Andrew Marr in The Spectator:

It’s an unfashionable thought, but having spent many hours in the university sports hall where constituency votes for Boris Johnson and John McDonnell were counted, I feel freshly in love with democracy. There they all were, local councillors and party workers from across the spectrum; campaigners pursuing personal crusades, from animal rights to the way fathers are treated by the courts; eccentrics dressed as Time Lords. In the hot throng, there were extremists and a few who seemed frankly mad. But most were genial, thoughtful, balanced people giving of their free time to make this a slightly better country. Stuck in Westminster during relentless parliamentary crises, it’s easy to lose sight of just how energising real democracy is. I came home with my cynicism scrubbed off, and exhausted-refreshed.

However, I hadn’t seen the size of the Tory majority coming. All through the campaign, I’d felt instinctively we were heading for a Boris Johnson victory, but with a modest Tory majority. Thinking back, I’m sure I was over-influenced by social media. Conservative messages on Twitter and Facebook seemed unimaginative and repetitive, while the left was ingenious, starry, witty and emotional. But more than that, I think the online campaign made screen junkies too easily impressed by strange, vivid, eye-catching episodes, which passed most normal people by.

Many of them were to do with the Prime Minister himself: briefly pocketing a reporter’s phone to avoid an embarrassing picture; declining to be interviewed by my colleague Andrew Neil; and apparently hiding in a fridge.

More here.

Sam Dresser in aeon:

At Wat Doi Kham, my local temple in Chiang Mai in Thailand, visitors come in their thousands every week. Bearing money and garlands of jasmine, the devotees prostrate themselves in front of a small Buddha statue, muttering solemn prayers and requesting their wishes be granted. Similar rituals are performed in Buddhist temples across Asia every day and, as at Wat Doi Kham, their focus is usually a mythic representation of the Buddha, sitting serenely in meditation, with a mysterious half-smile, withdrawn and aloof. It is not just Buddhist temples in which the Buddha exists in an entirely mythic form. Buddhist scholars, bewildered by layers of legend as thick as clouds of incense, have mostly given up trying to understand the historical person. This might seem strange, given the ongoing relevance of the Buddha’s ideas and practices, most lately seen in the growing popularity of mindfulness meditation. As Western versions of Buddhism emerge, might space be made for the actual Buddha, a lost sage from ancient India? Might it be possible to separate myth from reality, and so bring the Buddha back into the contemporary conversation?

The legendary version of the Buddha’s life states that the Siddhattha Gotama was born as a prince of the Sakya tribe, and raised in the town of Kapilavatthu, several centuries before the Christian era. Living in luxurious seclusion, Siddhattha remained unaware of the difficulties of life, until a visit beyond the palace walls revealed four shocking sights: a sick man, an old man, a dead man and a holy man. The existential crisis this sparked led Siddhattha to renounce the world, in order to seek a spiritual solution to life. After six years of trying out various practices, including extreme asceticism, at the age of 35 Siddhattha attained spiritual realisation. Henceforth known as the ‘Buddha’ – which simply means ‘awakened’ – Siddhattha spent the rest of his life travelling around northern India and establishing a new religious order. He died at the age of 80.

Only the bare details of this account stand up to historical scrutiny. According to contemporary academic opinion, the Buddha lived in the 5th century BCE (c480-400 BCE). But the failure to identify Kapilavatthu implies that he was not a prince who lived in a grand palace. The most likely sites are the Nepalese site of Tilaurakot, an old market town about 10 km north of the Indian border, and the Indian district of Piprahwa, to the south of Tilaurakot and just over the Indian border. But the brick remains at both places are a few centuries later than the Buddha, which at least agrees with the oldest literary sources: according to the Pali canon – the only complete collection of Buddhist literature from ancient India ­– the Buddha’s world generally lacked bricks, and Kapilavatthu’s only building of note was a tribal ‘meeting hall’ (santhāgāra), an open-sided, thatched hut (sālā).

More here.

Above Pate Valley

We finished clearing the last
Section of trail by noon,
High on the ridge-side
Two thousand feet above the creek
Reached the pass, went on
Beyond the white pine groves,
Granite shoulders, to a small
Green meadow watered by the snow,
Edged with Aspen—sun
Straight high and blazing
But the air was cool.
Ate a cold fried trout in the
Trembling shadows. I spied
A glitter, and found a flake
Black volcanic glass—obsidian—
By a flower. Hands and knees
Pushing the Bear grass, thousands
Of arrowhead leavings over a
Hundred yards. Not one good
Head, just razor flakes
On a hill snowed all but summer,
A land of fat summer deer,
They came to camp. On their
Own trails. I followed my own
Trail here. Picked up the cold-drill,
Pick, singlejack, and sack
Of dynamite.
Ten thousand years.

by Gary Snyder
from Riprap and Cold Mountain Poems
Shoemaker & Hoard Publishers, 2003

Sanjay Reddy in The Print:

Former Reserve Bank of India governor Raghuram Rajan was right to emphasise the idea that intolerance is also a threat to prosperity. For a period, India was branded as the world’s “fastest growing major economy”. This is a position which it has in recent years traded back and forth with China. But it was more securely the fastest growing large democracy, given that China was no competition there. This is not just a statement of political values, but also a signal to investors that in India, fissures, divisions, and tensions can and will be handled flexibly, providing the possibility of greater stability over the long run. 

It is this aspect of India that has allowed it to maintain and consolidate a nation-state over seven decades. Indian capitalists may look at China with admiration, but its inability to guarantee that divisions within the country will be handled in a flexible way remains a source of doubts about its economic future. Political tensions may not have a first-order effect on economic outcomes in the short run but in the longer term, they create the possibility of potentially devastating disruptions, even if their likelihood is difficult or impossible to judge.

More here.

Manash Firaq Bhattacharjee in The Wire:

There is an anecdote in Salvador Dali’s Diary of a Genius, where he recounts telling three men from Barcelona, nothing that occurs in the world astonishes him. Upon which a well-known watchmaker among them asks Dali, if he saw the sun coming out in the middle of the night, wouldn’t he be astonished? No, said Dali, it wouldn’t bother him the least. The watchmaker confessed, if he witnessed such a thing, he would have thought he had gone mad. To which, Dali replied with witty assurance, “I should think it was the sun that had gone mad.”

The modern counterparts of Dali’s watchmaker believe there is something mad about the student protests against the Citizenship Amendment Act (CAA). In fact, the madness lies elsewhere.

Muslim students, finding their place as equal subjects under the law shrinking drastically after the CAA was passed by both houses of parliament last week, have reacted sharply. Protests were spearheaded by two Muslim educational institutions, Jamia Millia Islamia and Aligarh Muslim University. The logic of the government had reached them. But more significantly perhaps, what reached them was a sense of suffocation.

Since 2014, there has been an unprecedented attack on Muslims in social spaces. It started with the lynchings on rumours of beef eating and transporting cattle. The territorialisation of the Hindu nation had begun with that move.

More here.

Henry Farrell and Abraham L. Newman in Foreign Affairs:

[Thomas] Friedman was right that a globalized world had arrived but wrong about what that world would look like. Instead of liberating governments and businesses, globalization entangled them. As digital networks, financial flows, and supply chains stretched across the globe, states—especially the United States—started treating them as webs in which to trap one another. Today, the U.S. National Security Agency lurks at the heart of the Internet, listening in on all kinds of communications. The U.S. Department of the Treasury uses the international financial system to punish rogue states and errant financial institutions. In service of its trade war with China, Washington has tied down massive firms and entire national economies by targeting vulnerable points in global supply chains. Other countries are in on the game, too: Japan has used its control over key industrial chemicals to hold South Korea’s electronics industry for ransom, and Beijing might eventually be able to infiltrate the world’s 5G communications system through its access to the Chinese telecommunications giant Huawei.

Globalization, in short, has proved to be not a force for liberation but a new source of vulnerability, competition, and control; networks have proved to be less paths to freedom than new sets of chains. Governments and societies, however, have come to understand this reality far too late to reverse it. In the past few years, Beijing and Washington have been just the most visible examples of governments recognizing how many dangers come with interdependence and frantically trying to do something about it. But the economies of countries such as China and the United States are too deeply entwined to be separated—or “decoupled”—without causing chaos.

Jennifer Krasinski at Bookforum:

In the years before a woman becomes a writer, the rooms are never her own, and that can be a very fine thing. Decades before receiving the Baudelairian authorship, when she first moved to Paris as a young woman, Hazel Brown stayed in cheap hotels, admiring the neutrality of spaces designed for everyone and no one: “No judgment, no need, no contract, no seduction: just the free promiscuity of a disrobed mind.” She thereafter sublets teensy, humble apartments, living alongside the unremarkable belongings of people she doesn’t know—an actress (a role-player), a graphologist (a handwriting analyst). She spends her days reading in the park, filling her head with the words of others, of people she also doesn’t know, and picking up boys to kiss and fuck. She is equally enamored of sex and sentences; each, sensual and electrifying, grazes her body, at once possessing it and proving its otherness. She takes menial jobs: one at the summer house of a convalescing widow, for whom she performs all manner of household duties; later, she’s hired to mind the daughter of a wealthy couple, shuttling her from school back to their apartment, where Hazel Brown does the ironing and dusting, playing proxy for the wife and mother who recently returned to work.

more here.

William Dalrymple at The Guardian:

Of all the ill-fated revolutions of the Arab spring, none started more optimistically, or ended more disappointingly, than that of Egypt. President Hosni Mubarak, who was overthrown with such rejoicing at the beginning of the revolution in 2011, was perhaps not the worst of the Arab dictators. His rise, on the classless elevator of the Egyptian armed forces, was entirely the result of his competence in the military. Cairo intellectuals disliked his backslapping air-force bonhomie and quickly dubbed him “La vache qui rit”, after the laughing cow on the French processed cheese to whom the president was said to bear a resemblance.

For two decades Mubarak provided Egypt with a plodding yet stable government, which many compared favourably with the attention-seeking antics of his predecessors Nasser and Sadat. It should not be forgotten that his ministers were corrupt, his police casually and strikingly brutal, and torture in Egyptian prisons was rife. Yet his regime was still better than its counterparts in Syria and Iraq.

more here.

Matthew King at The Baffler:

Modern recycling as we know it—the byzantine system of color-coded bins and asterisk-ridden instruction sheets about what is or isn’t “recyclable”—was conceived in a boardroom. The anti-litter campaigns of the 1950s, championed under the slogan of “Keep America Beautiful,” were funded by the producers of that litter, who sought to position recycling as a viable alternative to the sustainable packaging laws that had percolated in nearly two dozen states. In primetime commercials over the decades, American audiences met characters like Susan Spotless and “The Crying Indian” (played by Italian-American actor Espera Oscar de Corti) who urged consumers to lead the charge against debris: “People start pollution. People can stop it.”

Keep America Beautiful flaunted a fairy tale logic that demanded little from anyone. Landscapes would be rendered pristine as long as responsible citizens placed their garbage in the proper receptacle. Any unwanted items could be magically whisked away somewhere distant and unseen.

more here.

Jonathan Shaw in Harvard Magazine:

SYNTHETIC BIOLOGY, or the application of engineering principles to the design of life, presents world-changing prospects. Could components of a living cell function as tiny switches or circuits? How would that allow biomedical engineers to build biological “smart devices”—from sensors deployed inside the body to portable medical kits able to produce vaccines and antibiotics on demand? Could bacterial “factories” replace the fossil-fueled industries that produce plastics, foods, and fertilizers? Will the secrets of living creatures that enter suspended animation during periods of drought and extreme cold be harnessed to keep human victims of trauma alive? And is the genetic information preserved in long-frozen or fossilized extinct species, like woolly mammoths, sufficiently recoverable to help save living species?

These ideas, once the stuff of science fiction, are now the stuff of science. Some aren’t yet functioning realities, but others have launched business applications, whether in medicine (such as hospital gowns that signal exposure to infection) or in land remediation (where bacterial “factories” powered by the sun capture nitrogen from the atmosphere to help plants grow). Someday, engineered forms of life that store carbon may even be one of the solutions to Earth’s climate-change problem.

“Most of biology, historically, has been analyzing how nature works,” says Donald Ingber, director of Harvard’s Wyss Institute for Biologically Inspired Engineering. Systems biology is the culmination of that effort to deconstruct natural processes. Now, with synthetic biology, he points out, scientists “are at the point where we know enough that we can actually engineer artificial and natural biological systems.” Researchers today can build things from biological parts, and even create hybrid systems by linking them to non-living machines. Propelling the science forward are scores of innovations in biological science, with new discoveries coming every month. Among the most important are advances in genetic editing, including improvements in accuracy, and the ability to make hundreds of changes at once.

More here.

Aida Edemariam in The Guardian:

Virginia Woolf, aged 23, recently orphaned and still 10 years away from publishing her debut novel, was first commissioned to write reviews for the TLS in 1905. She began, as Francesca Wade points out in her preface to this collection, like any novice – by reviewing anything the editors sent her: guide books, cookery books, poetry, debut novels. Often she was filing a piece a week, reading the book on Sunday, writing – in the anonymous, authoritative TLS first-person plural “we” – up to 1,500 words on Monday, to be printed on Friday. The reviews gave her independence, and they made her a writer.

Through these pieces she “learnt a lot of my craft”, she once recalled; “how to compress; how to enliven”, how “to read with a pen & notebook, seriously”. She could not of course have managed it without a childhood of reading (“the great season for reading is the season between the ages of18 and 24”, as she puts it, somewhat archly, in “Hours in a Library”). Also essential was the cultural capital she took for granted as the daughter of leading man of letters Leslie Stephen (and which she recognises as a foundation of Fanny Burney’s work: “all the stimulus that comes from running in and out of rooms where grown-up people are talking about books and music”). She possessed the journalist’s and then the novelist’s gift for detail (the 107 dinner parties Henry James attended in one season, for instance, without being appreciably impressed by any of them), and the humility, at least at first, to understand that she must earn the attention of “busy people catching trains in the mornings” and “tired people coming home in the evening”.

She was working out, too, what being a critic meant. ‘A great critic” – a “Coleridge, above all” – “is the rarest of beings” she believed; what’s more, he wrote of drama and of poetry. The criticism of fiction “is in its infancy”, she wrote. This was an opportunity, but also a challenge – for where, as a young woman, and an autodidact, did she fit in? That gender-ambiguous “we” sometimes feels like a cloak swept about her with too much bravado.

More here.

To the Person(s) Who Drowned Beehives
and set others on Fire, Killing 6000,000 Bees

When I was a kid, wild bees swarmed a plum tree
on Dad’s property. From our picture window,
I marveled at the hive pulsing, growing larger. Dad told me,
Don’t throw rocks at the beehive. He didn’t say, Leave
the hive alone. Look at it, but don’t bother the bees.
Dad anticipated me at my worst. I speculated about my ability
to outrun rock-stunned, furious bees. I thought I could,
but didn’t throw a rock. Wary of the righteous sting
of Dad’s meted-out punishments, I didn’t drown the hive,
or set fire to it, either. Dad called a local beekeeper
to give the swarm a new home. I remember Jim Buchan,
helmet-veil shielding his face and neck. In a bee suit,
smoker swaying in one hand like a censer. I remember
his calm, his respect, his devotion akin to love.
In a moment, bees filled our sky, were everywhere.
I remember wonder, and honeycomb oozing amber liquid
made from nectar gathered in Dad’s bloom-crazy yard.
I remember my bee-sweet teeth, satiated for once.

by Andrew Shattuck McBride
from Empty Mirror Books.com

Morgan Meis in The Easel:

For at least a decade now there’s been a buzz about Mark Bradford. People call him an exciting painter. Those two words, “exciting” and “painting,” don’t get put together very often, which is understandable. There is something about painting that promotes a reflective attitude. You look at a painting by standing your distance and contemplating. You can like a painting, love a painting, even be moved by a painting. But excitement? Not so much. What is it about Bradford’s paintings that makes them exciting? The answer, I think, is that Bradford has discovered an approach to abstraction that’s genuinely fresh, genuinely new. No one’s done it quite like this before.

So, let’s get right down to describing what Mark Bradford does when making a painting: He collects stuff. Much of the time, this happens in the city of Los Angeles. Bradford drives around LA, generally close to his neighborhood in South Central, (where he grew up) but ranging wider as the need may be. Born in 1961, he was, beginning as a child, and off and on for years, an assistant in his mother’s hair salon in Leimert Park. After high school, he got himself licensed as a hairdresser so he could work in the shop full time. It was not until Bradford was thirty years old that he entered into any formal art training. He went to CalArts in 1991 and emerged with an MFA in 1997. Twelve years later he picked up a MacArthur “Genius” Award for his paintings and, in 2014, a US Department of State’s Medal of Arts. His paintings currently sell in the two to fifteen million dollar range on the international market. The sticker price is amazing in itself but even more so because his works are physically huge and therefore unwieldy for the collector. Not bad for a late starter.

More here.

Scott Barry Kaufman in Scientific American:

A large number of well done studies have painted a rather consistent picture of sex differences in personality that are strikingly consistent across cultures (see here, here, and here). It turns out that the most pervasive sex differences are seen at the “narrow” level of personality traits, not the “broad” level (see here for a great example of this basic pattern).

At the broad level, we have traits such as extraversion, neuroticism, and agreeableness. But when you look at the specific facets of each of these broad factors, you realize that there are some traits that males score higher on (on average), and some traits that females score higher on (on average), so the differences cancel each other out. This canceling out gives the appearance that sex differences in personality don’t exist when in reality they very much do exist.

For instance, males and females on average don’t differ much on extraversion. However, at the narrow level, you can see that males on average are more assertive (an aspect of extraversion) whereas females on average are more sociable and friendly (another aspect of extraversion). So what does the overall picture look like for males and females on average when going deeper than the broad level of personality?

More here.

Kathleen Rooney at Poetry Magazine:

Benton was massively popular in his heyday. This Is My Beloved came out in 1943; Billboard reported in early 1949 that the book had sold more than 350,000 copies, and it remained continuously in print for decades. Benton’s work appeared in the Yale Review, Esquire, the New Republic, Poetry, and other prestigious outlets, but he’s best remembered today (if at all) for his World War II poetry. The only contemporary review of This Is My Beloved I could track down was in Kirkus Reviews in 1942. It’s a wry, saucy write-up that reads: “High voltage verse, this, in free verse for a sequence of lyrics commemorating a love affair and its termination. Intimate corporeal and physical detail and extravagant praise thereof, in what might mildly be termed erotica. D.H. Lawrence—move over.”

Whatever critics’ ambivalence, Benton wrote one of the bestselling poetry collections in America. Why had I never heard of him? Exposure doesn’t equal merit, of course, but these poems had resonated with hundreds of thousands of readers over the years and now struck a chord in me. I wanted to understand why.

more here.