The Day After American Samoa Is Under Water

The evening news helicopters compete for the best camera angle
above the water, fighting to find anything worthy of coverage.

A floating high chief. A baby’s arm flattened by a coconut tree. Anything
Even the Titanic was enormous enough to leave remnants of itself

to buoyancy. They were a giving people. There’s gotta be something here.
Congress assembles immediately to vote on a bill that supports relief efforts

for our displaced, and our Congressman sits in his own numbing silence,
knowing that by law: he still does not have a vote that will count for anything

due to the U.S. national status of our island country, as he watches
his colleagues raise and lower their hands amidst his own spinning head.

The Department of Homeland Security calls an emergency meeting to strategize
where FEMA should deploy relief efforts. After ten minutes, they declare relief

pointless and decide to go home. The Pentagon, however, collapses
into the arms of their own fiscal grief, realizing that their #1 army recruitment

station for enlisting the most soldiers in the world is now underwater.
On land, news anchors are practicing their pronunciation of American Samoa

to themselves, struggling to stretch the long “ah” sound across the country
of their mouth. The cameraman rolls, and every news anchor forgets everything

they have spent three whole minutes trying to not mess up. Except American,
of course. No lips ever slaughter that word. Critique it til dissection, sure.

Slice it down its chest, skin pinned back like butterfly wings, but even that
is a careful cruelty. Even that requires gloves and good lighting. Patience.

All across the world, maps are being dusted off and pulled out of desk drawers.
Google overheats in frantic frequency and the search for where exactly American Samoa

is begins. Was. Where it was. In other people’s homes, parents press
their child’s hand to the blueness of the gridded paper and pronounce Pacific

slow to the rhythm of their child’s puckered lips. To make it more interactive,
world maps are being taped to the walls of living rooms

blindfolds are tied softly across the budding eyes of toddlers
ribbon in hand, as they are instructed to pin the tail on the island that once was.

In our homes, you can hear the wailing of our grandparents
through every avenue that sound can travel. Never could I have imagined

the day where all of us Samoans would curse the U.S. for treaty writing us
into owning us, but here we alive ones are, a panic of mouths swollen at the throat

of our American nightmare. In my home, grandpa is alone in his room,
looking outside the window. I walk over to sit beside him, my hands cupping

his hands in my lap, as he mumbles quietly through a stream of tears:
Where will the family bury me now?

by Terisa Siagatonu
from Split This Rock

Rachel Kushner in n+1:

MY ESCORT WAS a young man with a Slavic accent who had been hired to get me through airport customs in case I was flagged by Israeli border agents. “Rachel, you are going to love it here,” he said to me. “We are going to be 80 percent very soon. We will be 80 and they will be only 20 percent. That is the plan and you will love it here.” We meant Jews. They meant Palestinians. It seemed he’d been promised some form of ethnic cleansing, the way a travel brochure might promise white sand beaches and swaying palms. As we rode in his car from one part of the airport to the other, he buoyantly cited this 80/20 aspirational ratio a total of six times. Where did you emigrate from, I asked. “Kosovo.” He had left in 1999. Enough said. The “here” that I would love was not an active war zone, except it is a war zone. But the airport customs escort is on the side of power and strength, and his numbers and exuberance reflect the great successes of the IDF at insulating Israelis from the mechanics of that war.

The next morning I joined my delegation — there were seven of us, writers from all over the world — as we met with Yehuda Shaul, cofounder of Breaking the Silence (BtS). Shaul gave us a bit of background on himself and the organization, which collects and publishes testimonies from former IDF soldiers in order to expose the reality of Israel’s fifty-year-long military occupation of the West Bank to the Israeli public. I had heard some criticism of BtS by activist friends in the US, who felt that its aim was to distinguish good soldiers from bad and thus clean up the image of the Israeli military while preserving it as a structure of control. But as if directly rebutting this phantom accusation, Shaul presented BtS to us as “not about good soldiers versus bad. We want to end the occupation, period.”

More here.

Megan Marz in The Baffler:

WHEN MARK MCGURL published his history of creative writing programs in 2009, reviewers described it in terms like “welcome and overdue.” The Program Era finally codified what everyone involved anecdotally knew: the MFA was the defining institution of recent U.S. fiction.

Shortly after its publication, the editors of n+1 proposed an alternative tagline for contemporary literary history. While the university creative writing program was dominant, they acknowledged, it was still only one half of a binary: “MFA vs. NYC,” as they christened it in an editorial that mushroomed into an essay anthology. The argument was that MFA programs and New York publishing were separate if interdependent economic systems that gave rise to their own cultures and encouraged different kinds of writing. An MFA writer might publish a book of short stories in the hope of securing a teaching job. An NYC writer might focus on selling a novel for money they could live on—and, with that goal in mind, veer inexorably toward clear prose and tight plotting.

Absent from these accounts was the internet, toward which more and more writing was then and is still orienting itself. Like alignment with MFA or NYC, this orientation might happen on the level of form or on the level of marketing. In the latter case, as the scholar Simone Murray writes, authorship has “shifted from a largely invisible process undertaken in private” to “an ongoing public performance punctuated by periodic book publications.” At the same time, internet-born forms have risen to the level of art in the hands of some writers and, in the hands of others, started to infiltrate traditional books.

More here.

A forum over at The Boston Review with a lead piece by Dan Breznitz:

At summer’s dog days I travel to Cobalt in Northern Ontario. Created overnight by the discovery of rich silver deposits in 1903, the town set off a mining boom; between 1905 and 1914 alone more people than Canada’s entire population at the time traveled there by train. The area became fabulously rich, but when the silver ore dwindled it all ended as quickly as it started. Today Cobalt has barely 1,100 inhabitants, one grocery store, one pub, one diner, and no train station. At the same time, Cobalt’s mining boom helped to transform another Ontario town, some 300 miles to the south, into a bustling, modern metropolis. The silver rush needed clever financing, a stock market, and a trading center; thus Toronto’s still-thriving financial center was born.

The story of Cobalt exemplifies a familiar pattern of local economic boom and bust, one only worsened by the rise of our current version of globalization at the end of the twentieth century. Since the 1970s, local communities across the world, and in the United States in particular, have struggled to achieve innovation-based, inclusive prosperity. One-time innovation hubs—Cleveland in the United States and Lyon in France—have fallen into a vicious cycle of decline. Worse, our celebrated success stories, such as Silicon Valley in the early days of Apple, have proved fleeting as good local jobs for people with all skill levels give way to inequality, gentrification, and poverty. Now, in the wake COVID-19, the question of how to achieve local economic growth has taken on even greater urgency.

More here.

Peter S. Goodman in the New York Times:

Computer chips. Exercise equipment. Breakfast cereal. By now, you’ve probably heard: The world has run short of a great many products.

In an era in which we’ve become accustomed to clicking and waiting for whatever we desire to arrive at our doors, we have experienced the shock of not being able to buy toilet paper, having to wait months for curtains and needing to compromise on the color of our new cars.

Of far greater importance, we have suffered a pandemic without adequate protective gear. Doctors cannot obtain needed medicines. In Alaska, people are struggling to find enough winter coats. Airplanes are delayed while crews wait for food deliveries.

Why is this happening?

The pandemic has disrupted nearly every aspect of the global supply chain — that’s the usually invisible pathway of manufacturing, transportation and logistics that gets goods from where they are manufactured, mined or grown to where they are going. At the end of the chain is another company or a consumer who has paid for the finished product. Scarcity has caused the prices of many things to go higher.

More here. Also see this thread:

Yesterday I rented a boat and took the leader of one of Flexport's partners in Long Beach on a 3 hour of the port complex. Here's a thread about what I learned.

— Ryan Petersen (@typesfast) October 22, 2021

Nathan Goldman at Bookforum:

For many people, the Golden Record was less a testament to belief in alien life than a gesture: humanity’s bold shout into the abyss. Indeed, facing criticism about the project, those behind it sometimes insisted it should be taken symbolically. Yet the care that went into the design of the records belies this dismissal. In a 2017 essay for the New Yorker, Timothy Ferris, one of the architects of the Golden Record, explained that the overrepresentation of Bach and Beethoven was meant to aid aliens in understanding the music, even if their hearing doesn’t resemble ours. “They’d look for symmetries—repetitions, inversions, mirror images, and other self-similarities—within or between compositions,” he hypothesized. “We sought to facilitate the process by proffering Bach, whose works are full of symmetry, and Beethoven, who championed Bach’s music and borrowed from it.” The careful curation—not to mention the bare bones of a turntable included with the records, along with a detailed diagram for its assembly—suggests that the Golden Record was not a lark, but a serious attempt to reach someone.

more here.

Andrew Anthony at The Guardian:

Of course, few modern scholars accept either Hobbes’s bleak caricature or Rousseau’s romantic musings. Nonetheless, Graeber and Wengrow argue, these antithetical conceptions of human nature feed into the consensus that has been popularised by figures such as Diamond and Harari.

That is to say that for most of human history our ancestors lived an egalitarian and leisure-filled life in small bands of hunter-gatherers. Then, as Diamond put it, we made the “worst mistake in human history”, which was to increase population numbers through agricultural production. This, so the story goes, led to hierarchies, subordination, wars, disease, famines and just about every other social ill – thus did we plunge from Rousseau’s heaven into Hobbes’s hell.

According to Graeber and Wengrow’s reading of up-to-date archeological and anthropological research, that story, too, is nonsense.

more here.

Michael Dirda at The Washington Post:

As a novel, “Dune” has never been unconditionally admired. I know sophisticated readers, devoted science fiction fans, who can’t stand it, finding Herbert’s prose inept, the action ponderous, and the whole book clumsy and tedious. But sf readers are contentious, often cruelly so, and nearly all of the field’s most beloved novels and series also have cogent and vocal detractors: Isaac Asimov’s “Foundation” trilogy is dismissed as period pulp; Robert A. Heinlein’s “Starship Troopers” and “Stranger in a Strange Land” preach either militaristic jingoism or pretentious ’60s claptrap; Samuel R. Delany’s “Dhalgren” is well nigh unreadable and Gene Wolfe’s “The Book of the New Sun” too subtle, too theological, too clever by half. Perhaps so. Yet imaginative works that people still argue about — and “Dune” certainly belongs in this category — demonstrate their continuing vitality and relevance. They remain — to borrow a vogue phrase — part of the conversation.

more here.

The Latin Deli: An Ars Poetica

Presiding over a formica counter,
plastic Mother and Child magnetized
to the top of an ancient register,
the heady mix of smells from the open bins
of dried codfish, the green plantains
hanging in stalks like votive offerings,
she is the Patroness of Exiles,
a woman of no-age who was never pretty,
who spends her days selling canned memories
while listening to the Puerto Ricans complain
that it would be cheaper to fly to San Juan
than to buy a pound of Bustelo coffee here,
and to Cubans perfecting their speech
of a “glorious return” to Havana–where no one
has been allowed to die and nothing to change until then;
to Mexicans who pass through, talking lyrically
of dólares to be made in El Norte–
all wanting the comfort
of spoken Spanish, to gaze upon the family portrait
of her plain wide face, her ample bosom
resting on her plump arms, her look of maternal interest
as they speak to her and each other
of their dreams and their disillusions–
how she smiles understanding,
when they walk down the narrow aisles of her store
reading the labels of packages aloud, as if
they were the names of lost lovers; Suspiros,
Merengues, the stale candy of everyone’s childhood.
She spends her days
slicing jamón y queso and wrapping it in wax paper
tied with string: plain ham and cheese
that would cost less at the A&P, but it would not satisfy
the hunger of the fragile old man lost in the folds
of his winter coat, who brings her lists of items
that he reads to her like poetry, or the other,
whose needs she must divine, conjuring up products
from places that now exist only in their hearts–
closed ports she must trade with.

by Judith Ortiz Cofer
from Literary Paterson

Ian Black in The Guardian:

In May 1453, Ottoman military forces under Sultan Mehmed II captured the once great Byzantine capital of Constantinople, now Istanbul. It was a landmark moment. What was viewed as one of the greatest cities of Christendom, and described by the sultan as “the second Rome”, had fallen to Muslim conquerors. The sultan even called himself “caesar”.

After a lengthy siege, Mehmed rode his white horse to Hagia Sophia, the sixth-century Greek Orthodox Church of Divine Wisdom, at the time the largest building in the world. He ordered a single minaret to be added, turning it into a mosque, but refrained from remaking Constantinople as a purely Muslim city. Instead, he promoted the Sunni-dominated tolerance and diversity the Ottomans had been practising for more than a century in south-eastern Europe – long before European Christian societies tolerated their religious minorities. The new Ottoman ruling class was composed mostly of converted Christians.

Marc David Baer’s core argument in this highly readable book is that more than 600 years of the Ottoman empire should be seen as an inseparable part of the history of Europe, and not as something detached from it, as with false narratives that paint the east and west, and Christianity and Islam, as antithetical. Traditional European accounts of Ottoman rule tend to emphasise religion rather than secular matters in line with the significance attached to the Renaissance, the Reformation and the Enlightenment. But, as the author contends, “their story is the unacknowledged part of the story the West tells about itself.”

More here.

Tad Friend in The New Yorker:

We turn to the Internet for answers. We want to connect, or understand, or simply appreciate something—even if it’s only Joe Rogan. It’s a fraught pursuit. As the Web keeps expanding faster and faster, it’s become saturated with lies and errors and loathsome ideas. It’s a Pacific Ocean that washes up skeevy wonders from its Great Garbage Patch. We long for a respite, a cove where simple rules are inscribed in the sand.

You may have seen one advertised online, among the “weird tricks” to erase your tummy fat and your student loans. It’s MasterClass, a site that promises to disclose the secrets of everything from photography to comedy to wilderness survival. The company’s recent ad, “Lessons on Greatness. Gretzky,” encapsulates the pitch: a class taught by the greatest hockey player ever, full of insights not just for aspiring players but for anyone eager to achieve extraordinary things. In the seminar, Wayne Gretzky tells us that as a kid he’d watch games and diagram the puck’s movements on a sketch of a rink, which taught him to “skate to where the puck is gonna be.” Likewise, Martin Scorsese says in his class that he used to storyboard scenes from movies he admired, such as the chariot race in “Ben-Hur.” The idea that mastery can be achieved by attentive emulation of the masters is the site’s foundational promise. James Cameron, in his class, suggests that the path to glory consists of only one small step. “There’s a moment when you’re just a fan, and there’s a moment when you’re a filmmaker,” he assures us. “All you have to do is pick up a camera and start shooting.”

When MasterClass launched, in 2015, it offered three courses: Dustin Hoffman on acting, James Patterson on writing, and Serena Williams on tennis. Today, there are a hundred and thirty, in categories from business to wellness. During the pandemic lockdown, demand was up as much as tenfold from the previous year; last fall, when the site had a back-to-school promotion, selling an annual subscription for a dollar instead of a hundred and eighty dollars, two hundred thousand college students signed up in a day. MasterClass will double in size this year, to six hundred employees, as it launches in the U.K., France, Germany, and Spain. It’s a Silicon Valley investor’s dream, a rolling juggernaut of flywheels and network effects dedicated to helping you, as the instructor Garry Kasparov puts it, “upgrade your software.”

The classes are crammed with pro tips and are often highly entertaining. Neil Gaiman explains the comfort and tedium of genre fiction by noting that, in such stories, the plot exists only to prevent all the shoot-outs and cattle stampedes from happening at the same time. Serena Williams advises playing the backhands of big-chested women, because “larger boobs” hinder shoulder rotation. And the singer St. Vincent observes that the artist’s job is to metabolize shame.

More here.

Nicholas Utzig in the Los Angeles Review of Books:

In the last chapter of his first book, Reign of Terror: How the 9/11 Era Destabilized America and Produced Trump, Spencer Ackerman reminds his readers of Bernie Sanders’s June 2019 assertion: “There is a straight line from the decision to reorient U.S. national-security strategy around terrorism after 9/11 to placing migrant children in cages on our southern border.”

But Ackerman takes the analysis further in both directions, charting a path from Timothy McVeigh’s April 1995 bombing of the Alfred P. Murrah Federal Building in Oklahoma City to the insurrection at the United States Capitol on January 6, 2021.

More here.

Samuel Loncar at Marginalia Review:

Academics use the category of magic, well, often magically, to dismiss the phenomenon they are studying, to banish the subject matter from living contact with their present reality. Ancient philosophy is over there, good and dead, and we enlightened modern philosophers and scholars are over here, living, present, pristine and modern, washed clean of ancient superstitions. But magic is rather sticky, hard to wash off from the hands or the delicate underside of the modern mind, to which it clings like a sinister visitor who has always arrived, but is still waiting to announce itself.

Whether we believe in magic or not, whether we honor names or not, names are magical and magical are our names. They are magical because we answer to them, and through them make the world answerable to us. Try just inventing a name that “sticks.”

more here.

Ed Simon at The Millions:

Take the word “understand;” in daily communication we rarely parse it’s implications, but the word itself is a spatial metaphor. Linguist Guy Deutscher explains in The Unfolding of Language: An Evolutionary Tour of Mankind’s Greatest Invention how “understand,” derived from the Middle English understanden, itself from the Anglo-Saxon understandan, and ultimately from the Proto-Germanic understandana. “The verb ‘understand’ itself may be a brittle old skeleton by now,” Deutscher writes, “but its origin is till obvious: under-stand originally must have meant something like ‘step under,’ perhaps rather like the image in the phrase ‘get to the bottom of.’” Such spatial language is common, with Deutscher listing “the metaphors that English speakers use today as synonyms: we talk of grasping the sense, catching the meaning, getting the point, following an explanation, cottoning on to an idea, seeing the difficulty.” The word “comprehend” itself is a metaphor, with an etymology in the Latin word prehendere, which means “to seize.” English has a propensity to those sorts of metaphors, foreign loan words from Anglo-Saxon, Frisian, and Norman; Latin, French, Italian, and Spanish; Abenaki, Wolof, and Urdu, which don’t announce themselves as metaphors precisely because of their foreignness—and yet that rich vein of the figurative runs through everything. Dan Paterson gives two examples in his voluminous study The Poem, explaining how a word as common as “tunnel” is from the “Medieval English tonel, a wide-mouthed net used to trap birds, so its first application to ‘subterranean passage’ will have been metaphorical—and would inevitably have carried the connotation ‘trap’ for a little while.”

more here.

Aaron Benanav in The Nation:

For the longest part of our history, humans lived as hunter-gatherers who neither experienced economic growth nor worried about its absence. Instead of working many hours each day in order to acquire as much as possible, our nature—insofar as we have one—has been to do the minimum amount of work necessary to underwrite a good life.

This is the central claim of the South African anthropologist James Suzman’s new book, Work: A Deep History, From the Stone Age to the Age of Robots, in which he asks whether we might learn to live like our ancestors did—that is, to value free time over money. Answering that question takes him on a 300-millennium journey through humanity’s existence.

More here.

Peter H. Schuck in Quillette:

Sometimes our most precious cultural institutions fail to live up to their high educational and moral commitments and responsibilities. These failures especially damage the social fabric because they tend to harm many people who rely on them and tarnish the high ideals that the institutions claim to exemplify.

An incident in early October involving MIT, a jewel in world academia’s crown, presents an especially egregious instance of this institutional failing, aggravated by that university’s cowardice in the face of intimidation and threats by self-righteous students and their faculty allies. MIT had invited Dorian Abbot, a University of Chicago geophysicist, to deliver the prestigious John Carlson Lecture on climate and the potential of life on other planets—a topic on which Abbot is a recognized expert. Unfortunately for Abbot and his intended audience, however, he had recently committed the campus equivalent of hara-kiri by taking seriously the norms of academic freedom which MIT and other schools claim to cherish.

More here.

The Poem of Chalk

On the way to lower Broadway
this morning I faced a tall man
speaking to a piece of chalk
held in his right hand. The left
was open, and it kept the beat,
for his speech had a rhythm,
was a chant or dance, perhaps
even a poem in French, for he
was from Senegal and spoke French
so slowly and precisely that I
could understand as though
hurled back fifty years to my
high school classroom. A slender man,
elegant in his manner, neatly dressed
in the remnants of two blue suits,
his tie fixed squarely, his white shirt
spotless though unironed. He knew
the whole history of chalk, not only
of this particular piece, but also
the chalk with which I wrote
my name the day they welcomed
me back to school after the death
of my father. He knew feldspar,
he knew calcium, oyster shells, he
knew what creatures had given
their spines to become the dust time
pressed into these perfect cones,
he knew the sadness of classrooms
in December when the light fails
early and the words on the blackboard
abandon their grammar and sense
and even their shapes so that
each letter points in every direction
at once and means nothing at all.
At first I thought his short beard
was frosted with chalk, as we stood
face to face, no more than a foot
apart. I saw the hairs were white,
for though youthful in his gestures
he was, like me, an aging man, though
far nobler in appearance with his high
carved cheekbones, his broad shoulders,
and clear dark eyes. He had the bearing
of a king of lower Broadway, someone
out of the mind of Shakespeare or
Garcia Lorca, someone for whom loss
had sweetened into charity. We stood
for that one long minute, the two
of us sharing the final poem of chalk
while the great city raged around
us, and then the poem ended, as all
poems do, and his left hand dropped
to his side abruptly and he handed
me the piece of chalk. I bowed,
knowing how large a gift this was
and wrote my thanks on the air
where it might be heard forever
below the sea shell’s stiffening cry.

by Philip Levine
from Poetry 180
Random House, 2003

Mathew Lyons in New Humanist:

We don’t know his real name. In early inscriptions it appears as Yhw, Yhwh, or simply Yh; but we don’t know how it was spoken. He has come to be known as Yahweh. Perhaps it doesn’t matter; by the third century BCE his name had been declared unutterable. We know him best as God.

God, as he is now understood by monotheistic religions, wasn’t always a singular deity. When Sargon II of Assyria conquered Israel in the eighth century BCE, he described seizing statues of “the gods in whom they trusted”. Who were these other gods – and what was Yahweh to them? Thanks to second-millennium BCE texts from the Syrian city-state Ugarit, we know that Yahweh was once a minor storm god of a wild, mountainous region south of the Negev desert. He was part of a large pantheon of Levantine gods headed by the patriarch El and his consort Athirat.

El, not Yahweh, was most likely the first god of the people of Israel. But early in the first millennium BCE, Yahweh displaced him. This Yahweh is the god whom Francesca Stavrakopoulou – professor of the Hebrew Bible and ancient religion at the university of Exeter – anatomises. He is not the perfect, abstract, immaterial being of modern conception; his is a visceral presence with an all too corporeal reality and many of the flaws that flesh is heir to.

He is very much made in the image of man. In texts, he is described as having radiant and red-hued skin, a ruddy complexion being an ancient marker of divine power, virility and strength. His beard is long but carefully groomed, and his hair is curled, black and lustrous. The older, white-haired god with whom we are more familiar is the creation of the prophet Daniel, writing in the second century BCE. At first, Yahweh was not entirely man-like, however. “God, who brought [Israel] out of Egypt, has horns like a wild ox!” the prophet Balaam exclaims in the Book of Numbers, the fourth book of the Hebrew Bible. In some early temples he was represented by golden statues of a divine bull.

More here.