I’m sorry I want to say
and greenhouse and topsoil and basil greens
and cowshit and snowfall and spinach knife
and woodsmoke and watering can and common thistle
and potato digger and peach trees
and poison parsnip and romaine hearts
and rockpiles and spring trilliums and ramp circles
what song of grassblade
what creak of dark rustle tree
and blueblack wind from the north
this vetch this grapevine
this waterhose this mosspatch
sunflower gardens in the lowland
dog graves between the apple trees
this fistfull of onion tops
this garlic laid silent in the barn
this green this green this green
sweet cucumber leaf
sweet yellow bean
and all this I try to make a human shape
the darkness regenerating a shadow of a limb
my tongue embraces the snap pea
and so it is sweet
how does the rusted golfcart in the chickweed
inform my daily breath
I’m sorry I want to say
to the unhearing spaces
between the dogwood trees
for my tiny little life
I have pressed into
your bruising green skin
by Lucy Walker
from Pank Magazine
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Despite the fact nearly no one knows her true identity, Elena Ferrante needs perhaps no introduction. The prolific and reclusive Italian writer has been writing since 1992, but reached international fame with My Brilliant Friend, the first of the Neapolitan Quartet of novels. It was the skillful hand of translator Ann Goldstein who helped introduce the novels to an English-reading audience. Though she was an integral part of one of the most popular works of fiction in the 21st century, Goldstein tells me she became a translator “accidentally,” after having studied Italian while working in the copy editing department of the New Yorker.
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AI systems’ mastery of language may or may not portend a future of superintelligent AI minds, but it already provides a proof of concept for a revolution in gene editing. And though such a revolution promises to unlock transformative medical advancements, it also brings longstanding bioethical dilemmas to the fore: Should people of means be able to hardwire physical or cognitive advantages into their genomes, or their children’s? Where is the line between medical therapy and dehumanizing enhancements?
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According to the philosopher Peter Sloterdijk, the 20th century’s form of life also began with the air. Sloterdijk puts the moment at 6 p.m. on April 22, 1915, near Ypres, when a German regiment under the command of Col. Max Peterson unleashed chlorine gas in warfare for the first time. Previously, violence in war had been directed at the human body; this attack targeted the “living organism’s immersion in a breathable milieu,” as Sloterdijk writes in “
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Open one of the drawers in a collections cabinet at the United States Holocaust Memorial Museum, and you’ll find a small booklet of Efka cigarette papers. The papers are part of a broader story the museum tells about Nazism, corporate collaboration, and wartime propaganda.
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Super Agers, by clinician Eric Topol, has just been published, but it was almost surreal for me as a US scientist to read the book now, with its optimistic take on the state of the medical field. Despite their extreme promise, many of the lines of research that Topol describes have been subject to
I meet a lot of people who don’t like their jobs, and when I ask them what they’d rather do instead, about 75% say something like, “Oh, I dunno, I’d really love to run a little coffee shop.” If I’m feeling mischievous that day, I ask them one question: “Where would you get the coffee beans?”
Here’s a test for infants: Show them a glass of water on a desk. Hide it behind a wooden board. Now move the board toward the glass. If the board keeps going past the glass, as if it weren’t there, are they surprised? Many 6-month-olds are, and by a year, almost all children have an intuitive notion of an object’s permanence, learned through observation. Now some artificial intelligence models do too.
According to the existential-risk researcher Luke Kemp, globalization has produced a planetary “