Nidhi Subbaraman in Nature:
Scientists have successfully grown monkey embryos containing human cells for the first time — the latest milestone in a rapidly advancing field that has drawn ethical questions.
In the work, published on 15 April in Cell1, the team injected monkey embryos with human stem cells and watched them develop. They observed human and monkey cells divide and grow together in a dish, with at least 3 embryos surviving to 19 days after fertilization. “The overall message is that every embryo contained human cells that proliferate and differentiate to a different extent,” says Juan Carlos Izpisua Belmonte, a developmental biologist at the Salk Institute for Biological Studies in La Jolla, California, and one of the researchers who led the work. Researchers hope that some human–animal hybrids — known as chimaeras — could provide better models in which to test drugs, and be used to grow human organs for transplants. Members of this research team were the first to show in 20192 that they could grow monkey embryos in a dish for up to 20 days after fertilization. In 2017, they reported a series of other hybrids: pig embryos grown with human cells, cow embryos grown with human cells, and rat embryos grown with mouse cells3.
…In the study, researchers fertilized eggs extracted from cynomolgus monkeys (Macaca fascicularis) and grew them in culture. Six days after fertilization, the team injected 132 embryos with human extended pluripotent stem cells, which can grow into a range of cell types inside and outside an embryo. The embryos each developed unique combinations of human and monkey cells and deteriorated at varying rates: 11 days after fertilization, 91 were alive; this dropped to 12 embryos at day 17 and 3 embryos at day 19.
More here.

I
Long before the advent of non-fungible tokens, some advocates of digital art argued that there is no meaningful distinction between a “virtual” object and a “physical” one. Such a division, they believed, partakes of the fallacy of “digital dualism,” the imprecise belief that a file is somehow less “real” than a painting on canvas, when in fact both are products of mind and time accreted to the permanence of matter. Less arty or newfangled is the old law of property. A contract is a ghost story for adults: It turns vaporous whatevers—labor time, carbon, pixel—into a coin struck by the handshake of exchange and the creep of law. Ownership was always a song and a dance and a fusillade.
A team of Egyptian archaeologists
Think of the American Civil Liberties Union during the last two decades of the 20th century, and a certain type of person invariably comes to mind: shrewd, thick-skinned, and possessed of an unwavering—some might say irritating—commitment to principle. The men and women of the ACLU were liberals in the most honorable, but increasingly obsolescent, meaning of the term. They understood that the measure of democracy lies in the impartial application of its laws, and were prepared to defend anyone whose constitutional rights were trampled upon, irrespective of their political views or the repercussions that mounting such a defense might entail.
In September 2017, when Hurricane Maria hit Puerto Rico, the storm first made landfall on a small island off the main island’s eastern coast called Cayo Santiago. At the time, the fate of Cayo Santiago and its inhabitants was barely a footnote in the dramatic story of Maria, which became Puerto Rico’s worst natural disaster, killing 3,000 people and disrupting normal life for months.
JERUSALEM — The annual Israel Prize ceremony is supposed to be an august and unifying event, a beloved highlight of the Independence Day celebrations that fall on Thursday this year. This being Israel, it is rarely without controversy. The latest ruckus goes to the heart of the political divides and culture wars rocking the country’s liberal democratic foundations even as it remains lodged in a two-year
It’s hard if not impossible to imagine a figure of Weil’s stature in the intellectual and political culture of today’s left, the only region of the political spectrum where she might possibly fit. And not just because of her religiosity, which would of course instantly ghettoize her. It’s also because she’s so hard to pin down with any neat, easy label—or rather, because the labels are too many and apparently conflicting. (She’d be eaten alive on Twitter from all sides—or, worse, simply shunned and ignored.) “An anarchist who espoused conservative ideals,” Zaretsky writes in his opening pages, “a pacifist who fought in the Spanish Civil War, a saint who refused baptism, a mystic who was a labor militant, a French Jew who was buried in the Catholic section of an English cemetery, a teacher who dismissed the importance of solving a problem, the most willful of individuals who advocated the extinction of the self: here are but a few of the paradoxes Weil embodied.”
Beyond erasing this diversity, casting Palestinian radicalism as innately Islamic severs resistance from the essential question of land and geography. The novel reflects this: Nahr’s status as the daughter of Palestinian refugees in Kuwait certainly affects her life—she is pushed out of an official dance troupe, and her family’s allegiance is suspected after Saddam Hussein’s invasion. But being Palestinian doesn’t take hold as a political reality until she lives in her ancestral homeland. What fuels her fight isn’t a divine commandment about good and evil; it is the land itself. Nahr observes settlers encroaching on a Palestinian village, and wonders how Bilal and his mother have been able to keep them away from their land. She visits her mother’s childhood home, in Haifa, and picks figs from a tree her grandfather planted, before being chased off by a Jewish woman who now lives there. She helps to redirect water from a pipe meant for settlers to the olive groves. There is violence inflicted upon this land, but Abulhawa centers its beauty: “I was content to just sit there in the splendid silence of the hills, where the quiet amplified small sounds—the wind rustling trees; sheep chewing, roaming, bleating, breathing; the soft crackle of the fire; the purr of Bilal’s breathing,” Nahr reflects. “I realized how much I had come to love these hills; how profound was my link to this soil.”

A year ago, there was no snow on the ground, and I was thinking about icebergs. “We’d rather have the iceberg than the ship,” begins the first stanza of Elizabeth Bishop’s “The Imaginary Iceberg,” and continues,
The announcement of a new Haruki Murakami title inspires gleeful anticipation: Will there be music (classical, jazz, Beatles – yes), baseball (certainly), local watering holes (take a seat), thwarted young love (indubitably), the impossible made ordinary (naturally), and … cats (meow)? The Japanese writer doesn’t disappoint in his latest collection to arrive stateside, “First Person Singular,” a phrase that also succinctly summarizes his preferred writing style: The eight stories are each revealed by a contemplative “I”-narrator. Over the 40-plus years Murakami has produced novels, short stories, nonfiction, and personal essays, he’s first and foremost a remarkably accessible storyteller. His books are an intimate invitation to revel in his perpetually unpredictable, yet remarkably convincing, imagination.
There exists a social hierarchy within