Sudip Bose at The American Scholar:

A new idea, Rosenberg writes, emerged toward the end of the Second World War, that classical music could be so inspirational to a nation that it might help win a war. Thus was Shostakovich’s Seventh Symphony—its first three movements composed in Leningrad as the city was besieged by the Germans—championed in this country as a symbol of freedom and antifascism. The symphony’s artistic merits were less important than its inherent political value, and a national radio audience, hearing the work for the first time on July 19, 1942, was held in a fevered thrall. With the advent of the Cold War and fears growing about the spread of communism, music was increasingly seen to be “interwoven with the democratic aspirations of the American people.” It was, sometimes in not so subtle ways, weaponized. How else to explain the dispatch of symphony orchestras on diplomatic missions abroad? This exporting of American culture to Eastern Europe and the Soviet Union, where artistic freedoms were brutally suppressed, was both a means of promoting democracy and a master stroke of propaganda. And when the pianist Van Cliburn won first prize at the first Tchaikovsky Competition in Moscow in 1958, he was feted with a ticker-tape parade in New York City. His triumph went far beyond the realm of art; Cliburn, the tall, handsome Texan who had melted Russian hearts with Tchaikovsky and Rachmaninoff, had scored one for the West.

more here.

Colm Tóibín at the LRB:

Elton makes no effort to make himself seem good or worthy of the reader’s approval. When he sells all his stuff, he writes: ‘Before you get the wrong idea, I should add that I had absolutely no intention whatsoever of leading a more simple and meaningful life, uncoupled from the yoke of consumerism and unencumbered by material possessions.’ And he makes no secret of the fact that, as he grew older and richer and more famous, he became unbearable. When his house was being emptied of all its goods he moved into a hotel, only to find that he was being kept awake by the wind, so he phoned his office: not to see if he could change rooms, but to demand that something be done about the wind itself. ‘I absolutely was crazy and deluded enough to ring the international manager of Rocket [his company] and ask him to do something about the wind outside my room.’

But Elton also has a big heart, as his work for Aids charities makes clear.

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Clemence Boulouque in The New York Times:

Reciting Jewish achievements and Judaism’s contribution to civilization in order to fight anti-Semitic propaganda is a well-established genre that flourished in 19th-century Europe. After reaching the United States in the first part of the 20th century, it arguably culminated in the 1960s with the writings of popular authors like Max Dimont. Norman Lebrecht’s “Genius & Anxiety” belongs to that genre: Both the subtitle of his book and the preface testify to Lebrecht’s commitment to demonstrating “how Jews changed the world” as a response to the current moment, which, he laments, is yet again beset by anti-Semitism.

Spanning a century, between 1847 (the death of Felix Mendelssohn) and 1947 (the United Nations’ vote in favor of the creation of the State of Israel), the book features dozens of remarkable scientists, artists and politicians of Jewish descent. Lebrecht’s wide net captures the usual suspects — Marx, Freud, Kafka, Einstein — but also many lesser-known, and equally fascinating, individuals, like Karl Landsteiner, the father of blood types; Albert Ballin, the shipping industry magnate who changed trans-Atlantic journeys and migration patterns; and Eliza Davis, an acquaintance of Dickens who harassed him until he amended “Oliver Twist,” doing away with negative Jewish references in the book’s later editions. Some of Lebrecht’s transitions from one vignette to the next flow particularly well: His account of the revival of ancient Hebrew under the auspices of Eliezer Ben-Yehuda, meant to foster a Jewish national consciousness, is aptly followed and contrasted by the depiction of the near-simultaneous creation of Esperanto by the Polish idealist Eliezer Ludwig Zamenhof, who strove to create a universal idiom that would encourage greater understanding among peoples.

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Ewen Callaway in Nature:

A cave-wall depiction of a pig and buffalo hunt is the world’s oldest recorded story, claim archaeologists who discovered the work on the Indonesian island Sulawesi. The scientists say the scene is more than 44,000 years old.

The 4.5-metre-long panel features reddish-brown forms that seem to depict human-like figures hunting local animal species. Previously, rock art found in European sites dated to around 14,000 to 21,000 years old were considered to be the world’s oldest clearly narrative artworks. The scientists working on the latest find say that the Indonesian art pre-dates these. “I’ve never seen anything like this before. I mean, we’ve seen hundreds of rock art sites in this region, but we’ve never seen anything like a hunting scene,” says Adam Brumm, an archaeologist at Griffith University in Brisbane, Australia, whose team describes the finding in Nature on 11 December¹. Other researchers say the discovery is important because the animal paintings are also the oldest figurative artworks — those that clearly depict objects or figures in the natural world — on record. But some aren’t yet convinced by the claim the panel represents a single ‘scene’, or story. They suggest it might be a series of images painted over the course of perhaps thousands of years. “Whether it’s a scene is questionable,” says Paul Pettitt, an archaeologist and rock-art specialist at Durham University, UK.

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The highest good is like water

Claire Jarvis at Bookforum:

Cusk is best known in the US for her Outline trilogy, a series of slim, challenging novels that follow Faye, a cryptic, intelligent narrator whose life and perspective seem to mirror Cusk’s own. Coventry gathers essays written before, during, and after the period in which Cusk was at work on the trilogy. Almost all have appeared elsewhere, but collecting them gives readers a chance to draw a link between Cusk the memoirist (there are essays on marriage and divorce) and Cusk the novelist (there are short pieces on writers like Edith Wharton, D. H. Lawrence, and Kazuo Ishiguro, as well as longer meditations on literary value).

The embrace of self-reliance at the end of “Coventry” is echoed throughout the collection. In “How to Get There,” an essay on what work can be done in the collaborative realm of a creative writing class, Cusk has a dismal view of those who crave sociability, who do not respect the solitude and asceticism she believes generate writing. She is just as suspicious of people who “configure writing as a ‘career’ full of obligations and appointments, in order to ward off the suspicion of amateurism and manage the insecurity of creative freedom.”

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Ash Sanders at The Believer:

In 2009, discouraged by the failed climate talks in Copenhagen, Chris told me he believed it might already be too late to stop catastrophic climate change. “The old world,” he said, “is gone.” It was a torch-passing moment. Chris was paralyzed by a conviction in his own failure. He had become complacent, he felt, and addicted to television: the sort of person he used to despise. But I was just beginning my own journey into environmental despair. I was full of guilt and anxiety and anger and fear about a future filled with loss and death. I began to draw my own elliptical lines through the ethics of the climate crisis. I turned off the heat in my house, even during the bitter Utah winters. I was late everywhere, determined to take a bus to another bus to a train. I obsessed over plastic bags and Styrofoam plates, and insisted on bringing my own plate to a local sandwich shop. I carried my garbage around for a week and roped my friends into doing so, too, each of us hauling a stinking reminder of our consumption from class to class, clearing rooms as we went. I joined a direct action climate justice group; I planned blockades of city streets and got arrested. I joined with Utah Valley farmers to organize against urban sprawl.

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Rupert Shortt at the TLS:

My sense (shared by some of his fellow scientists speaking privately to me) is that notwithstanding a careless choice of language in the past, Dawkins was and remains reductionist in outlook. But the scientific consensus has moved on. Neo-Darwinist ideas favouring gene-centric views of biology have given way to much more holistic visions, including an acceptance of purposive behaviour. Take a very distinguished physiologist such as Denis Noble, who has taught alongside Dawkins at Oxford. He was once a keen advocate of reductionism, the philosophy summarized by Jim Watson, a co-discoverer of the structure of DNA, as “there are only molecules; everything else is sociology”. Noble saw confirmation of this view in his finding that the pacemaker function of the heart could be explained in terms of the flow of potassium and calcium ions through protein channels. Later he changed his mind, realizing that “in the heartbeat there was not only upward causation from the molecular level to the cellular level, but also downward causation from the cell influencing the molecules”. This led Noble to reject the take on neo-Darwinism propagated by Dawkins and others for what it is – a contentious philosophical postulate, not an empirical discovery. Reductionism seeks to eliminate teleology in nature: Noble now accepts that it is ubiquitous.

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Holly Case in the Boston Review:

Earlier this year I received a letter from a professor at a Hungarian university after the government had cut funding to most public universities and placed discretion over distribution of remaining funds into the hands of government-friendly bureaucrats. “Everyone is jockeying, searching for backdoors, and hoping to just make it through,” she wrote. “What we really need is united and decisive action, or to be more precise resistance. Yet this is precisely what’s lacking . . . because everyone is trying to position themselves so the government’s axe does not fall on them.”

It is to this Hungary that László Krasznahorkai’s dense, sprawling new novel, Baron Wenckheim’s Homecoming, returns. After writing several novels set in other parts of the world—from China to the United States—the Hungarian writer has “come home” to his birthplace, a mid-sized town on the Great Hungarian Plain called Gyula, placing it at the heart of a polyphonic tragicomedy. Otherwise known for his stylistically acrobatic novels with a base note of imbalanced Manicheism (tipped in favor of evil)—several of which have been adapted and transformed to gorgeous effect by the Hungarian art film auteur Béla Tarr—Krasznahorkai has written a novel that possesses the rare quality of being both timeless and very much of its time.

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Peter Woit in Not Even Wrong:

The last couple days have seen various discussions online generated by a piece at Quanta Magazine with the dubious headline Why the Laws of Physics Are Inevitable and an even worse sub-headline claiming “physicists working on the ‘bootstrap’ have rederived the four known forces” (this is utter nonsense). For some of this discussion, see Sabine Hossenfelder, John Baez and Will Kinney.

One reason this is getting a lot of attention is that the overall quality of reporting on math and physics at the relatively new Quanta Magazine has been very high, a welcome relief from the often highly dubious reporting at many mainstream science media outlets. The lessons of what happens when the information sources society relies on are polluted with ideologically driven nonsense are all around us, so seeing this happen at a place like Quanta is disturbing. If you want to understand where this current piece of nonsense comes from, there is an ideology-driven source you need to be aware of.

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Nathan Robinson in The Guardian:

It is often claimed that the United States differs from Europe in that it lacks a socialist tradition. The title question of Werner Sombart’s 1906 book Why Is There No Socialism in the United States? was answered nearly a century later by Seymour Martin Lipset and Gary Wolfe Marks’ It Didn’t Happen Here: Why Socialism Failed in the United States.

It is common to say that socialism “failed” here; this is true insofar as socialists never became a substantial force in American politics. But it overlooks the fact that we did, for a short time, have a socialist movement that positively thrived.

A century ago, when socialism was at its peak in this country, the Socialist party had 1,200 offices in 340 cities. There were two Socialist members of Congress, dozens of Socialist state legislators, and more than 130 Socialist mayors in over half of the US states. (The University of Washington has maps showing just how impressive socialism’s spread across the country was.) Socialist party successes were especially concentrated in the midwest, which makes Senator Tammy Duckworth’s comment that you can’t “go too far to the left and still win the midwest” somewhat ironic.

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Christopher Tayler in London Review of Books:

In the summer of 1963, between the appearance of Thomas Pynchon’s first book and the Beatles’ second long-player, John Williams, a professor at the University of Denver, sent his agent in New York a draft of his latest novel, which detailed the unhappy marriage, undistinguished career and early death from cancer of an imagined professor at the University of Missouri a generation earlier. The response to ‘A Matter of Light’, as the draft was called, was not encouraging. ‘I may be totally wrong,’ Williams’s agent, Marie Rodell, wrote, ‘but I don’t see this as a novel with high potential sale. Its technique of almost unrelieved narrative is out of fashion, and its theme to the average reader could well be depressing.’ Williams’s editor at Macmillan, who had published his previous novel, Butcher’s Crossing, in 1960, quickly turned the book down, and Rodell put the draft, now called ‘A Matter of Love’, into general circulation. Everyone praised the writing, she reported the next spring, but there was a feeling that the story had ‘such a pale grey character that it would be most unlikely to earn its keep in hard covers’. Five days later, Williams got a rejection letter from a university press he’d been trying to interest in a collection of his poems. The letter quoted a reader’s report: his imagery was ‘banal’, his philosophical musings ‘scarcely worthy of serious consideration’.

Siddhartha Mukherjee in Nautilus:

Anyone who doubts that genes can specify identity might well have arrived from another planet and failed to notice that the humans come in two fundamental variants: male and female. Cultural critics, queer theorists, fashion photographers, and Lady Gaga have reminded us— accurately—that these categories are not as fundamental as they might seem, and that unsettling ambiguities frequently lurk in their borderlands. But it is hard to dispute three essential facts: that males and females are anatomically and physiologically different; that these anatomical and physiological differences are specified by genes; and that these differences, interposed against cultural and social constructions of the self, have a potent influence on specifying our identities as individuals. That genes have anything to do with the determination of sex, gender, and gender identity is a relatively new idea in our history. The distinction between the three words is relevant to this discussion. By sex, I mean the anatomic and physiological aspects of male versus female bodies. By gender, I am referring to a more complex idea: the psychic, social, and cultural roles that an individual assumes. By gender identity, I mean an individual’s sense of self (as female versus male, as neither, or as something in between).

…At the top of the cascade, nature works forcefully and unilaterally. Up top, gender is quite simple—just one master gene flicking on and off. If we learned to toggle that switch—by genetic means or with a drug—we could control the production of men or women, and they would emerge with male versus female identity (and even large parts of anatomy) quite intact. At the bottom of the network, in contrast, a purely genetic view fails to perform; it does not provide a particularly sophisticated understanding of gender or its identity. Here, in the estuarine plains of crisscrossing information, history, society, and culture collide and intersect with genetics, like tides. Some waves cancel each other, while others reinforce each other. No force is particularly strong—but their combined effect produces the unique and rippled landscape that we call an individual’s identity.

More here.

“Interwoven”

1

I come from an island
and you come from a continent,
yet we are both made of stories
that teach us to remember
our origins and genealogies,
to care for the land and waters,
and to respect the interconnected
sacredness of all things.

2

I come from an island
and you come from a continent,
yet we both know invasion.
Magellan breached our reef
thirty years after Columbus raided
your shore. We were baptized
in disease, violence, and genocide.
We both carry the deep grief
of survival.

3

I come from an island
and you come from a continent,
yet we both know the walls
of boarding schools. We were punished
for breathing our customs and
speaking our language. We learned
the Western curriculum
of fear and silence.

Read more »

Clifford Thompson in Agni:

1.

I was walking on our small green college campus, singing. Dave, beside me, tall and lank and not known for flattery, said, “You should sing, Cliff.” He thought a moment. “You do sing, Cliff.”

I shrugged and thanked him. “I can sing a little, I guess. I can’t perform.”

“They could teach you that stuff.”

2.

One of my two favorite singers never learned that stuff. A gawky six foot one, Otis Redding, who couldn’t dance to save his life, would march in place on stage. “If you can’t march to it,” he once announced with an endearing defensiveness, “it ain’t no good!”

3.

The basement of my family’s little house held much that my three older siblings once held dear. Along the white stucco walls were stacks of soul LPs and singles. On one red 45 was Otis Redding’s “(Sittin’ on) the Dock of the Bay”—recorded in 1967, very shortly before his death at twenty-six in a plane crash. I discovered it in the summer of 1975, less than a year after my father died.

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T. N. Avinash in The Wire:

John Burdon Sanderson Haldane (1892-1964) is today best remembered as one of the founders of population genetics, which married Charles Darwin’s and Alfred Russell Wallace’s ideas of natural selection with Mendelian genetics using the language of statistics. His other scientific contributions spanned the fields of physiology, biochemistry, and medical genetics – contributions that the evolutionary biologist John Maynard Smith once said would “satisfy half a dozen ordinary mortals”.

Haldane was also the most brilliant populariser of science of his generation, writing and speaking tirelessly about science and its role in society. A committed Marxist and anti-imperialist, Haldane believed that science and socialism went hand-in-hand, that they were our best means to improve society.

In A Dominant Character, his new biography of Haldane (out in India on December 10, 2019), Samanth Subramanian attempts to make sense of such a complex personality by seizing upon Haldane’s “greatest moral crisis”, one where science and politics collided head on. This was Haldane’s response to the infamous Lysenko affair of 1948, where within a span of just one week, the Soviet Union turned its back on genetics and evolutionary biology.

More here.

Joel Whitney in The Baffler:

IN LATE 2005, when the dread of finding Weapons of Mass Destruction in Iraq dwindled, California Senator Dianne Feinstein joined a chorus of non-mea culpa Democrats who claimed to be victims of Republican manipulation. But when a torture scandal arose two years later, the senator would not be so easily fooled again. Rather than accept the CIA’s bouquet of rationalizations for waterboarding, confinement, stress positions, sleep deprivation, and other so-called Enhanced Interrogation Techniques, or EITs, used on suspects rounded up in the War on Terror, Feinstein unleashed on the CIA a sober investigator, former FBI staffer Daniel J. Jones. A new feature film, The Report recounts Feinstein and Jones’s fight to uncover what really happened before President Obama ended the torture program with an executive order two days into his first term, a history that remains largely obscured.

Unlike Zero Dark Thirty, Kathryn Bigelow’s Oscar-nominated film about the hunt for Osama bin Laden, The Report is accurate and unambivalent on the fundamental question of whether torture worked: it did not. Nevertheless, the film’s urgency derives from its forceful recounting of how hard it proved—even for a veteran of the Senate (who headed the Select Committee on Intelligence)—to reveal a truthful answer to a simple question. If the torture yielded gains that saved lives, what were they?

More here.

Justin Taylor at Lit Hub:

Paley was an artist of the highest order, but she was also an activist, a pacifist, a mother, and a citizen. She saw her several callings as connected, and ideally as indistinct from each other, but when circumstance forced her to choose between protesting the war and making art, or standing up for free speech and making art, or building community and making art, she tended to back-burner the art-making. This may be one reason why her output was relatively slender and why it has been relatively undervalued. I don’t mean to suggest she’s neglected, exactly, only taken for granted at times. Well, whose mother hasn’t been?

While making my way through the Collected I realized that Paley’s debut, The Little Disturbances of Man, turns 60 years old this year. The diamond jubilee! I can hear her laughing. Which reminds me: 1959, the year of Little Disturbances, was also the year that Roth debuted with Goodbye, Columbus and Updike published his first novel, The Poorhouse Fair.

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