets and smaller, independent fare. Her filmography is loaded with prestige literary adaptations—Sense and Sensibility (1995), Revolutionary Road (2008), The Reader, to name a few—as well as several daring originals, like 2004’s amnesiac-romance Eternal Sunshine of the Spotless Mind and the first movie in which she appeared, the 1994 true crime tale Heavenly Creatures.

More here.

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Trillionaire Cometh, Democracy Goeth

Bob Lord in CounterPunch:

Elon Musk’s personal wealth now sits at about $750 billion. That total represents an annual average increase of 23 percent over the $60 billion Bill Gates fortune of 2013. At that rate of increase, America will boast its first trillionaire at least a decade before 2039, the year I gave CNBC writer Eric Rosenbaum in 2014 as the date our nation would most likely see its first trillionaire.

Back in 2013, I worried mightily that the absence of a reliable mechanism in America’s tax system to limit the growth rate of extreme fortunes would cause the wealth share of the richest Americans to rise to ever-higher levels. Wealth at America’s economic summit, I noted, was growing at a faster rate than the nation’s aggregate wealth, and that rapid growth was bringing a disturbing arithmetic into play. “If the wealth of one group within a nation grows at a faster rate than the nation’s aggregate wealth,” I pointed out, “that group’s share of the aggregate wealth must increase over time. That’s a mathematical certainty. And the level of subsequent wealth concentration has no limit.”

More here.

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Monday, December 29, 2026

The Oldest Restaurant in the World Just Turned 300 Years Old

Aileen Weintraub at Smithsonian Magazine:

Legend has it that 18th-century Romantic painter Francisco Goya was once a porter here. Ernest Hemingway set the closing scene of The Sun Also Rises at a table in an upstairs dining room, and the signatures of Spanish kings throughout the centuries adorn one of the walls. There is also most definitely a ghost in the wine cellar.

Sobrino de Botín, confirmed by the Guiness Book of World Records as the oldest restaurant in the world, just celebrated 300 years of scintillating history.

Opened in 1725 in the center of Madrid, it’s the longest continuously running restaurant on record—they kept the soldiers fed during the Spanish Civil War, and they even stoked the flames of their 300-year-old oven every day during the Covid-19 pandemic when the world was on lockdown.

But this upscale eatery, lovingly known as Botín, is not revered for its sophisticated gastronomy.

More here.

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Silent sirens, flashing for us all

Jack Clark at Import AI:

I walk around the town in which I live and there aren’t drones in the sky or self-driving cars or sidewalk robots or anything like that. And when I spend time on the internet, aimlessly scrolling social media sites in the dead of night as I attempt to extract a burp from my newborn, I might occasionally see some synthetic images or video, but mostly I see what has always been on these feeds: pictures of people I do and don’t know, memes, and a mixture of news and jokes.

And yet you and I both know there are great changes afoot. Huge new beasts lumbering from some unknown future into our present, dragging with them change.

I saw one of these beasts recently – during a recent moment when the time stars aligned (my wife, toddler, and baby were all asleep at the same time!) I fired up Claude Code with Opus 4.5 and got it to build a predator-prey species simulation with an inbuilt procedural world generator and nice features like A* search for pathfinding – and it one-shot it, producing in about 5 minutes something which I know took me several weeks to build a decade ago when I was teaching myself some basic programming, and which I think would take most seasoned hobbyists several hours. And it did it in minutes.

More here.

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Panoply of the Weird

Michael Dirda at the NYRB:

Back in the early 1930s Gilbert Seldes—a literary critic and early champion of popular culture—was asked to contribute an introduction to a volume of stories by Fitz-James O’Brien, now often regarded as the most original American writer of supernatural fiction between Edgar Allan Poe and Ambrose Bierce. At first Seldes declined, confessing that he’d never read anything by the man. But when the publisher jogged his memory, Seldes remembered that in some anthology or another he had in fact come across “The Diamond Lens,” O’Brien’s 1858 account of an obsessive microscopist who discovers an Eden-like world in a drop of water—and falls in love with the beautiful woman who lives in it.

Seldes finally did introduce The Diamond Lens and Other Stories, published in 1932 as a limited edition with subtly sinister illustrations by Ferdinand Huszti Horvath. The book featured seven of O’Brien’s tales of the weird and grotesque, most notably “The Wondersmith,” which centers on a satanic toymaker whose miniature figures can be animated to kill the young children who play with them. According to Anthony Boucher, who reprinted the story in the December 1950 issue of The Magazine of Fantasy and Science Fiction, “almost the whole body of writing on robots is here in matrix.”

more here.

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Brigitte Bardot Did Not Ask To Be Forgiven

Gerry Brakus at The New Statesman:

Bardot’s significance was never confined to her acting. She mattered because she altered the image of womanhood at a moment when female beauty was expected to reassure. She unsettled instead. Her looseness, physical and emotional, her apparent boredom with approval, her refusal to perform refinement, all suggested a form of autonomy that was felt before it was articulated. She did not argue for freedom. She behaved as if it already belonged to her.

She never aligned herself with feminism in any organised or ideological sense, and she showed little interest in collective struggle. Yet her presence did feminist work all the same. Desire, in her case, did not feel offered up for permission. It seemed to reside with her first. She expanded what a woman could look like without claiming responsibility for what followed. Part of Bardot’s authority came from her refusal to revise herself. She did not attempt to improve her face, correct her body, or negotiate with time. Nor did she soften her views to remain agreeable.

more here.

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Politics today is driven by grievances that can never be assuaged

Paul Katsafanas at Aeon:

In April 2025, Donald Trump took the stage to mark the 100th day of his second term as US president. You might have expected a moment of triumph. He had reclaimed the presidency, consolidated power within the Republican Party, and issued a vast range of executive orders. But the mood wasn’t celebratory. It was combative. Trump spent most of his time attacking his predecessor Joe Biden, repeating false claims about the 2020 election, denouncing the press, and warning of threats posed by immigrants, ‘radical Left lunatics’ and corrupt elites. The tone was familiar: angry, aggrieved, unrelenting. Even in victory, the focus was on enemies and retribution.

This dynamic isn’t unique to the United States. Leaders like Narendra Modi in India, Viktor Orbán in Hungary and Jair Bolsonaro in Brazil have built movements that thrive on perpetual grievance. Even after consolidating power, they continue to cast their nations as under siege – from immigrants, intellectuals, journalists or cultural elites. The rhetoric remains combative, the mood aggrieved.

More here.

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Progress fighting pancreatic cancer — one of the deadliest malignancies

Amber Dance in Knowable Magazine:

A diagnosis of pancreatic cancer is devastating news. Though it makes up only about 3 percent of cancers in the United States, it’s one of the deadliest, and on track for a dark achievement: By 2030, it’s expected to kill more people in the United States than any cancer except for lung cancer. This apparent paradox is arising because screening and treatments for other cancers have surged ahead, while pancreatic cancer has remained tricky both to identify and to treat.

Nonetheless, there’s reason for hope, says Anna Berkenblit, chief scientific and medical officer for the Pancreatic Cancer Action Network in El Segundo, California, which supports research and helps patients. Scientists are testing new medicines that disable drivers of cancer that were once considered undruggable. They’re training patients’ immune systems to attack tumors once thought to be invisible to the body’s defenses. And they’re harnessing artificial intelligence to catch pancreatic cancer in early, vulnerable stages.

More here.

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Five-Year-Old Mini Brains Can Now Mimic a Kindergartener’s Neural Wiring. It’s Time to Talk Ethics

Shelly Fan in Singularity Hub:

When brain organoids were introduced roughly a decade ago, they were a scientific curiosity. The pea-sized blobs of brain tissue grown from stem cells mimicked parts of the human brain, giving researchers a 3D model to study, instead of the usual flat layer of neurons in a dish. Scientists immediately realized they were special. Mini brains developed nearly the whole range of human brain cells, including neurons that sparked with electrical activity, making them an excellent way to observe and study the human brain—without the brain itself.

As the technology advanced and brain organoids matured, researchers coaxed them to grow structural layers with blood vessels roughly mimicking the cortex, the part of the brain that handles reasoning, working memory, and other high-level cognitive tasks. Parallel efforts derived organoids for other parts of the brain. Mini brains can be made from a person’s skin cells and faithfully carry the genetic mutations that could cause neurodevelopmental disorderssuch as autism. The lab-grown blobs also provide a nearly infinite source of transplantable neural tissue, which in theory could help heal the brain after a stroke or other traumatic events. In early studies, organoids transplanted into rodent brains formed neural connections with resident brain cells.

More here.

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Sunday, December 28, 2025

Sunday Poem

Stopping by Woods on a Snowy Evening

Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
.,
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.
;;
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
,,
And miles to go before I sleep.


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Park Chan-wook and the Funny Thing About Stomach-Churning Horror

Robert Ito in The New York Times:

Park Chan-wook is one of Asia’s most famous directors, an auteur beloved as much for his complex, often critical visions of his home country of South Korea as for scenes of stomach-churning horror. But when Park started work on “No Other Choice,” he really wanted to direct it as an American film, so much so that he spent 12 frustrating years trying to get financing from Hollywood studios. The source material, Donald E. Westlake’s 1997 horror thriller novel, “The Ax,” was based in the United States, “so it just felt very natural to me,” he said. “I didn’t put too much other thought in it.”

Beyond the novel’s suburban East Coast setting, the plot and lead character also felt particularly American to the Korean director: a manager of a paper company has his life upended by corporate downsizing, and to secure a new job, he sets about murdering his rivals in increasingly gruesome ways. “This is a story about the capitalist system,” Park said. “I thought it would be best told in America, since America is the heart of capitalism.”

More here.

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To see America’s greatest living painter, you’ll have to cross the pond

Sebastian Smee in The Washington Post:

Kerry James Marshall is contemporary art’s great engine tinkerer. He wants to know how things work. In the 1990s, when his contemporaries were making slight, cerebral works using found objects, photography and minimalism to poeticize the commonplace or reveal hidden ideologies, Marshall fell in love with the creakingly old idea of paintings as “machines.”

“I’ve always wanted to be a history painter on a grand scale like Giotto and Géricault,” he said in 1994. As soon as you get interested in the “how” of things, you become conscious that they might have been done differently. That consciousness may open a crack of potential: They might yet be done differently.

More here.

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Saturday, December 27, 2025

Transformation without Taxation

César Morales Oyarvide in Phenomenal World:

In his famous 1918 essay “The Crisis of the Tax State,” Joseph Schumpeter captured the essence of fiscal sociology, arguing that “The spirit of a people, its cultural level, its social structure, the deeds its policy may prepare—all this and more is written in its fiscal history … He who knows how to listen to its message here discerns the thunder of world history more clearly than anywhere else.” In Mexico, however, this principle seems to have been suspended. There the Schumpeterian thunder is not heard. The project of the Fourth Transformation (4T), launched by Andrés Manuel López Obrador in 2018 and passed down to Claudia Sheinbaum Pardo last year, has sought to reorganize domestic political power, and it has had considerable success—redefining the national narrative and restructuring public spending priorities. Yet it has not significantly altered the tax structure built by previous governments.

This fiscal silence is even more surprising in light of the experiences of other leftist administrations in Latin America. In Bolivia, Evo Morales combined strategic nationalizations with an aggressive expansion of the fiscal apparatus. In Brazil, successive PT governments broadened the tax base while transferring income to the poorest citizens. Despite grappling with high levels of informality and low trust in state institutions, these projects understood that without new resources, it would be impossible to create new social rights. The 4T, by contrast, has tried to square the circle of distribution without serious tax reform.

More here.

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The Pattiverse

James Wolcott in Sidecar:

2025 marks the fiftieth anniversary of Patti Smith’s debut album Horses, with Robert Mapplethorpe’s black and white cover portrait of the artist posed with her jacket slung over her shoulder, Frank Sinatra-style – ‘the most electrifying image I had ever seen of a woman of my generation’, exclaimed Camille Paglia, who reckoned it one of the most powerful portraits since the French Revolution. The record inside the cover sleeve hasn’t wilted either, retaining its classic status as a declaration of desperado intent, from the boppy ‘Redondo Beach’ to the trippy ‘Birdland’ to the unfolding vistas of ‘Gloria’ and ‘Land (of a Thousand Dances)’, where Patti could truly stretch out her skinny arms and fan out her fingers to spread the word. (As the choreographer Paul Taylor once quipped, that’s the definition of lyricism: long arms.) To celebrate the album’s fiftieth, Patti and her band have been touring triumphal live concert versions of Horses across the US and Europe, the rapturous reception at the London Palladium somewhat mottled when Patti brought out Johnny Depp for the encore anthem ‘People Have the Power’, Depp draped and layered in hipster duds in his continuing role as America’s premier hobosexual. Irate fans and commentators on both sides of the Atlantic squawked betrayal, trying to reconcile the populist idealism of Patti’s music and persona with jamming on stage with an alleged spouse abuser and celebrity prima donna who owns a private island in the Exumas.

More here.

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