Sughra Raza. Self-portrait in Reflected Morning Light, August 2, 2022.

Digital photograph.

by Brooks Riley

by Claire Chambers

It’s still such a strange time as regards the Covid-19 pandemic. Most governments have lifted restrictions and lockdowns. However, new variants are still emerging and far too few people have been vaccinated globally to lend confidence for the health crisis’s resolution. With this in mind, I’ve been reading Nobel laureate Kazuo Ishiguro’s Klara and the Sun. Despite dealing only obliquely with the pandemic, Ishiguro’s novel reflects a great deal about this period of our history.

Klara and the Sun is a fable, and Ishiguro has acknowledged in an interview:

It came out of thinking about books for children … a bedtime story … Except my daughter told me I must go nowhere near young children with this story and traumatize them. So I thought, okay, it’s going to have to be a dystopian adult dark story.

Through a deceptively simple, childlike lens, Ishiguro explores a dystopia involving artificial intelligence and gene editing, but also suggests hope for the future.

Consciously or unconsciously, he also plays on Covid-19 and how technology is changing us in relation to shifts in social, educational and employment norms. The novel reflects on disease, death and bereavement, as well as the upsurge in governmental control which has sometimes been bleak and Orwellian. The British-Japanese author focuses on loneliness, the ‘oblongs’ of the digital screens we’re fixated on, as well as those partitions and fences put up to divide us. As fellow Nobel Prize-winner Rabindranath Tagore put it more than a century ago, ‘the world has … been broken up into fragments | By narrow domestic walls’. Read more »

Photo and slow motion video (slowed down by a factor of ten) made last week. There was not enough light to use a high shutter speed to freeze the huge, hummingbird-like hawk moth and this was the best I could do. Notice the very long proboscis it uses to feed.

by Eric Bies

Birds talk in Chaucer. Three of his twenty-four Tales of Caunterbury practically center on speaking beaks, and a long poem preceding these, the Parlement of Foules, may have been written with no better motive than the trial and joy of Englishing chirps and squawks. We are told up front in “The Nun’s Priest’s Tale” that “beestes and briddes koude speke and synge,” a rather no-nonsense preamble to permitting Chauntecleer and Pertelote (a rooster and a hen) their colloquy on dream hermeneutics in a Jungian tongue, and though the word “auspice” hadn’t yet been coined in Chaucer’s day, the Latin from which it springs—auspex, literally “birdwatcher”—would have been familiar enough. Still, one never finds Chaucer’s birds articulating an oracular shape: there is nothing in them, really, to watch for. They resemble instead the simple, good-natured birds of Assisi, who helped form the first eager audience for an Umbrian friar’s itinerant preaching—birds of the same sort Henry David Thoreau mentions in the fifteenth chapter of Walden:

I once had a sparrow alight upon my shoulder for a moment while I was hoeing in a village garden, and I felt that I was more distinguished by that circumstance than I should have been by any epaulet I could have worn.

Although there is no evidence that the bird could communicate any further than the touch of its twiggy toes upon the writer’s shoulder, such a touch was enough. Had the sparrow tipped out from the end of Chaucer’s quill, however, it may have ventured to ask how the writing was going. For hadn’t Mr. Thoreau gotten it into his head, seated in his cabin at Walden Pond, to put pencil to paper and compose a book? Read more »

by Pranab Bardhan

All of the articles in this series can be found here.

After LSE I have seen Jean Drèze mostly in India, usually in conferences in Delhi and Kolkata, and at Amartya Sen’s home in Santiniketan (where he used to stay whenever the two of them were writing books together). The Kolkata conferences were the annual ones that Amartya-da used to organize for some years, held usually at the Taj Bengal five-star hotel, which Jean would refuse to stay in. While others would take the 2-hour flight from Delhi to Kolkata, Jean would take the 24-hour train in the crowded second-class compartment. Then he’d call me and often stay with me in my Kolkata apartment. If Kalpana was around and it was winter she’d warm the bath water for him and arrange a comfortable raised bed for him; but Jean would refuse even those minor luxuries, and insist on taking cold showers and sleeping on the floor.

During his days at the Delhi School of Economics faculty he’d stay in a nearby jhuggi or slum (with his newly-married activist wife, Bela Bhatia). Soon he became an Indian citizen and started devoting more of his time to social activism and less on teaching. He left Delhi and was first in Allahabad, and now for some years in Ranchi. But much of the time he’d be on the road, walking, biking, and occasionally in crowded trains and buses. Once I remember getting a long email from him describing his walking trip (padayatra) to one of the poorest villages in Kalahandi, Odisha. He had heard of near-starvation conditions there. As he was walking he saw a man carrying a headload of vegetables, going to the marketplace several miles away. He started walking along and talking to him (probably in Hindi, which Jean speaks much better than I do) and found out that the man had not eaten anything for the previous day or so, and was hoping to eat after he sold his vegetables in the market. At one point Jean offered to carry the head load at least part of the way to the market. The man emphatically refused, but Jean kept on nagging. After some time the man yielded, but when Jean tried to take the load on his head, it felt so heavy, Jean wrote to me, that he almost fell on the ground—just to think that this wiry little man was carrying it for miles with no food over the previous day! Read more »

by Deanna K. Kreisel (Doctor Waffle Blog)

A little while ago my friend Bethany requested that I write an essay on the following topic: “Can/should pedantry be reconstituted as a virtue, maybe particularly for women.” I filed it away on my list of possible future essay ideas, but like a previous topic suggested by this same crafty, devilish friend, it got stuck in my brainpan and has been rattling around in there ever since. I’ve decided to fish it out and look at it, if only to stop the infernal racket.

First of all, I have to confess that I already have a dog in this fight. I am definitely a pedant, and a pretty irritating one at that, so I have a vested interest in rehabilitating the practice of nattering on about arcane ephemera and correcting people’s grammar (unasked). It would be convenient for me if it suddenly became cool to know—and to trumpet one’s knowledge of—all the African capitals, say, or what an anusvāra in Sanskrit is, or what economic and political pressures led to the repeal of the Corn Laws in 1846.[1]

But then I started wondering: is it possible to be a pedant without being an asshole? I’m not sure I’m ready to sign up for the latter. The word “pedantic” is clearly pejorative; a pedant is defined as someone “who excessively reveres or parades academic learning or technical knowledge” (Oxford English Dictionary, a.k.a. The Pedant’s Bible). The word has been in use in English, essentially as an insult, since the late 16^th century. When my friend asked me to consider reconstituting pedantry “as a virtue,” she clearly had this history in mind. Would it be possible to tease apart the erudition from the obnoxiousness implied in the word “pedantic”? Read more »

by Charlie Huenemann

Justin E. H. Smith’s recent book, The Internet Is Not What You Think It Is: A History, A Philosophy, A Warning (Princeton UP 2022) has received plenty of notice here on 3 Quarks Daily, and for good reason. Smith’s books and essays always remind us that, no matter how bizarre and ironic some recent damn thing is, we are always part of a long anthropological history of bizarre irony, and indeed the harder you look the more bizarre and ironic it all gets. At least, I think that is one of the main vibes of 3QD: seeing where we are in some map of the strange natural/cultural universe.

There are plenty of books complaining about the evils of the internet, and to be sure Smith offers four complaints: it is addictive, it warps human lives through algorithms, it is ruled by corporate interests, and it serves as a universal surveillance device. There is enough evidence, both objective and anecdotal, that too much time on the internet turns one’s brain into a Twitter slushie that leaves one in no condition to meditate upon difficult problems, but instead only to scroll and click and scroll and click at digital gewgaws, feeling empty and alone, a terrible feeling one then tries to escape with more scrolling and clicking.

Moreover, all this clicking and scrolling is not merely worthless distraction, but serves corporations that fatten themselves on our data. Smith shares the term “data cow,” and we need only to read it to imagine an industrial dairy production facility in which humans are milked for their attention, our children wailing in the distance. The genius of The Matrix was to depict this grim fact with brutal clarity: you are a battery powering an information economy that runs on you as raw supply. Sure, you get tasty illusions as recompense, and have fun with that. Read more »

Next

a moment is a poet’s cliché of a singular blur
tentative as an airborne bubble
hard as hammer-blow to thumb

moment: the smallest thing able to contain an unimaginable universe
…………… a universe able to imagine the smallest thing

as instantaneous as the passage of dust motes and Himalayas
as ephemeral and solid as those —as exquisite, as cruel

here  is  one  now: .. joy . .  . gone
here  is  one  now:… pain ..  gone

………………. as swift as that, as if a bullet grazing an ear,
………………. as if a celestial flash in a thunderstorm
………………. brief as a thought spark instantly forgotten in regret
………………. as if love lost and won again

tiny as a lepton crammed with . . . . next

Jim Culleny
07/26/22

by Mike Bendzela

Over thirty years ago, my then-partner-now-spouse, Don, began planting heritage apple trees on the small farm where we are tenants, in an attempt to partially restore the historical orchard of Herbert W. Dow, traditional Maine farmer and cider-imbiber.

Herbert’s original, handwritten map of the apple trees he grew out back was still in a desk in the house when Don moved here in the 1970s; so, we have been able to research and replant some of the old varieties Herbert grew. We decided we would tend the trees “organically,” or something equivalent, because, you know, toxic chemicals and all that, and we would sell rare apples to local markets.

This organic ideal did not last long, however. Little did we know what nature had in store for us.

Swiss botanist Augustin Pyramus de Candolle, whose view profoundly influenced Charles Darwin, declared that “all nature is at war, one organism with another.”

The greater choke the smaller, the longest livers replace those which last for a shorter period, the more prolific gradually make themselves masters of the ground.

The belief that having “dominion” over nature exempts the husbandman from this Darwinian fray is romanticized claptrap. Raising any crop requires a farmer to tend simultaneously to the needs of a hospital and slaughterhouse. What follows is a compendium of just a few of the horrors baked into your apple pie. Read more »

Sughra Raza. Untitled, ca 2008.

Pencil drawing on aerogramme.

by David Greer

“If mankind were to disappear, the world would regenerate back to the rich state of equilibrium that existed 10,000 years ago. If insects were to vanish, the environment would collapse into chaos.” —E. O. Wilson

“[Rachel] Carson may have won a battle, but not the war.” —Dave Goulson, Silent Earth

January 31, 2019

Though it’s close to noon high on a mountain about fifty miles west of Mexico City, the oyamel firs alongside the trail in the Monarch Butterfly Biosphere Reserve are covered in shadow, and something else besides. Their branches appear to sag beneath the weight of dark unmoving masses like swarms of bees multiplied many times over, so thick on the trees that the needles of the firs are entirely invisible.

As the winter sun approaches its zenith, its first rays strike the firs and warmth starts to creep into the clearings between the trees. Myriad wings, orange and black, begin to tremble. Soon afterwards, a few random butterflies disengage from the swarms and lift lazily into the air. Within minutes, the sky between the treetops is speckled with butterflies lazily twisting and turning as if stretching from a long night’s sleep. Their numbers quickly swell, the fluttering of wings now loud as the patter of gently falling rain, an incongruous sensation to experience on a trail beneath a cloudless sky. Read more »

by Brooks Riley

by Carol A Westbrook

We live in an artificially-colored world, filled with added color in our homes, our clothing, our toys, our hair and even our food! We take this plethora of colors for granted. By comparison, the natural world is bland and almost monotone, except for small patches of brightly colored flowers or birds.

Ever since prehistoric times, man has had the urge to add color to his surroundings by expressing himself in paintings. Imagine a caveman picking up a charred piece of wood from his fire and drawing a picture on the cave wall. Later he added colors made from colored clays and stones that he picked up near the cave…and so painting begins. Some of the oldest of these ancient paintings were located deep in caves so carefully hidden that they lie undisturbed for millenia. One of the most famous of these are the paintings in the caves of Lascaux, in Southwestern France, depicting over 2,000 figures of animals and men, as shown in this detail of a bison colored with red ochres.

The Lascaux cave art was created over 17,000 years ago, using paint made from local sources.

The colored clays used to paint the cave walls were iron-containing rocks and clays known as ochres. Ochres are ubiquitous, as iron is the fifth-most abundant element in the earth. The colors of ochre stones vary from muted yellow to browns and reds; no doubt the caveman artist tried burning his colored stones and found that he created even more colors. This is due to reduction of the iron ore within the stone, resulting in the production of iron oxide or rust. The caveman’s paint colors, or his palette, included yellow ochre, red ochre, raw umber, raw Sienna and burnt Sienna. Burnt Sienna? No, this is not the name of a color derived from burning the medieval town of Sienna, but rather from burning a brown stone found near Sienna, which when burnt gives and even darker brown. Read more »