by Nicola Sayers

I recently spent a couple of years living in Chicago, a city that I loved so much it still looms in my daydreams as my ‘one that got away’. During that time, in addition to exploring the many and varied neighbourhoods that make up the city itself, I also found myself regularly drawn further afield, where I developed something of an unusual pastime. I would take the train from the city, where I lived, to one of Chicago’s many suburbs — Winnetka (of Home Alone fame), Oak Park (of architect Frank Lloyd Wright fame), Glen Ellyn (of absolutely no fame) — and spend the day wandering aimlessly, dawdling, observing. Flâneur-ing, if you will.

The flâneur is an unlikely figure in the American suburbs. Implausible, even. The term is best known from the writing of Walter Benjamin, in whose reflections on Baudelaire’s Paris the flâneur is seen as an essentially modern — and urban — figure. The flâneur, as (s)he walks, encounters the city as a place of surprising turns, forgotten histories, discordant presents, and unfulfilled pasts.

In explicit contrast to such a Baudelairean scene, theorist Marc Augé describes what he calls ‘non-places’: motorways, hotels, airports; the stripmalls and largely purpose-built neighbourhoods that make up suburbia. If the Baudelairean city is one in which layers of history sit atop and astride one another, are built into its very fabric, it is exactly this presence of the past which is missing in Augé’s non-places. The aimless wanderer is implausible precisely because these spaces — these non-places — have typically been planned from scratch with very specific purposes in mind (transport, commerce, leisure, etc), and it is true, in this vein, that many people move through the suburbs in the way the planners intended: they drive from their houses to the malls when they want to eat, to the gyms at the stripmalls when they want to work out, and so on.  Read more »

by Deanna K. Kreisel (doctorwaffle.substack.com)

One of the most painful aspects of losing a beloved to death is the feeling that you, and the world, are moving on while they remain forever in a rapidly receding past. I think a lot about how my dear friend Elizabeth will never know that the star of “The Apprentice” became President of the United States of America, and it grieves me that my mom and dad will not get to enjoy my moving closer to home again after they died. Probably there’s a lengthy German compound noun for this phenomenon, but I will coin the English term “fugitive melancholy” to refer to this painful sense of time fleeing away from dead ones left behind.

We can also feel fugitive melancholy, proleptically, for ourselves. We will live to see only a little bit of the future, compared to the sweeping sense of historical scale we gain by contemplating the past. Retrospection gives us the narcissistic sense that we are omniscient observers of human events, and also tricks us into thinking that this moment in which we are living is the culmination of time. We are always in the position of Walter Benjamin’s Angel of History, his face turned toward the past while history “unceasingly piles rubble on top of rubble and hurls it before his feet.” In the same essay, Benjamin remarks that we do not feel envy for the future, that our idea of happiness is steeped in the time in which we happen to live. Yet I disagree. The melancholy we feel at the prospect of our own deaths is indeed a species of envy, at least of the near future: of those who will witness the outcome of current events. As we grow older we fall prey to a frustrated desire for narrative closure, knowing that we will not get to see how everything turns out.

Fugitive melancholy might help us understand our mass resistance to meaningful action on climate change. Unconscious resentment at the thought of our own deaths leads to an inability to fully imagine—or care for—the world after we are gone. Naomi Klein recently differentiated what she terms “soft denial” from the hard-core refusal to believe the consensus of the scientific community on climate change. Those in soft denial understand that global warming is happening and are even capable of occasionally—briefly—taking in its full implications, “but then, inevitably, we seem to forget. Remember and then forget.” Yet in the seven years since Klein coined the term “soft denial,” the problem has mutated, shifted form: “denial” no longer seems to capture our current state of near-constant helplessness and despair. Read more »

by Brooks Riley

by Mark Harvey

In the spring of 2018, Earl Cooper noticed that the wild horses roaming on the desert where he lived were suffering terribly from the ongoing drought in eastern Utah. The springs where they watered were drying up and there was very little grass with the lack of moisture. On his forays into the desert, he came across horses too weak to stand up and some that had already succumbed to starvation and thirst.

Cooper was a white man who had been living on the Navajo Nation near Monument Valley for about 25 years. From a young age, he had been obsessed with horses, and his home in the Utah desert afforded him endless opportunities to ride for miles and miles with distant horizons of vermilion cliffs and canyons.

On his rides, he could see the two rocky lobes that defined the Bears Ears 40 miles to the north and he could see Navajo Mountain, known to the tribe as Naatsisʼáán, 40 miles to the south. And there were the bands of wild horses roaming the country, sometimes curiously approaching Cooper and sometimes gliding away from him at a graceful lope over the rugged terrain.

Cooper had found companionship with horses nearly his entire life. “There’s a feeling you get with them,” he says. “It’s a camaraderie. Horses are our best friends and helped us pioneer the west.”

So that spring as he saw more and more horses where he lived suffering, he said to himself, “I gotta do something. If I don’t, no one will.” Read more »

by Mary Hrovat

A rose is a rose is…well, you know. Botanically, a rose is the flower of a plant in the genus Rosa in the family Rosaceae. But roses carry the weight of so much symbolism that a rose is seldom only a rose.

Their symbolic luster is so intense that it casts an alluring light not only on the word rose itself but also on many of the phrases that contain it. A song called “The Last Zinnia of Summer” could never be as melancholy as “The Last Rose of Summer,” no matter how much you like zinnias. When I was a child and a teenager, I read a lot of things that I only half-understood. One of these was the phrase attar of roses, which had a mysterious and lovely sound to me. I eventually learned that it’s an essential oil made using damask roses—a beautiful common name for Rosa damascene. I had a vague impression of damask as a luxurious silky or satiny fabric, so I thought damask roses must have especially soft satiny petals, but in fact the species name was given to them because they were thought by some to be native to Damascus. The fabric is also named for Damascus, which was once an important producer and trade center for damasks.

There’s also a glow in my mind around concepts that are less directly related to roses. Rose gold is an alloy of gold with copper and perhaps silver; the phrase is especially luminous to me and reminds me of sunrise. Ashes of roses—another term I ran across in my early reading, and one that delights me still—describes a soft dusty pink color. Read more »

you whos teh aiye
ait nus korook wahv rai
ais see chzut na sue kul
ais ma che sanaan uth bilqul

—Rehman Rahi

this year again they came
wavered warbled
where we thoughtlessly
felled that tree

—Translated from the original Kashmiri by Rafiq Kathwari

by Mindy Clegg

Today punk is a relatively celebrated subculture. Amy Poehler recently directed Moxie, a film about teen girls influenced by the punk riot girl movement of the 1990s, using zines (a self-published magazine popular in punk circles) to combat misogyny at their school. The film includes an appearance from the Linda Lindas, an all-girl punk band from LA covering Bikini Kill’s “Rebel Girl.” Kathleen Hanna of Bikini Kill was recently interviewed with her partner Adam “Adrock” Horowitz of the Beastie Boys by none other than journalist Dan Rather. A recent Guardian article argued that pop punk is the “sound of 2021.” But mainstream culture was not always accepting of punk. During the 1980s, a “punk panic” emerged that positioned punk as a dire threat threat to public order. Punks were cast as nihilistic, destructive, and dangerous villains. Punk panic was found in the west and in the communist East. Two examples are in the US and in East Germany. In both cases, the authorities considered punks to be a danger to the social fabric, showing that during the Cold War, public order was considered critical in both the capitalist west and the communist east. Read more »

Some kind of water lily-type plants growing on the surface of a pond in Franzensfeste, South Tyrol. Photo taken last week. Do you know what exactly these flowers are?

by Pranab Bardhan

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

By the time I started regular school my father’s home-schooling had prepared me enough to sail through the various half-yearly and annual examinations relatively easily. Indian exams, certainly then and to a large extent even now, do not test your talent or learning ability, they are mainly a test of your memorizing capacity and dexterity in writing coherent answers in a frantic race against time. I found out that I was reasonably proficient in both, and that it is for the lack of proficiency in these two qualities some of my friends, whom I considered highly imaginative and creative, were not doing so well in school.

My father did not believe in ‘positive feedback’, would not praise me for doing quite well in the various exams in school (and later in university)—he used to tell my mother that overpraise may go to my head– instead, he’d ask me why the gap in my marks (those days marks were in absolute numbers) from the student who was ranked second has not increased compared to last time!

Looking back, I think this lack of positive feedback served one good purpose in my later life. It has helped me in trying not to overestimate myself in any capacity. Even when other people have gushed with praise for me on various occasions in my professional career, while that has been pleasant, it was for myself largely water off a duck’s back (in a symmetric way, facing attacks and criticisms has not usually dislodged my footing). I usually tell myself that I more or less know what I am worth, nothing more, nothing less. I think I am not prone to false modesty, but I remember what Churchill said, in his usual pompous haughty way, about Attlee: when someone praised Attlee as a modest man, Churchill reportedly said, “He has much to be modest about”. I know very well I have much to be modest about. Read more »

by Joseph Shieber

On June 15 of this year, the National Constitution Center hosted a session entitled, “Free Speech, Media, Truth and Lies”. The topic for the session, as described by the National Constitution Center website, was “Should the government or private companies identify and regulate truth and lies?” There were three speakers. Harvard Law School Professor (and former Dean) Martha Minow argued for the role of government regulation to reverse the tide of internet misinformation, the Cato Institute’s Paul Matzko argued against a government role (predictably; he’s at the Cato Institute), and Jonathan Rauch (of Brookings), author of the seemingly omnipresent recent book The Constitution of Knowledge: A Defense of Truth, landing somewhere in the middle. (There’s a nice write-up of the discussion by Rachel Reed at Harvard Law Today.)

Minnow sketched a number of remedies to address the problems plaguing today’s online information ecosystems. To reverse the decline of local newspapers and legacy media publications, Minnow suggested that online media outlets should be required to provide “payment for the circulation of material developed by others.” Minnow also discussed the revival of the Fairness Doctrine for the internet age, mandating coverage of a range of ideas by online media sources.

Matzko pushed back most directly against this latter suggestion of Minnow’s, the idea of reviving the Fairness Doctrine. As he put it, “Few things send a shudder down my spine quite like hearing we should apply a public interest standard.” (Remember, Cato Institute.) Matzko drew on research that he did for his book, The Radio Right, which documented how the Kennedy Administration used the Fairness Doctrine to censor critics of Kennedy’s legislative agenda. Read more »

by Azra Raza

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

Everyone agrees that early cancer detection saves lives. Yet, practically everyone is busy studying end-stage cancer.

Reviewing the history of carcinogenesis from 1911 on, I become unspeakably, depressed. Demoralized. For fifty years, massive intellectual and financial resources have been invested pursuing one dream. In the 1970s, a model evolved suggesting that one or a handful of mutations cause cancer that can be cured by one or a handful of magic bullets. Following a couple of early successes, the paradigm was tacitly accepted and has prevailed ever since. Sadly, it has not delivered as well for other cancers. Benefit to patients is nowhere near the enormity of the capital sunk.

The confidence in the model is such that most financial incentives are offered for studying advanced cancers with the wishful thinking that targeting mutations will save dying patients. Perhaps targeting mutations is the key, but all treatment works better in early disease.

It is not cancer that kills but the delay in treatment. The writing is on the wall. Treatment of end-stage cancers, for the most part, is at a dead end since 1930s. The disease has to be found early. As early as possible. There is no reason to settle for Stage I because, the treatment, even for this early stage, is still Paleolithic. We must find cancer at its birth. Every one claims to know this. So why isn’t everyone studying it? Read more »

Six years ago at New York’s Cathedral of St. John the Divine, I was standing under sculptor, Xu Bing’s, two Phoenixes.  The cathedral is huge and beautiful and so were the artist’s sculptures. Our friend, Bill, who is a warm, personable, and very knowledgeable docent at the cathedral had suggested to my wife and me  that we should see the Phoenix exhibit, and he was right. Standing in the nave under Xu Bing’s creatures I was awed.  While Bill, his wife, and mine went on ahead I lingered until Bill walked back, smiled, and asked, “Are you having religious experience?” As I recall I said, “I don’t know— maybe.” The fact was, the beauty Xu Bing had created with his assemblage of common, industrial materials, all in flight in that still, immense, gothic space was stunning. The poem came a couple of days later.

Xu Bing’s Phoenixes At The Cathedral Of St. John The Divine
.

standing under Phoenix and his lofted bride
both newly risen in the nave of a church
at a quarter of the height from floor to vault
—I am small and still beneath their static glide.

a cross in the distance where they might have perched,
is centered on choirs set on either side
as simple as the nexus of sinners’ faults
at the crux of the moment their songs might rise.

these ninety foot creatures made of sweat and steel
and of light and of industry and touch and feel
and of hoses and spades and of wire and sight
and of chain and of pipes and of silent nights
and of canisters pulleys ducts and vents
and of reason for rebirth to where innocence went
and of hope and contrition and of blood and bone
all Phoenixes together here un-alone

Jim Culleny
1/4/15

by Derek Neal

As an aspiring writer of fiction, I like to try and understand the mechanics of what I’m reading. I attempt to ascertain how a writer achieves a certain effect through the manipulation of language. What must happen for us to get “wrapped up” in a story, to lose track of time, to close a book and feel that the world has shifted ever so slightly on its axis? The first step, I think, is for writers to persuade readers to believe in the world of the story. In a first-person narrative, this means that the reader must accept the world of the novel as filtered through the subjective viewpoint of the narrator. But it’s not really the outside world that we are asked to accept, it’s the consciousness of the narrator. To create what I’m calling consciousness—basically, a feeling of being in the world—and to allow the reader to experience it is one of the joys of reading. But how does a writer achieve this mysterious feat?

One way may be to have the narrator use language that mirrors and reproduces their inner state. This is often easiest to see in the opening pages of a novel, as this is where a writer will establish a baseline for the story that follows. One such example is Teju Cole’s novel Open City, which begins mid-sentence: “And so when I began to go on evening walks last fall, I found Morningside Heights an easy place from which to set out into the city.” It is a strange sentence with which to begin a story. The “and” implies something prior, but we are oblivious to what this could be. The “so” is a discourse marker, something we would say after a lull in spoken conversation, perhaps to change the subject. But once again, we’re unaware of what the previous subject might be. The effect is that we, as readers, are swept along with the narrator on one of his walks, beginning the novel in step with him, in media res not just in plot but also in terms of grammar. Read more »

by Dick Edelstein

Following Hulu’s release of “The United States vs Billie Holiday”, the singer’s musical career has become a topic of discussion. The docu-drama is based on events in her life after she got out of prison in 1948, having served eight months on a set up drug charge. Now she was again the target of a campaign of harassment by federal agents. Narcotics boss Harry Anslinger was obsessed with stopping her from singing that damn song – Abel Meeropol’s haunting ballad “Strange Fruit”, based on his poem about the lynching of Black Americans in the South. Anslinger feared the song would stir up social unrest, and his agents promised to leave Holiday alone if she would agree to stop performing it in public. And, of course, she refused. In this particular poker game, the top cop had tipped his hand, revealing how much power Holiday must have had to be able to disturb his inner peace.

Writing in The Nation, jazz musician Ethan Iverson noted that all three films based on Holiday’s life have delighted in tawdry episodes without managing to convey the measure of her musical achievement. Hilton Als, in a review in The New Yorker, was unable to conceal his disdain for the recent biopic, observing “you won’t find much of Billie Holiday in it—and certainly not the superior intelligence of a true artist.” Both writers insist that Holiday’s memory has been short-changed in the media, and it follows that the public cannot be fully aware of her contribution to musical culture. Iverson’s thoughtful piece analyzes her many innovative contributions to musicianship and jazz vocal interpretation, while here I propose to comment on only a couple of these. But first I want to call attention to the ineffable quality of Holiday’s singing, how her delivery of lyrics and free-flowing phrasing of melody tug at the emotions. Those effects defy analysis; you have to hear Billie Holiday’s singing to know the excitement it conveys. Feeling that emotion comes easily, but describing exactly how she generates it is impossible. Read more »

Wendel White. South Lynn Street School, Seymour, Indiana, 2007.

In the series Schools For The Colored.

“This meaningful effort features the architectural remains of structures once used as segregated schools for African Americans in New Jersey, Pennsylvania, Ohio, Indiana, and Illinois. Wendel explains his focus on these states, “The project is a survey of the places that were connected to the historic system of racially segregated schools (broadly defined as “Jim Crow” segregation, in its various forms of de jure or de facto segregation) established at the southern boundaries of the northern United States. My particular interest is in the regions of the northern “free” states that bordered the slave states (sometimes known as the “Up-South,” just over the line to freedom) as regions of unique concentrations of black settlements during the nineteenth and twentieth centuries.”

The Schools for the Color project statement begins with a quote from W.E.B. Du Bois where he references being “shut out from their world by a vast veil”. This descriptive passage influenced the presentation of these structures, redacting the landscape surrounding the buildings as a metaphor for loss, separation and division.”

More here, here, and here.

by Omar Baig

In the Fall of 1959, Cora Diamond left a computer programming job at IBM to enroll at the University of Oxford’s philosophy department: despite earning a Bachelor’s in Mathematics from Swarthmore College and an incomplete Master’s in Economics from MIT. After finishing a B. Phil in 1961, Diamond spent the next decade teaching at flagship universities across the UK: at Swansea (Wales), Sussex (England), and Aberdeen (Scotland). Diamond returned to America as a visiting lecturer at the University of Virginia’s philosophy department, from 1969 to 1970. They hired her as a full-time Associate Professor in 1971, making Diamond one of the few women to teach at UVa’s main College of Arts and Sciences—coinciding with the first incoming class of 450 undergraduate women.

From 1973 to 1976, Diamond posthumously compiled, edited, and published Ludwig Wittgenstein’s Lectures on the Foundations of Mathematics (1976), quickly becoming a pre-eminent scholar of New Wittgenstein, or ordinary language philosophy. In just a few years, Diamond branched out from this drier, more technical work—by building on two of Wittgenstein’s most prominent students, Elizabeth Anscombe and Iris Murdoch—towards her own non-moralistic and anti-essentialist approach to ethics. “Eating Meat and Eating People” (1978), for example, starts with a peculiar, yet indelible fact about the relatively few animals that humans deem edible vs. all the other species deemed non-edible. The near-universal taboo against human cannibalism means, “We do not eat our dead,” even in cases of accidental death or consensual cannibalism. Yet, why do these cases normalize the eating and salvaging of what may otherwise be first-class flesh? Read more »

by Pranab Bardhan

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

Santiniketan in my childhood used to attract a lot of foreign scholars, artists and students, which was a boon to a young stamp-collector like me. Every day the sorting at the small post office was completed by mid-morning and many of the residents used to come and collect their mail themselves. I, along with a couple of other children, used to wait there for the foreigners to collect their mail. As soon as one was spotted, we used to scream “Stamp! Stamp!”; they obliged us by tearing off the stamps in their envelopes. Soon I had a thick album of foreign stamps. I used to linger wistfully over every stamp and imagined things about those distant foreign lands. (I remember Swiss stamps said only ‘Helvetia’ on them, which I could never find in the only world map I had at home).

The other times I used to go to the post office was to mail my grandmothers’ frequent letters, which she had dictated to me the previous day. She was a marvelous cook, spent long hours in the kitchen despite her osteoarthritic stoop, and then after everybody has been fed, she’d sit down in the kitchen with her own food and call me to take the dictation of her letters. She was not illiterate, but she liked my ways of phrasing in an organized way the outpouring of her emotions and frustrations in those letters to her near ones. My skill at concise expressions of intense personal feelings, honed in my grandmother’s kitchen, was later tested once in a crowded Kolkata post office. There an illiterate migrant worker from a Bihar village approached me for filling the money-order form that he required for remitting a meager amount of money to his family back at the village. When it came to filling the measly little space at the end of the form where you are allowed to send a brief message, this worn-out man sat on the floor on his haunches and told me what to write there in sporadic bursts of raw emotion (an incoherent mixture of his affection, anxiousness, and longing) for his daughter and wife in the village whom he has not seen for many months, and my skill was sorely tested, and I think I failed, particularly because the language had to be Hindi, in which I was deficient. Read more »

by Brooks Riley