by Akim Reinhardt
Is the Past Prolog? I’m not convinced. I say this as a professional historian.
The main problem, of course, is that there are many pasts. They are defined by temporality, by subjectivity, and by the limits of knowledge.
The past is ten seconds ago. Ten minutes, ten days, ten weeks, ten years, ten centuries. Which past is prolog to which present?
There is no one past. There are countless pasts. Mine. Yours. The billions, or at least millions, of people who were alive at any given moment. The great, great majority of them never meeting or even knowing of each other, having no discernible influence on each other. Humans can be worldly, but never really universal. Whose past is prolog to whom?
Yet even the shared pasts are contested. Because the past is no different than the present in at least one important aspect: it is experienced subjectively. Like the classic Akira Kurosawa film Roshomon, or the countless sitcom shows that borrowed its premise for a chicanery-riddled episode of mutual misunderstanding, there is no one version. Each person had their own. Their own vantage point, their own experiences, their own filters and agendas, their own limits and baggage, their own abilities and inabilities to understand what they see, feel, hear, and hear of. And even under the most favorable circumstances, every person does what every person must do: interpret.
There is a science of life, but life itself is no science. We need to invent and give meaning to what we do and experience. It is an unavoidable feature of the human condition. Our perceptions and understandings of human affairs are subjective. What contested past is prolog to what contested present? Read more »

He had a visceral aversion to war, was strongly in favor of social distancing in times of pandemic, and believed it would be a good thing if the Germans turned down their heaters a notch or two.



Anticipating war in Europe, 2022.
Over the last few weeks, I’ve been spending more time in the office than I have since the start of COVID. I work for a technology start-up, and our New York office used to look and feel just as shows like Silicon Valley portrayed such offices: cool furniture, fancy coffee machines, lots of free snacks, gaming systems and board games piled up in a dedicated room, and lots of young people who gave the office a fun, high energy, even if noisy, vibe. But this visit, while the snacks and coffee machines are still there, the office has a rather ghost town-like feel. There’s been no mandate to return to the office, so for the most part, people haven’t. Every day I saw my colleague Andy who lives in a Manhattan apartment that’s too crowded with family and a dog. He escapes to the office for some peace of quiet. Then there was the receptionist and the facilities manager, who had no choice but to be there. But that was it for regulars. The odd person would float in for a bit, have a meeting, then leave. Is this the future of office life?
We arrived in Berkeley and found it to be a pleasant place to live. I always have a partiality for small university towns that are culturally and politically alive. And yet Berkeley is not far from a thriving major city (San Francisco—“the unfettered city/resounds with hedonistic glee”, as Vikram Seth describes it in his verse-novel The Golden Gate) on the one hand, and from wide-open spaces on the other. Nature in Berkeley itself is quite beautiful, nestled as it is on a leafy hillside and facing an ocean and its bay, with gorgeous sunsets over the Golden Gate Bridge (on days when it is not shrouded by the mysterious fog—which appears almost as a character in San Francisco noir, like in the crime novels of Dashiell Hammett). Once driving in the dense fog in a winding street in the Berkeley hills I missed a turn and lost my way; I fondly remembered that famous scene in Fellini’s semi-autobiographical film Amarcord, where one winter-day in Rimini, his childhood town, the fog shrouds everything, the piazza disappears, and the grandpa loses his way home.



The President and the Provost have both been urging a whitewashing (if I can use this term) of the College’s history by such measures as removing Huxley’s name and bust from one of Imperial’s most prominent buildings. As I explained earlier, they attempted to accomplish this using a deeply flawed process. A History Group lacking in any higher level expertise in Huxley’s own areas of biology and palaeontology was set up, with the College archivist restricted to a consultative role, as was the Imperial faculty member best qualified to comment on historical matters. Two outside historians were consulted, but their areas of expertise did not really include Huxley.1 Adrian Desmond, Huxley’s biographer, was consulted but as I documented in my earlier article, his unambiguous vindication of Huxley was completely ignored. In October (revised version November), the
I am a modern-day scrapbooker. Which is to say that, like scrapbookers and notebook keepers across the ages, I am incessantly recording: things I have read, things I want to read, ideas I have come across or had, ways I want to be or to look, memorabilia from places I have been or want to go, inspiring or thought-provoking words, song lyrics, images, film clips, you name it. Like those who went before me, I record things in physical notebooks, but – and this is the new thing – my canvas is far larger than this original form. Digital photo albums, the iPhone ‘notes’ pad, emails to self, 
I used to sit in class with songs in my head, loud enough to feel their beat in my fingertips. I used to blare Adele instead of listening to my teacher. I would sing voicelessly with Hozier while my classmates read a paragraph out loud. Passenger, P!nk, The Lumineers, Steven Sondheim. Billie Eilish, too, though not openly as it’s not cool to like anything that’s cool.
Daniel Everett’s 2008 book Don’t Sleep: There are Snakes tells two stories of loss. First, it tells how the young missionary linguist, who had been trained to analyse languages at the Summer Institute (now 