[{"id":309421,"date":"2026-08-14T12:45:55","date_gmt":"2026-08-14T16:45:55","guid":{"rendered":"https:\/\/3quarksdaily.com\/?p=309421"},"modified":"2026-08-14T10:16:43","modified_gmt":"2026-08-14T14:16:43","slug":"bjorn-ulvaeus-of-abba-interviewed-by-rick-beato","status":"publish","type":"post","link":"https:\/\/3quarksdaily.com\/3quarksdaily\/2026\/08\/bjorn-ulvaeus-of-abba-interviewed-by-rick-beato.html","title":{"rendered":"Bj\u00f6rn Ulvaeus of ABBA interviewed by Rick Beato"},"content":{"rendered":"<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/wy6ZO1e4W3U?si=UW_wW3mHKYIRIqow\" width=\"800\" height=\"450\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p><strong>Enjoying the content on 3QD? Help keep us going by <a href=\"https:\/\/3quarksdaily.com\/support-3qd\">donating now<\/a>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\ufeff Enjoying the content on 3QD? Help keep us going by donating now.<\/p>\n","protected":false},"author":34,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":"","footnotes":""},"categories":[5918],"tags":[],"class_list":["post-309421","post","type-post","status-publish","format-standard","hentry","category-recommended-reading","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309421","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/users\/34"}],"replies":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/comments?post=309421"}],"version-history":[{"count":1,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309421\/revisions"}],"predecessor-version":[{"id":309422,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309421\/revisions\/309422"}],"wp:attachment":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/media?parent=309421"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/categories?post=309421"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/tags?post=309421"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":309435,"date":"2026-08-14T12:01:09","date_gmt":"2026-08-14T16:01:09","guid":{"rendered":"https:\/\/3quarksdaily.com\/?p=309435"},"modified":"2026-08-14T11:03:23","modified_gmt":"2026-08-14T15:03:23","slug":"a-new-portrait-of-hannah-arendt","status":"publish","type":"post","link":"https:\/\/3quarksdaily.com\/3quarksdaily\/2026\/08\/a-new-portrait-of-hannah-arendt.html","title":{"rendered":"A New Portrait Of Hannah Arendt"},"content":{"rendered":"<p>Robert Zaretsky at <em>The American Scholar<\/em>:<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-309436 alignright\" src=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/9781984878434-us-237x360.jpg\" alt=\"\" width=\"237\" height=\"360\" srcset=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/9781984878434-us-237x360.jpg 237w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/9781984878434-us-197x300.jpg 197w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/9781984878434-us.jpg 329w\" sizes=\"auto, (max-width: 237px) 100vw, 237px\" \/><\/p>\n<p style=\"padding-left: 40px\"><span data-contrast=\"auto\">A half-century after Arendt\u2019s death, she has been canonized by political commentators who use\u2014and frequently misuse\u2014phrases and terms Arendt either coined (<\/span><i><span data-contrast=\"auto\">the banality of evil<\/span><\/i><span data-contrast=\"auto\">) or made current (<\/span><i><span data-contrast=\"auto\">totalitarianism<\/span><\/i><span data-contrast=\"auto\">). In the wake of the 2016 presidential election, sales of Arendt\u2019s 1951 book,\u00a0<\/span><i><span data-contrast=\"auto\">The Origins of Totalitarianism,<\/span><\/i><span data-contrast=\"auto\">\u00a0were so sudden and explosive that Amazon briefly ran out of stock. Moreover, academic interest in Arendt shows no sign of flagging. The number of conferences and centers, monographs, articles, books, and documentaries devoted to Arendt\u2019s life and work continue to proliferate. She was even the subject of an eponymous 2012 feature film by German director Margarethe von Trotta<\/span><i><span data-contrast=\"auto\">.<\/span><\/i><span data-contrast=\"auto\">\u00a0And all of this while many of the philosopher\u2019s previously undiscovered writings are emerging from various archives. As Thomas Meyer remarks in his own new biography, the 430 published works listed in a recent bibliography pale in comparison to the hundreds of manuscripts, correspondences, and transcripts that have yet to be published.\u00a0<\/span><span data-ccp-props=\"{&quot;201341983&quot;:0,&quot;335559731&quot;:720,&quot;335559739&quot;:0,&quot;335559740&quot;:360}\">\u00a0<\/span><\/p>\n<p style=\"padding-left: 40px\"><span data-contrast=\"auto\">Meyer\u2019s exploration of a daunting array of archival holdings help make\u00a0<\/span><i><span data-contrast=\"auto\">Hannah Arendt: A Life of the Mind<\/span><\/i><span data-contrast=\"auto\">\u2014the subtitle is a nod to Arendt\u2019s last and unfinished book\u2014an intriguing work.<\/span><\/p>\n<p>more <a href=\"https:\/\/theamericanscholar.org\/hidden-truths\/\" target=\"_blank\" rel=\"noopener\">here<\/a>.<\/p>\n<p><strong>Enjoying the content on 3QD? Help keep us going by <a href=\"https:\/\/3quarksdaily.com\/support-3qd\">donating now<\/a>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Robert Zaretsky at The American Scholar: A half-century after Arendt\u2019s death, she has been canonized by political commentators who use\u2014and frequently misuse\u2014phrases and terms Arendt either coined (the banality of evil) or made current (totalitarianism). In the wake of the 2016 presidential election, sales of Arendt\u2019s 1951 book,\u00a0The Origins of Totalitarianism,\u00a0were so sudden and explosive&hellip;<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":"","footnotes":""},"categories":[5918],"tags":[],"class_list":["post-309435","post","type-post","status-publish","format-standard","hentry","category-recommended-reading","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309435","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/users\/38"}],"replies":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/comments?post=309435"}],"version-history":[{"count":3,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309435\/revisions"}],"predecessor-version":[{"id":309439,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309435\/revisions\/309439"}],"wp:attachment":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/media?parent=309435"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/categories?post=309435"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/tags?post=309435"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":309418,"date":"2026-08-14T11:45:57","date_gmt":"2026-08-14T15:45:57","guid":{"rendered":"https:\/\/3quarksdaily.com\/?p=309418"},"modified":"2026-08-14T10:03:49","modified_gmt":"2026-08-14T14:03:49","slug":"23-low-regret-recommendations-for-ai-policy","status":"publish","type":"post","link":"https:\/\/3quarksdaily.com\/3quarksdaily\/2026\/08\/23-low-regret-recommendations-for-ai-policy.html","title":{"rendered":"23 low-regret recommendations for AI policy"},"content":{"rendered":"<p>Tim Fist and Saif Khan, with Tao Burga, Arthur Tellis, Ben Schifman, Jonah Weinbaum, and Olivia Scharfman at <em>Noahpinion<\/em>:<\/p>\n<p style=\"padding-left: 40px;\">In\u00a0<a href=\"https:\/\/www.noahpinion.blog\/p\/should-we-pace-ai-self-improvement\" target=\"_blank\" rel=\"noopener\">our last post<\/a>, we evaluated the claims of a recent open letter by AI company employees calling for governments to \u201cpace\u201d frontier AI development. To summarize:<\/p>\n<ul>\n<li style=\"list-style-type: none;\">\n<ul>\n<li>Rapid progress towards fully automated AI R&amp;D has empirical support, but it\u2019s less clear how much it will accelerate AI capabilities or pose severe risks.<\/li>\n<li>Despite substantial uncertainty, we believe some preparatory policy action is warranted. This follows both from how serious the possible direct risks are and the risk that political backlash to AI-driven disruptions results in poorly-reasoned policy measures, such as broad bans on new data centers.<\/li>\n<li>If \u201cpacing\u201d becomes necessary, we think it should consist of two parts: first, specifying thresholds for when automated AI R&amp;D is likely to pose severe risks; and second, if a threshold is exceeded, incentivizing AI companies to reallocate resources away from the most risky research, and towards activities that make further automation safer, or diffuse the benefits of existing AI faster.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p style=\"padding-left: 40px;\">Without preparation now, however, our preferred pacing strategy will be impossible to implement. In this post, we\u2019ll describe how the US can concretely prepare for the further automation of AI R&amp;D and the risks it entails.<\/p>\n<p>More <a href=\"https:\/\/www.noahpinion.blog\/p\/23-low-regret-recommendations-for?utm_source=post-email-title&amp;publication_id=35345&amp;post_id=211117463&amp;utm_campaign=email-post-title&amp;isFreemail=true&amp;r=3ikjv&amp;triedRedirect=true&amp;utm_medium=email\" target=\"_blank\" rel=\"noopener\">here<\/a>.<\/p>\n<p><strong>Enjoying the content on 3QD? Help keep us going by <a href=\"https:\/\/3quarksdaily.com\/support-3qd\">donating now<\/a>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tim Fist and Saif Khan, with Tao Burga, Arthur Tellis, Ben Schifman, Jonah Weinbaum, and Olivia Scharfman at Noahpinion: In\u00a0our last post, we evaluated the claims of a recent open letter by AI company employees calling for governments to \u201cpace\u201d frontier AI development. To summarize: Rapid progress towards fully automated AI R&amp;D has empirical support,&hellip;<\/p>\n","protected":false},"author":34,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":"","footnotes":""},"categories":[5918],"tags":[],"class_list":["post-309418","post","type-post","status-publish","format-standard","hentry","category-recommended-reading","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309418","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/users\/34"}],"replies":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/comments?post=309418"}],"version-history":[{"count":2,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309418\/revisions"}],"predecessor-version":[{"id":309420,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309418\/revisions\/309420"}],"wp:attachment":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/media?parent=309418"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/categories?post=309418"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/tags?post=309418"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":309431,"date":"2026-08-14T11:00:31","date_gmt":"2026-08-14T15:00:31","guid":{"rendered":"https:\/\/3quarksdaily.com\/?p=309431"},"modified":"2026-08-14T11:00:31","modified_gmt":"2026-08-14T15:00:31","slug":"surrealism-in-nashville","status":"publish","type":"post","link":"https:\/\/3quarksdaily.com\/3quarksdaily\/2026\/08\/surrealism-in-nashville.html","title":{"rendered":"Surrealism In Nashville"},"content":{"rendered":"<p>Leann Davis Alspaugh at <em>The New Criterion<\/em>:<\/p>\n<p class=\"has-drop-cap wp-block-paragraph\" style=\"padding-left: 40px\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-309432 alignright\" src=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/T03690_10-360x237.jpg\" alt=\"\" width=\"360\" height=\"237\" srcset=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/T03690_10-360x237.jpg 360w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/T03690_10-1024x674.jpg 1024w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/T03690_10-768x506.jpg 768w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/T03690_10-300x197.jpg 300w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/T03690_10.jpg 1536w\" sizes=\"auto, (max-width: 360px) 100vw, 360px\" \/>Ten years ago, the Merriam-Webster Dictionary declared \u201csurreal\u201d its word of the year. There were many reasons for its popularity that year. In the century since the 1924 publication of Andr\u00e9 Breton\u2019s\u00a0<em>Manifeste du surr\u00e9alisme<\/em>, the movement known as Surrealism has been through its ups and downs. One thing remains constant: a desire to\u00a0<em>\u00e9pater les bourgeois<\/em>, one that continues to astonish even as the notions of what constitutes the bourgeoisie dissolve before our eyes. The terrific exhibition \u201cInternational Surrealism from Tate: Fifty Years of Dreams,\u201d which shows works selected from the Tate Gallery\u2019s collection and presented at the Frist Art Museum in Nashville, takes a refreshingly wide view of Surrealism, reminding us that, while some artists were for a time companions, they soon moved far beyond the often-airless confines of what was initially an exhilarating but ultimately limited endeavor.<\/p>\n<p class=\"wp-block-paragraph\" style=\"padding-left: 40px\">It is worth remembering that Surrealism was originally a literary movement, one, as Breton wrote, founded on \u201cpure psychic automatism, by which one proposes to express\u2014verbally, in writing, or in any other manner\u2014the true function of thought, in the absence of control exerted by reason, and exempt from all aesthetic or moral concern.\u201d<\/p>\n<p>more <a href=\"https:\/\/newcriterion.com\/dispatch\/surreal-visions\/\" target=\"_blank\" rel=\"noopener\">here<\/a>.<\/p>\n<p><strong>Enjoying the content on 3QD? Help keep us going by <a href=\"https:\/\/3quarksdaily.com\/support-3qd\">donating now<\/a>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Leann Davis Alspaugh at The New Criterion: Ten years ago, the Merriam-Webster Dictionary declared \u201csurreal\u201d its word of the year. There were many reasons for its popularity that year. In the century since the 1924 publication of Andr\u00e9 Breton\u2019s\u00a0Manifeste du surr\u00e9alisme, the movement known as Surrealism has been through its ups and downs. One thing&hellip;<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":"","footnotes":""},"categories":[5918],"tags":[],"class_list":["post-309431","post","type-post","status-publish","format-standard","hentry","category-recommended-reading","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309431","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/users\/38"}],"replies":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/comments?post=309431"}],"version-history":[{"count":2,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309431\/revisions"}],"predecessor-version":[{"id":309434,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309431\/revisions\/309434"}],"wp:attachment":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/media?parent=309431"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/categories?post=309431"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/tags?post=309431"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":309407,"date":"2026-08-14T09:19:31","date_gmt":"2026-08-14T13:19:31","guid":{"rendered":"https:\/\/3quarksdaily.com\/?p=309407"},"modified":"2026-08-14T09:19:31","modified_gmt":"2026-08-14T13:19:31","slug":"rising-us-life-expectancy-isnt-what-it-seems","status":"publish","type":"post","link":"https:\/\/3quarksdaily.com\/3quarksdaily\/2026\/08\/rising-us-life-expectancy-isnt-what-it-seems.html","title":{"rendered":"Rising US life expectancy isn\u2019t what it seems"},"content":{"rendered":"<p>Nicole Karlis in\u00a0<em>Salon:<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-309410\" src=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/life-expectancy-GettyImages-172917568-360x243.jpg\" alt=\"\" width=\"360\" height=\"243\" srcset=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/life-expectancy-GettyImages-172917568-360x243.jpg 360w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/life-expectancy-GettyImages-172917568-1024x691.jpg 1024w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/life-expectancy-GettyImages-172917568-768x518.jpg 768w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/life-expectancy-GettyImages-172917568-1536x1037.jpg 1536w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/life-expectancy-GettyImages-172917568-300x202.jpg 300w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/life-expectancy-GettyImages-172917568.jpg 1692w\" sizes=\"auto, (max-width: 360px) 100vw, 360px\" \/><\/p>\n<p style=\"padding-left: 40px\">There\u2019s some good news for American lifespans: In July,\u00a0<a href=\"https:\/\/www.cdc.gov\/nchs\/data\/vsrr\/vsrr044.pdf\" target=\"_blank\" rel=\"noopener\">preliminary CDC data<\/a>\u00a0suggested that life expectancy in the U.S. is on track to reach a record high while death rates hit a historic low.<\/p>\n<p style=\"padding-left: 40px\">According to the report, there were about 689 deaths for every 100,000 people in 2025 \u2014 the lowest rate recorded\u00a0<a href=\"https:\/\/www.cnn.com\/2026\/07\/02\/health\/us-death-rate-record-low-cdc-report-longevity\" target=\"_blank\" rel=\"noopener\">since mortality rate tracking began<\/a>. The news comes at a time when the buzzword \u201clongevity\u201d has become synonymous with wellness, and as the U.S.\u00a0<a href=\"https:\/\/www.pewresearch.org\/short-reads\/2024\/01\/09\/us-centenarian-population-is-projected-to-quadruple-over-the-next-30-years\/\" target=\"_blank\" rel=\"noopener\">centenarian population<\/a>\u00a0is expected to explode over the next few decades. At first glance, this news might sound encouraging after years of headlines\u00a0<a href=\"https:\/\/www.salon.com\/2018\/01\/17\/us-life-expectancy-just-dropped-for-the-second-year-in-a-row-lets-stop-the-trend-now_partner\/\" data-google-interstitial=\"false\" target=\"_blank\" rel=\"noopener\">highlighting the reverse trend<\/a>, that life expectancy was falling. But public health experts who have been studying mortality rates over the last couple of decades aren\u2019t exactly optimistic this trend reflects any positive health advancements in American public health \u2014 or that these numbers can be sustained.<\/p>\n<p>More <a href=\"https:\/\/www.salon.com\/2026\/08\/11\/rising-us-life-expectancy-isnt-what-it-seems\/\" target=\"_blank\" rel=\"noopener\">here<\/a>.<\/p>\n<p><strong>Enjoying the content on 3QD? Help keep us going by <a href=\"https:\/\/3quarksdaily.com\/support-3qd\">donating now<\/a>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Nicole Karlis in\u00a0Salon: There\u2019s some good news for American lifespans: In July,\u00a0preliminary CDC data\u00a0suggested that life expectancy in the U.S. is on track to reach a record high while death rates hit a historic low. According to the report, there were about 689 deaths for every 100,000 people in 2025 \u2014 the lowest rate recorded\u00a0since&hellip;<\/p>\n","protected":false},"author":37,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":"","footnotes":""},"categories":[5918],"tags":[],"class_list":["post-309407","post","type-post","status-publish","format-standard","hentry","category-recommended-reading","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309407","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/users\/37"}],"replies":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/comments?post=309407"}],"version-history":[{"count":1,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309407\/revisions"}],"predecessor-version":[{"id":309411,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309407\/revisions\/309411"}],"wp:attachment":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/media?parent=309407"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/categories?post=309407"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/tags?post=309407"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":309404,"date":"2026-08-14T09:07:42","date_gmt":"2026-08-14T13:07:42","guid":{"rendered":"https:\/\/3quarksdaily.com\/?p=309404"},"modified":"2026-08-14T09:07:42","modified_gmt":"2026-08-14T13:07:42","slug":"william-faulkner-troubled-literary-genius","status":"publish","type":"post","link":"https:\/\/3quarksdaily.com\/3quarksdaily\/2026\/08\/william-faulkner-troubled-literary-genius.html","title":{"rendered":"William Faulkner &#8211; Troubled Literary Genius"},"content":{"rendered":"<p><iframe loading=\"lazy\" title=\"William Faulkner - Troubled Literary Genius | Biographical Documentary\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/ISx3FDYkHrQ?start=1027&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><strong>Enjoying the content on 3QD? Help keep us going by <a href=\"https:\/\/3quarksdaily.com\/support-3qd\">donating now<\/a>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Enjoying the content on 3QD? Help keep us going by donating now.<\/p>\n","protected":false},"author":37,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":"","footnotes":""},"categories":[5918],"tags":[],"class_list":["post-309404","post","type-post","status-publish","format-standard","hentry","category-recommended-reading","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309404","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/users\/37"}],"replies":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/comments?post=309404"}],"version-history":[{"count":2,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309404\/revisions"}],"predecessor-version":[{"id":309406,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309404\/revisions\/309406"}],"wp:attachment":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/media?parent=309404"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/categories?post=309404"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/tags?post=309404"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":309395,"date":"2026-08-14T07:33:14","date_gmt":"2026-08-14T11:33:14","guid":{"rendered":"https:\/\/3quarksdaily.com\/?p=309395"},"modified":"2026-08-14T07:33:14","modified_gmt":"2026-08-14T11:33:14","slug":"friday-poem-503","status":"publish","type":"post","link":"https:\/\/3quarksdaily.com\/3quarksdaily\/2026\/08\/friday-poem-503.html","title":{"rendered":"Friday Poem"},"content":{"rendered":"<h2>The Age of Blue Memory<\/h2>\n<p>Olive-trees and vines spreading to the sea,<br \/>\nAnd, beyond, red fishing-boats as far as memory.<\/p>\n<p>The golden sheaths of August over our midday sleep<br \/>\nFull of sea-weed and shells. And this a green vessel<br \/>\nNewly built spelling in the waters\u2019 peaceful embrace:<br \/>\nOur Lord will provide.<\/p>\n<p>Like leaves, like pebbles the years went by,<br \/>\nI remember the young sailors leaving<br \/>\nWith sails the colour of their hearts<br \/>\nThey sang of the four horizons<br \/>\nThey carried North winds tattooed on their chests.<\/p>\n<p>What was I looking for when you came in the colour of dawn ?<br \/>\nThe age of the sea in your eye<br \/>\nThe health of the sun in your body<br \/>\n\u2014 ^What was I looking for<br \/>\nDeep in the sea-caves in those spacious dreams<br \/>\nWhere the wind flung his feelings like foam,<\/p>\n<p>A blue stranger carving his sea-emblem on my chest.<\/p>\n<p>With sand on my fingers I clasped my fingers<br \/>\nWith sand on my eyes I clasped my fingers<br \/>\nIt was the sadness<\/p>\n<p>I remember it was in April when I first felt your human heaviness<br \/>\nYour human body of clay and sin<br \/>\nAs on our first day on earth<\/p>\n<p>The amaryllis were being celebrated \u2014 remember<br \/>\nYou suffered from a deep bite on the lips<br \/>\nA deep nail-mark on the skin<br \/>\nWhere Time is being eternally traced.<\/p>\n<p>I left you then<\/p>\n<p>The wind thundered and swept the white houses<br \/>\nAnd scattered the clean white feelings over the sky<br \/>\nThe light shining from a smile.<\/p>\n<p>Now I shall have by my side a jug of immortal water<br \/>\nA form of the wind\u2019s shattering freedom<br \/>\nAnd these your hands where love suffers<br \/>\n<em>And this your shell where echoes the Aegean.<\/em><\/p>\n<p><em>by <a href=\"https:\/\/www.poetryfoundation.org\/poets\/odysseus-elytis\" target=\"_blank\" rel=\"noopener\">Odysseus Elytis<\/a><\/em><br \/>\n<em>Translation from the Greek by Nanos Valaoritis<br \/>\nfrom<\/em> Poems From New Writing 1936 \u2013 1946,<\/p>\n<p><strong>Enjoying the content on 3QD? Help keep us going by<\/strong> <a href=\"https:\/\/3quarksdaily.com\/support-3qd\">donating now<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Age of Blue Memory Olive-trees and vines spreading to the sea, And, beyond, red fishing-boats as far as memory. The golden sheaths of August over our midday sleep Full of sea-weed and shells. And this a green vessel Newly built spelling in the waters\u2019 peaceful embrace: Our Lord will provide. Like leaves, like pebbles&hellip;<\/p>\n","protected":false},"author":36,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":"","footnotes":""},"categories":[5918],"tags":[],"class_list":["post-309395","post","type-post","status-publish","format-standard","hentry","category-recommended-reading","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309395","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/users\/36"}],"replies":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/comments?post=309395"}],"version-history":[{"count":1,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309395\/revisions"}],"predecessor-version":[{"id":309399,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309395\/revisions\/309399"}],"wp:attachment":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/media?parent=309395"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/categories?post=309395"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/tags?post=309395"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":309125,"date":"2026-08-14T05:00:17","date_gmt":"2026-08-14T09:00:17","guid":{"rendered":"https:\/\/3quarksdaily.com\/?p=309125"},"modified":"2026-08-20T14:59:24","modified_gmt":"2026-08-20T18:59:24","slug":"like-painted-kites-those-days-and-nights-went-flying-by","status":"publish","type":"post","link":"https:\/\/3quarksdaily.com\/3quarksdaily\/2026\/08\/like-painted-kites-those-days-and-nights-went-flying-by.html","title":{"rendered":"Like Painted Kites, Those Days and Nights Went Flying By"},"content":{"rendered":"<p><strong>by Charles Siegel<\/strong><\/p>\n<p>Sixty years ago this month, Reprise Records released a Frank Sinatra single, \u201cThe Summer Wind.\u201d If there is such a thing as perfection in music, this comes close.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-309128\" src=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Summer-Wind-1-357x360.jpg\" alt=\"\" width=\"250\" height=\"252\" srcset=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Summer-Wind-1-357x360.jpg 357w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Summer-Wind-1-150x150.jpg 150w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Summer-Wind-1-768x774.jpg 768w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Summer-Wind-1-298x300.jpg 298w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Summer-Wind-1.jpg 810w\" sizes=\"auto, (max-width: 250px) 100vw, 250px\" \/><\/p>\n<p>Sinatra\u2019s version was not the first recording of the song. In fact, the song he recorded wasn\u2019t even the first version of the piece at all. \u201cThe Summer Wind\u201d started life a year earlier as \u201cDer Sommerwind,\u201d written by a German composer and a German lyricist. Sometime in 1965, the American songwriter Johnny Mercer happened to hear the song being sung by the Danish singer Grethe Ingmann, who two years previously had won the Eurovision title. She submitted \u201cSommerwind,\u201d with Danish lyrics, for the 1965 contest and didn\u2019t win. But Mercer heard her singing it, and the rest is history. (Twenty-five years later, Ingmann died at 52, becoming the first Eurovision winner to die.)<\/p>\n<p>Mercer rewrote the lyrics \u201cinto pure poetry,\u201d as James Kaplan, one of Sinatra\u2019s biographers, put it. He thus became the first of two geniuses, aside from Sinatra, who combined to produce this gem. Mercer, of course, was perhaps the greatest lyricist of all time. It would take another column just to list his songs, and a dozen more columns to even attempt to convey the beauty of the words, but a few well-known examples would include \u201cOn the Atchison, Topeka and the Santa Fe,\u201d \u201cI Remember You\u201d (with the sublime opening line \u201cI remember you\/You\u2019re the one that made my dreams come true \/ Just a few kisses ago\u201d), \u201cDays of Wine and Roses,\u201d and \u201cMoon River.\u201d<\/p>\n<p>According to Sinatra\u2019s daughter Nancy, Johnny Mercer was her father\u2019s favorite lyricist. Mercer wrote, among others, another of Sinatra\u2019s greatest hits, \u201cOne for My Baby (and One More for the Road).\u201d \u201cThe Summer Wind\u201d wasn\u2019t even Mercer\u2019s first great rewrite of a song originally written in another language. Fifteen years earlier he had taken a French tune, \u201cLes Feuilles Mortes,\u201d changed the feel of the lyrics, and turned it into one of the all-time jazz standards, \u201cAutumn Leaves.\u201d<\/p>\n<p>Later in 1965, Wayne Newton recorded \u201cSummer Wind\u201d as the title track of an album. For good reason, it went nowhere on the charts. Perry Como recorded it that year too. Neither of these versions sounds remotely like what was to come from Sinatra the next year.<\/p>\n<p>Genius number two now came into the picture. <!--more-->The song was recorded for the album \u201cStrangers in the Night.\u201d The title track itself went on to become one of Sinatra\u2019s best-known songs, and earned him two Grammys. The conductor\/arranger for all of the songs on the album was Nelson Riddle.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-309129 alignright\" src=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Strangers-in-The-Night-1-360x360.jpg\" alt=\"\" width=\"252\" height=\"252\" srcset=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Strangers-in-The-Night-1-360x360.jpg 360w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Strangers-in-The-Night-1-150x150.jpg 150w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Strangers-in-The-Night-1-300x300.jpg 300w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Strangers-in-The-Night-1.jpg 600w\" sizes=\"auto, (max-width: 252px) 100vw, 252px\" \/><\/p>\n<p>Riddle is a fascinating study in his own right. Suffice it to say here that he is among the most influential figures in American popular music of the last hundred years &#8212;\u00a0 despite never having been a performing musician, or producer, or record company executive or promoter. Instead, he was one of the greatest arrangers and orchestrators of all time.<\/p>\n<p>In his reflective essay on Sinatra, \u201cWhy Sinatra Matters,\u201d Pete Hamill quotes Miles Davis as saying that \u201ca lot of musicians and writers don\u2019t get the full value out of a tune.\u00a0 Art Tatum does and Frank Sinatra does. Listen to the way Nelson Riddle writes for Sinatra, the way he gives him enough room and doesn\u2019t clutter it up\u2026 His backgrounds are so right that sometimes you can\u2019t tell if they\u2019re conducted.\u201d And quoting Quincy Jones: \u201cI loved how Nelson used Ravel\u2019s approach to polytonality. Nelson was smart because he put the electricity up above Frank. He put it way upstairs and gave Frank the room downstairs for his voice to shine, rather than building big, lush parts that were in the same register as his voice.\u201d<\/p>\n<p>And finally, Hamill quotes Sinatra himself on Riddle: \u201cNothing ever ruffles him. There&#8217;s a great depth somehow to the music he creates. And he\u2019s got a sort of stenographer&#8217;s brain. If I say to him at a planning meeting, \u2018Make the eighth bar sound like Brahms,\u2019 he\u2019ll make a cryptic little note on the side of some crappy music sheet and, sure enough, when we come to the session the eighth bar will be Brahms. If I say, \u2018Make it like Puccini,\u2019 Nelson will make exactly the same little note and that eighth bar will be Puccini all right, and the roof will lift off.\u201d<\/p>\n<p>In all, Sinatra and Riddle made 318 recordings together, over roughly 25 years. \u201cStrangers in the Night\u201d was the last full album they worked on together. In addition to the title track, there are other classics as well, such as \u201cAll or Nothing at All\u201d and \u201cMy Baby Just Cares for Me.\u201d But \u201cThe Summer Wind\u201d is two minutes and fifty-four seconds of musical, vocal, and lyrical lightning in a cool, cool bottle.<\/p>\n<p>The opening bars are loud and a bit jarring, and start with an organ, possibly a Farfisa, tracing an exotic-sounding figure meant to evoke the sirocco, the desert wind that blows from North Africa to southern Europe toward the end of summer. Then things settle down and we\u2019re into the first verse. The music is quiet, almost contemplative, with distant tinkling piano notes, as the narrator tells how the wind \u201ccame rolling in from across the sea,\u201d and touched the hair of his new flame. He wistfully recalls how \u201call summer long, we sang a song, and then we strolled that golden sand \/ two sweethearts and the summer wind.\u201d Riddle\u2019s orchestra is still quiet, but the song is gathering momentum.<\/p>\n<p>Now we\u2019re into the second verse. The key moves up a step, from D<sup>b <\/sup>to E<sup>b <\/sup>, in tune with the emotional quickening of the story. Mercer gives us what are, to my mind, two of the greatest lines ever: \u201cLike painted kites, those days and nights went flying by \/ The world was new, beneath a blue umbrella sky.\u201d Sinatra begins to loosen up a bit, as he sings the phrase as \u201cthose days and nights, they went flyin\u2019 by.\u201d We\u2019re now at the exact middle of the story. And then the unexpected blissful summer fling ends, just as inexplicably as it began, as the summer wind carries the singer\u2019s lover away: \u201cThen softer than a piper man, one day it called to you \/ I lost you, I lost you to the summer wind.\u201d<\/p>\n<p>And then the last verse. Riddle\u2019s orchestration is at full strut. The key moves up another step. We hear the drummer keeping a more distinct, insistent rim click beat. The volume and energy of the music make a strange contrast, however, with the sad end of the story: \u201cThe autumn winds, and the winter winds, they have come and gone \/ And still the days, those lonely days, they go on and on \/ And guess who sighs his lullabies, through nights that never end \/ My fickle friend, the summer wind.\u201d That penultimate line, about lonely nights that never end, is sad and reflective, but here the arrangement is at peak swagger. That juxtaposition is so strangely affecting. Only after the very last line does the music abruptly wind down.<\/p>\n<p>That\u2019s it. Less than three minutes of music, and only twelve lines of lyrics. Somehow, though, in those twelve lines Mercer captured a universal experience. Who hasn\u2019t had a romantic connection unexpectedly appear, and then just as inexplicably end?<\/p>\n<p>There are, of course, lots of other versions of this song out there. Wayne Newton\u2019s and Perry Como\u2019s recordings are worth listening to, if at all, only for historical reasons. Michael Bubl\u00e9 has a snazzy, up-tempo cover that is polished but utterly devoid of feeling. Madeleine Peyroux\u2019s effort sounds downright insipid, but is redeemed by a nice sax solo.<\/p>\n<p>Don\u2019t even bother, really, with any other version of this song. They\u2019re not the same song. What Sinatra, Mercer and Riddle achieved was, and always will be, unique. Bruce Springsteen, who knows something about writing and performing memorable songs, appeared on Stephen Colbert\u2019s show one night,\u00a0 <a href=\"https:\/\/nam12.safelinks.protection.outlook.com\/?url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DSN-E0lllYGo&amp;data=05%7C02%7Clhjaltason%40waterskraus.com%7C8e22006afd1f43efee6408def570946f%7C3bb7a99aa17943739af75664b572573a%7C0%7C0%7C639218061034854140%7CUnknown%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXaW4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&amp;sdata=GefNi89dX3RH41Bx6Ej7TVUu9AgMzatfxEZxCdTGwWc%3D&amp;reserved=0\" target=\"_blank\" rel=\"noopener\">Bruce Springsteen Takes The Colbert Questionert<\/a> and was asked to pick one song to listen to, if he could only listen to that one song for the rest of his life. \u201cWhoa,\u201d he said. \u201cOne?\u201d After thinking about it for a few seconds, he answered, \u201cThe Summer Wind, Frank Sinatra.\u201d Perhaps this was just a gracious nod to a fellow New Jerseyan. But I can see why that would be his, or anyone\u2019s, answer.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>by Charles Siegel Sixty years ago this month, Reprise Records released a Frank Sinatra single, \u201cThe Summer Wind.\u201d If there is such a thing as perfection in music, this comes close. Sinatra\u2019s version was not the first recording of the song. In fact, the song he recorded wasn\u2019t even the first version of the piece&hellip;<\/p>\n","protected":false},"author":1786,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":"","footnotes":""},"categories":[3260],"tags":[],"class_list":["post-309125","post","type-post","status-publish","format-standard","hentry","category-mondaymagazine","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309125","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/users\/1786"}],"replies":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/comments?post=309125"}],"version-history":[{"count":4,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309125\/revisions"}],"predecessor-version":[{"id":309776,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309125\/revisions\/309776"}],"wp:attachment":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/media?parent=309125"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/categories?post=309125"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/tags?post=309125"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":309156,"date":"2026-08-14T04:00:08","date_gmt":"2026-08-14T08:00:08","guid":{"rendered":"https:\/\/3quarksdaily.com\/?p=309156"},"modified":"2026-08-10T03:38:53","modified_gmt":"2026-08-10T07:38:53","slug":"hard-to-hear","status":"publish","type":"post","link":"https:\/\/3quarksdaily.com\/3quarksdaily\/2026\/08\/hard-to-hear.html","title":{"rendered":"Hard to hear"},"content":{"rendered":"<p><b>by Rafa\u00ebl Newman<\/b><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-309157 alignright\" src=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Headphones-270x360.jpeg\" alt=\"\" width=\"249\" height=\"332\" srcset=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Headphones-270x360.jpeg 270w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Headphones-768x1024.jpeg 768w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Headphones-1152x1536.jpeg 1152w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Headphones-1536x2048.jpeg 1536w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Headphones-225x300.jpeg 225w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Headphones-scaled.jpeg 1920w\" sizes=\"auto, (max-width: 249px) 100vw, 249px\" \/>We went to the movies the other day, a rare occurrence. It wasn\u2019t easy to find a film, since in Zurich at the moment most cinemas seem to be showing <em>The Odyssey<\/em>, which I don\u2019t particularly want to see. This is for idiosyncratic reasons, some private red flags that were unfurled when the trailer evoked my last excruciating experience of a star-studded cinematic makeover, Kenneth Branagh\u2019s 1996 <em>Hamlet.<\/em> (Anyone who remembers Billy Crystal\u2019s cameo as the First Gravedigger may feel the same way.) My resolve was then strengthened by Emily Wilson\u2019s <a href=\"https:\/\/www.lrb.co.uk\/the-paper\/v48\/n14\/emily-wilson\/an-uncomplicated-man\" target=\"_blank\" rel=\"noopener\">attack<\/a> on Nolan\u2019s<em> Odyssey<\/em> in the London Review of Books, as equivocal and self-serving as that piece is; nor was it tempered by her fellow <em>Odyssey<\/em> translator (and erudite cineaste) Daniel Mendelsohn\u2019s more even-handed <a href=\"https:\/\/www.nybooks.com\/online\/2026\/07\/31\/homer-vs-hollywood-discussing-christopher-nolans-odyssey\/?utm_medium=email&amp;utm_campaign=NYR-080226-Danner-Bell-Phillips-Mingle&amp;utm_content=NYR-080226-Danner-Bell-Phillips-Mingle+CID_8a8d88ffeb658b81130a95ef47d6d4de&amp;utm_source=Newsletter&amp;utm_term=You%20may%20watch%20the%20video%20here%20for%20free\" target=\"_blank\" rel=\"noopener\">appraisal<\/a>.<\/p>\n<p>The film we did agree on that evening, <a href=\"https:\/\/www.imdb.com\/title\/tt33296751\/\" target=\"_blank\" rel=\"noopener\"><em>Tuner<\/em><\/a> (2025), by the young Canadian director Daniel Roher, is quite marvelous, both for its performances and for its unexpected commentary on two contemporary issues of some urgency. I\u2019ll get to that in a moment, but let me first say another word or two about the Nolan <em>Odyssey<\/em>, since my chief aversion to it\u2014or at least, to its putative genre\u2014is directly proportional to my admiration for <em>Tuner<\/em>.<\/p>\n<p>My reluctance to spend time and money on Christopher Nolan\u2019s film was ultimately bolstered by a <a href=\"https:\/\/www.theguardian.com\/film\/2026\/jul\/23\/the-odysssey-music-ludwig-goransson-christopher-nolan\" target=\"_blank\" rel=\"noopener\">review<\/a> of the film\u2019s soundtrack in The Guardian, which forced me to recall my only other viewing of a Nolan production, <em>Oppenheimer.<\/em> I found that atomic biopic unbearable principally because Nolan seemed unable to allow a single scene of dialogue to go without background music. And so if, as The Guardian\u2019s reviewer reported, this latest film also insists on subjecting its audience to similarly relentless acoustic carpet-bombing, I could in good conscience object.<\/p>\n<p>Now, given my taste for opera, this general distaste of mine for \u201c<a href=\"https:\/\/en.wikipedia.org\/wiki\/Unheard_Melodies:_Narrative_Film_Music\" target=\"_blank\" rel=\"noopener\">non-diegetic music<\/a>\u201d\u2014to the soundtrack grafted onto a movie\u2019s action, audible only to its audience and not to the characters portrayed in it\u2014is admittedly eccentric. After all, particularly in its 19th-century <em>verismo<\/em> instantiation, opera also famously features a continuous fabric of music, not all of which is \u201cheard\u201d by the protagonists of the work, but which may accompany their more prosaic exchanges as well as their obviously sung arias. So why can\u2019t I enjoy traditional film music?<!--more--><\/p>\n<p>But my tolerance for opera\u2019s version of non-diegetic or \u201cnon-source\u201d music is due precisely to its appearance <em>in<\/em> <em>opera<\/em>, a theatrical form which is, like Nietzsche\u2019s tragedy, \u201cborn out of the spirit of music,\u201d one in which melody and harmony play a central, constitutive, inextricable role. Film, meanwhile, at least in my understanding of it, is a derivation of theater that instead privileges the visual, as well as (although of course not always: see silent film) the verbal. And thus, when a filmmaker elects to overlay scenes of narrative dialogue with music manifestly unheard by the film\u2019s characters, this smacks to me at worst of an attempt at emotional manipulation, and at best of the filmmaker\u2019s patronizing lack of confidence in the power of the spoken word to command a contemporary audience\u2019s attention.<\/p>\n<p>I am reminded, in the face of egregiously non-diegetic film music, of Albanian literary festivals I have attended, where poets are obliged to recite their work to the accompaniment of music, either performed live onstage or canned, which can make it difficult to concentrate on the text being performed. (This is not meant as a general criticism of such festivals, at which I have been a delighted participant on several occasions, in both <a href=\"https:\/\/3quarksdaily.com\/3quarksdaily\/2024\/06\/two-dots.html\">Albania itself<\/a> and, <a href=\"https:\/\/3quarksdaily.com\/3quarksdaily\/2019\/09\/dancing-with-skeletons.html\">twice<\/a>, in <a href=\"https:\/\/3quarksdaily.com\/3quarksdaily\/2025\/02\/republik-of-letters.html\">Kosovo<\/a>.) Ironically, of course, given Nolan\u2019s primary material for his latest film, this reflex on the part of certain Balkan festival organizers perhaps reflects the same ancient bardic tradition out of which an eastern Mediterranean Homer (or Homers) arose, as explored by Milman Parry and Albert Lord in their pioneering research, and may thus have its roots in a \u201clegitimate\u201d local custom. But what may be (debatably) appropriate, at a literary festival, for the staging of a lone \u201c<a href=\"https:\/\/www-current.chs.harvard.edu\/book\/lord-albert-bates-the-singer-of-tales\/\" target=\"_blank\" rel=\"noopener\">singer of tales<\/a>\u201d is today, in a cinematic context, a superfluous, even deleterious gesture toward turning film into a multisensory <em>Gesamtkunstwerk<\/em>, and in the process muffling its verbal narrative, while also underestimating its audience.<\/p>\n<p>The paragon of the diegetic or source-music soundtrack is surely <a href=\"https:\/\/en.wikipedia.org\/wiki\/Nashville_(film)\" target=\"_blank\" rel=\"noopener\"><em>Nashville<\/em><\/a> (1975), Robert Altman\u2019s densely woven tribute to the Mecca of country music which is also a dystopian meditation on the violence immanent in American politics. Set on the eve of the US bicentennial in 1976, Altman\u2019s film is a complex pastiche of vignettes in which music plays a central narrative role, with its characters composing, performing, or managing the products of a multi-million-dollar industry with ostensibly humble, folksy roots. <em>Nashville<\/em> is like a musical self-consciously staged by its characters\u2014indeed, by its actors, many of whom wrote the (often broadly, sometimes subtly parodic) songs that their characters perform. Despite its bitterly ironic tone, in a post-Vietnam, post-Watergate America still shaken by the political assassinations of the sixties, <em>Nashville<\/em> suggests that a popular, grassroots revival may still be possible; and its diegetic soundtrack, which alienates neither its protagonists nor its audience from the music of reality, is an integral part of this message.<\/p>\n<p><em>Nashville<\/em> was sui generis; films these days, at least those in wide release, are likelier to feature a non-source soundtrack, a reflection, perhaps, of viewers\u2019 increasing alienation and passivity. So on our recent outing to the movies, our options were limited; but we got lucky. At just 107 minutes, <em>Tuner<\/em> is the ideal alternative to Nolan\u2019s nearly three-hour-long bombast. It is concise, plot-driven\u2014and best of all, features exclusively source or diegetic music. Indeed, Daniel Roher\u2019s film is centrally <em>about<\/em> music; in fact, its main protagonist\u2019s exquisite <em>difficulties<\/em> with music supply the very motor of the plot.<\/p>\n<p>Niki White is a piano tuner, the junior partner in a two-man operation serving wealthy clients in and around Manhattan. He had been destined for a brilliant career as a concert pianist until he was diagnosed with hyperacusis, a painful sensitivity to sound that has left his overly talented eardrums in need of constant protection, and their owner in a state of disappointed anomie. A chance encounter with a crooked security firm provides Niki with a lucrative sideline in safecracking, the proceeds from which he uses to pay his beloved senior partner\u2019s hospital bills, thus retroactively justifying the amoral arrangement. When he then also becomes involved with a young composer, Niki falls afoul of his criminal partners, and the violence he suffers at their hands leads to an ironic d\u00e9nouement reminiscent of O. Henry\u2019s \u201c<a href=\"https:\/\/americanliterature.com\/author\/o-henry\/short-story\/the-gift-of-the-magi\" target=\"_blank\" rel=\"noopener\">Gift of the Magi<\/a>\u201d.<\/p>\n<p>Throughout the film, viewers are given Niki\u2019s auricular POV (as it were), since the soundtrack is made up of the sonic information that he hears: at work tuning pianos, listening to the radio as he drives from one job to another, subjected to unwanted audio interference in the noise-polluted city or at the hands of malefactors, and attending\u2014without the aid of a stethoscope\u2014to the clicking action of the tumblers in the safe he is currently cracking.<\/p>\n<p>To protect himself from painful noise Niki wears earplugs, even when using his hypersensitive hearing at work; when there is a risk of exposure to extreme volumes, he covers his ears entirely with a bulky pair of ear-defenders. In this getup the young man is indistinguishable from the thousands of others surrounding him on the contemporary Manhattan streets through which he moves\u2014except that, whereas those others are channeling sound <em>into<\/em> their ears, Niki is keeping it <em>out of<\/em> his.<\/p>\n<p>Here <em>The Odyssey<\/em>\u2014the poem\u2014makes an unexpected appearance in <em>Tuner<\/em>, albeit in reverse. Whereas Odysseus, in the Sirens episode in Book 12, has his crew plug their ears with wax and bind him to the mast so that he alone can hear the beautiful, fatal music, Niki must defend himself against the sonic substance that is lethal to him, but irresistible to his addicted contemporaries. (And in fact, an actual siren\u2014an airhorn\u2014figures in the film\u2019s nearly lethal crisis.)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-309160 aligncenter\" src=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Sirens_1-1-360x262.webp\" alt=\"\" width=\"360\" height=\"262\" srcset=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Sirens_1-1-360x262.webp 360w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Sirens_1-1-768x558.webp 768w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Sirens_1-1-300x218.webp 300w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/Sirens_1-1.webp 1024w\" sizes=\"auto, (max-width: 360px) 100vw, 360px\" \/><\/p>\n<p>But of course, it is this very vulnerability of his that gives the piano-tuner-with-perfect-pitch-turned-safecracker his superhuman powers: Niki\u2019s hyperacusis is a <em>pharmakon<\/em>, something that both harms and heals, exalts and annihilates. In this inversion of status, a subtle gesture at the present campaign to destigmatize the concept of \u201chandicap\u201d by replacing it with \u201cdifference of ability,\u201d <em>Tuner<\/em> recalls <a href=\"https:\/\/en.wikipedia.org\/wiki\/The_Tribe_(2014_film)\" target=\"_blank\" rel=\"noopener\"><em>The Tribe<\/em><\/a> (2014), a Ukrainian crime drama that offers a counterpoint to <em>Nashville<\/em>, with its entirely diegetic soundtrack, by doing without soundtrack\u2014indeed, without dialogue\u2014entirely. Set among students at a school for the deaf, <em>The Tribe<\/em>\u2019s characters, all played by deaf actors, communicate exclusively in Ukrainian sign language. There are no subtitles, and the actors rarely present their signing hands frontally to the camera, so that even an audience proficient in their language might struggle to \u201cread\u201d the dialogue\u2014although the action, with its biblical themes of sexual exploitation and violent revenge, is ultimately not hard to follow, even for the illiterate, although they must nevertheless experience the sort of exclusion from society to which the hearing-impaired are routinely subjected in a world that privileges sonic information (and which is growing increasingly, generally illiterate).<\/p>\n<p><em>Tuner<\/em> performs a similar reversal in the interest of political protest. In an inversion of <a href=\"https:\/\/en.wikipedia.org\/wiki\/Dialectic_of_Enlightenment\" target=\"_blank\" rel=\"noopener\">Adorno and Horkheimer<\/a>\u2019s Odyssean parable of aesthetic enjoyment confined to the dominant class while the proletariat, barred from the Siren song of high culture, must labor to sustain their overlord\u2019s privilege, it is Niki who must defend himself from the dangerous technological lure of late capitalism in order to labor, while his ostensibly free compatriots willingly expose themselves to an exploitative system that presents itself as entertainment while colonizing its subjects\u2019 consciousness and extracting their precious data. In this way, Niki resists a present age in which \u201ccompanies have figured out how to harvest your attention through your eyeballs <em>and your eardrums<\/em>,\u201d in the <a href=\"https:\/\/www.facebook.com\/reel\/1507050217391954\" target=\"_blank\" rel=\"noopener\">words<\/a> of a contemporary critic of American socio-politics (emphasis supplied).<\/p>\n<p>&nbsp;<\/p>\n<p><em>Tuner<\/em> thus constitutes a surprisingly urgent exercise in critical theory wrapped in an otherwise conventional crime drama-cum-romcom. And there is another, even more timely critical strand in the film, so delicately woven into its narrative fabric that it has escaped mention in any of the reviews I have seen, but which emerges when read together with <em>Tuner<\/em>\u2019s central theme of difficulties with hearing. The crooked security company for which Niki works as a safecracker is composed of Israelis, the grizzled foreman Uri and two younger colleagues, Benny and Yoni. The men\u2019s provenance is never explicitly thematized; they are simply referred to as \u201cforeigners\u201d\u2014but their accents, their names, their manners, and the Ivrit they speak among themselves, all of these are Shibboleths that identify them as immigrants from Israel. Niki, meanwhile, is just as evidently a non-Jewish American\u2014although his last name, White, could as easily be an Ellis Island anglicization as a sly ethnic label\u2014but his senior partner, in a hammy performance by Dustin Hoffman, is the very picture of an American-born Jew. And the conflict of interest that ultimately endangers Niki\u2019s love life as well as his actual biological existence arises out of a family heirloom stolen on one of the security company\u2019s heists, a \u201cHolocaust watch\u201d that the security company ultimately relinquishes, less out of piety than for fear of its bad juju.<\/p>\n<p>The Shoah, in this parable, has thus become a <em>pharmakon<\/em> for the Israelis, something whose power resides in its poison, and vice versa. Israel, whose existence is routinely justified as a response to genocide, is currently under political attack for its prosecution of what looks like a reiteration of the same crime, as well as for its purloining of US taxpayer money to further its own imperial aims under the guise of providing the West with security against the encroachment of barbarians.<\/p>\n<p>Set within the film\u2019s narrative world of hearing, failure to hear, and superhuman hearing, this subplot of Israeli conmen who both covet and disavow the relics of the Holocaust inevitably recalls the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Shema\" target=\"_blank\" rel=\"noopener\"><em>Shema<\/em><\/a>, a prayer central to Judaism, recited by Orthodox Jews in their morning and evening services:<\/p>\n<blockquote><p><em>Sh\u2019ma Yisroel Adonai Eloheinu Adonai E\u1e25ad<br \/>\n<\/em>Hear, O Israel: the Lord is our God, the Lord is One.<\/p><\/blockquote>\n<p>Uri and his gang of thieving, violent \u201csecurity guards\u201d augment their \u201cnormal\u201d hearing\u2014whose weakness prevents them from cracking the safes in the homes of the wealthy clients they are ostensibly protecting\u2014with Niki\u2019s extraordinary ability: which they in turn use against him, when he refuses to continue as their accomplice, by subjecting him to noise that they can tolerate, but which is torture for him. As allegorical and actual representatives of Yisroel, however\u2014of the legendary Jewish \u201cfolk\u201d as well as of the modern state\u2014they are as deaf to the <em>Shema<\/em>, with its admonition to recall the injunctions handed down in the desert, as are the current political and military leaders of Israel.<\/p>\n<p>The Jewishness of Niki\u2019s morally impeccable partner, as played by Dustin Hoffman, is presumably intended to inoculate Roher, who is himself Jewish, against specious charges of antisemitism. But it also reminds us that Judaism, whether religious or cultural, is not monolithic\u2014and that the actions of the state claiming to represent Jews worldwide may in fact constitute a betrayal of the ethical principles on which Judaism is founded: <em>Thou shalt not steal. Thou shalt not kill.<\/em> And, in particular, as enacted in the Abraham and Isaac episode: <em>Thou shalt not kill children.<\/em><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>by Rafa\u00ebl Newman We went to the movies the other day, a rare occurrence. It wasn\u2019t easy to find a film, since in Zurich at the moment most cinemas seem to be showing The Odyssey, which I don\u2019t particularly want to see. This is for idiosyncratic reasons, some private red flags that were unfurled when&hellip;<\/p>\n","protected":false},"author":890,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":"","footnotes":""},"categories":[3260],"tags":[],"class_list":["post-309156","post","type-post","status-publish","format-standard","hentry","category-mondaymagazine","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309156","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/users\/890"}],"replies":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/comments?post=309156"}],"version-history":[{"count":6,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309156\/revisions"}],"predecessor-version":[{"id":309227,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309156\/revisions\/309227"}],"wp:attachment":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/media?parent=309156"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/categories?post=309156"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/tags?post=309156"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":309366,"date":"2026-08-13T19:00:07","date_gmt":"2026-08-13T23:00:07","guid":{"rendered":"https:\/\/3quarksdaily.com\/?p=309366"},"modified":"2026-08-13T18:30:23","modified_gmt":"2026-08-13T22:30:23","slug":"the-goliath-grouper","status":"publish","type":"post","link":"https:\/\/3quarksdaily.com\/3quarksdaily\/2026\/08\/the-goliath-grouper.html","title":{"rendered":"The Goliath Grouper"},"content":{"rendered":"<p>Thomas Hallock at the <em>LARB<\/em>:<\/p>\n<p class=\"styles_text__Q5ZIK text styles_article__7yRui styles_body__LwT3a\" style=\"padding-left: 40px\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-309367 alignright\" src=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/images-18-360x256.jpg\" alt=\"\" width=\"360\" height=\"256\" srcset=\"https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/images-18-360x256.jpg 360w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/images-18-300x213.jpg 300w, https:\/\/3quarksdaily.com\/wp-content\/uploads\/2026\/08\/images-18.jpg 530w\" sizes=\"auto, (max-width: 360px) 100vw, 360px\" \/>When, and why, did we humans begin to set ourselves apart from this shared ancestry? The answer is, of course, modernity, which takes us back to the early 17th century\u2014and to the goliath grouper. The earliest European description appears in the 1648\u00a0<em>Historia Naturalis Brasiliae<\/em>,<em>\u00a0<\/em>an encyclopedia of American wonders by the German-born natural philosopher Georg Marggraf and his collaborator Willem Piso. Equal parts gorgeous and strange, their lavishly illustrated volume was a product of violence waged on a planetary scale. Marggraf, who traveled to Brazil under the patronage of the Dutch West India Company, represented the research wing of a commercial operation that extracted slave labor from Africa to grow sugar in the Americas, generating an ill-gained return for investors in the Netherlands.<\/p>\n<p class=\"styles_text__Q5ZIK text styles_article__7yRui styles_body__LwT3a\" style=\"padding-left: 40px\">Possessed of a keen eye for detail, Marggraf and Piso cast Brazilian exotics (leopards, grouper, sloth) as products for collection or potential commerce. They rendered nature through a static exterior, in sentences without verbs: \u201cBranchias in ambitu rotundas, medio autem in triangulum definentes\u201d (gills round in circumference but defining a triangle in the middle).<\/p>\n<p>more <a href=\"https:\/\/lareviewofbooks.org\/article\/goliath-grouper-florida-industrial-spill-cerebrocentrism-tampa\/\" target=\"_blank\" rel=\"noopener\">here<\/a>.<\/p>\n<p><strong>Enjoying the content on 3QD? Help keep us going by <a href=\"https:\/\/3quarksdaily.com\/support-3qd\">donating now<\/a>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Thomas Hallock at the LARB: When, and why, did we humans begin to set ourselves apart from this shared ancestry? The answer is, of course, modernity, which takes us back to the early 17th century\u2014and to the goliath grouper. The earliest European description appears in the 1648\u00a0Historia Naturalis Brasiliae,\u00a0an encyclopedia of American wonders by the&hellip;<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":"","footnotes":""},"categories":[5918],"tags":[],"class_list":["post-309366","post","type-post","status-publish","format-standard","hentry","category-recommended-reading","pmpro-has-access"],"_links":{"self":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309366","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/users\/38"}],"replies":[{"embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/comments?post=309366"}],"version-history":[{"count":2,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309366\/revisions"}],"predecessor-version":[{"id":309369,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/posts\/309366\/revisions\/309369"}],"wp:attachment":[{"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/media?parent=309366"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/categories?post=309366"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/3quarksdaily.com\/wp-json\/wp\/v2\/tags?post=309366"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}]