by R. Passov

When I was in the fourth grade I was held in a class through recess, most likely because letting me on the black top usually resulted in a fight. I was particularly thin-skinned and couldn’t cope with being in perhaps the only place in late-1960’s Los Angeles where children had a sense of their permanence, or at least of a place above everyone else.

I had landed in that place – Beverly Hills – from the Los Felix section of LA, now trendy, then where hookers rested after walking Hollywood Boulevard, or at least that’s what my mother once said of her counterparts who lived in rooms above the garages of a small apartment building on a busy street. While waiting for my father to return from prison, we lived in one of the garages, converted into a shelter.

In hindsight, it’s not surprising that I couldn’t master a narrative that to those carefree, cruel Beverly Hills kids, made any sense. And so, day-after-day, at the slightest provocation, I lashed out.

Sitting in that room, in my detention, I vaguely remember doodling through a division problem, using a long-since forgotten technique. At some point, what then seemed an ancient person stood over my shoulder, hands behind her back, wearing a frock from head to toe. 

“Here,” she said, “let me show you something.” She took what I had been working on and re-wrote it, straightening it into a column, keeping the smaller number to the left, housing the bigger number under a hand-drawn awning. When the picture was finished she patiently entered into a game of subtraction, finally ending in two smaller numbers that had much to do with where she had started.

There was a little magic in what she did. I was excited at how easily I was able to reproduce her game; tingling with a sense of playful power over what I could do simply for the nonsense of it. But the magic, I came to learn, was not in the math. Rather it was in her sympathetic eyes which, for a moment, tamed me. Read more »

Catharine Ahearn. Incredible Hulk, 2014. In the exhibition “Everything Falls Faster Than An Anvil”.

More here, here, and here.

by Rafaël Newman

Neapolitan conversation is impenetrable to outsiders. Ears, nose, eyes, breast and armpits are signal stations to be pressed into use by fingers, a distribution that recurs in the particular specializations of the local erotics. The foreigner is struck by so much solicitous gesturing and impatient touching, whose regularity rules out coincidence. And while the Neapolitan may betray him, even sell him out—yet in the end he bids the foreigner a good-humored addio: sends him on his way, a few kilometers down the road to the village of Mori. Vedere Napoli e poi Mori, says the Neapolitan, reciting an old joke. “See Naples and die,” echoes the German. —Walter Benjamin and Asja Lācis¹

“The German,” among other foreigners, may perhaps be forgiven for reflexively associating Naples with death. There is the archaic quality of the city’s public superstition, present in the phallic horns everywhere for sale, said to be useful in warding off the fatal Evil Eye. There is the enormous hexagonal pile of the Castel Sant’Elmo looming over the city, its blank medieval walls threatening would-be invaders with doom; and there is its equally brooding partner on the harbor front, the Castel dell’Ovo, built, legend has it, upon a hidden Virgilian egg, whose fragile intactness is the only guarantee of the fortification’s survival. Just a little further afield, and ever present on the horizon, watching over all the many and varied rituals of daily life, is the sinisterly mammary double hulk of Vesuvius, mainland Europe’s only recently active volcano, an ominously smoking reminder, via the nearby ghost towns of Pompeii and Herculaneum, of a capricious and death-dealing nature. (Naples itself lies athwart the Phlegraean Fields, an area of volcanic activity under continuous seismographic surveillance.) And, shot through the entire place, invisible to the untrained eye save in the ubiquitous mounds of ostentatiously uncollected garbage, there is the loosely organized criminal society known as the Camorra, whose provision—or repression—of communal services, and whose targeted acts of violence to enforce its rule, have been mortally endangering the health of Neapolitans for centuries.

Walter Benjamin and Asja Lācis, in their 1925 essay on Neapolitan architecture, were unexpectedly downbeat about the city’s physical aspect, which, they maintained, does not provide the Mediterranean charm and balm for the eyes expected by the routine northern visitor: “Fantastical travelogues have colorized the city; in reality it is gray, a grayish red or ochre, a grayish white. And quite completely gray where it meets the sky and sea. This is not the least of the reasons for its citizens’ anhedonia. For if one has no eye for shapes, there is little to see here. The city is craggy. Seen from the heights, where the voices are unheard, from Castell San Martino, it lies extinct in the twilight, petrified.”² And indeed, for all their vividness, the visual arts, as generously on display in Naples as in many other Italian cities, offer no more respite from this general air of memento mori (by which I do not mean a souvenir stand in the notorious neighboring village) than does its architecture. Read more »

by Michael Liss

Do we Americans really have a shared, founding mythology that unites us in a desire to work together for the common good? 

I wrote that, last month, in “The Coupist’s Cookbook,” and was challenged in an email by a friendly but dubious reader.   

Is there a common history, a type of universal “origin story”? Does that make for a compact, of the type the signers of the Declaration of Independence acknowledged, when they pledged their “lives, fortunes, and sacred honor”? If so, aren’t we the heirs to that bundle of benefits and burdens? Finally, to explore further the implication of my correspondent’s email, if that “deal” no longer applies, how do we coexist and maintain a government in which we can freely express ourselves and choose, and change, our leaders?

I don’t have easy answers.  I’ve written roughly a dozen pieces for 3Q in the last few years about Washington, Adams, Jefferson, Lincoln, and FDR.  Although those great men have to have believed in it, and I believe in it, I don’t know that it’s at all communicable or even comprehensible to someone of a different age, different political views, or different education. With no other place to look, I reached back to my parents’ generation, which seemed to do all these civic things so much better, and found something in, of all places, a song. Read more »

by Brooks Riley

by Bill Benzon

About a week and a half ago I was scrolling through my Twitter feed and saw one of those tweets that was commenting on something about which I was clueless. Meta? What’s that about? Such tweets are common enough. I generally never find out what they’re about. But this little mystery resolved itself soon enough.

It seems that Mark Zuckerberg had proclaimed himself Emperor of the Metaverse. Not in so many words, of course, but for the purposes of this essay, yes, that’s what happened.

I had a vague idea what “metaverse” referred to and learned a bit more as I read articles, mostly skeptical, about it. Many of those articles traced the word to Snow Crash, a dystopian science fiction novel Neal Stephenson published in 1992.

I may or may not have read it. It’s something I might well have read, but I don’t recall it Read more »

Photo taken yesterday evening at Schiphol airport in Amsterdam.

by Bill Murray

Consider the medieval mariner, slighted and sequestered, hard-pressed and abused, gaunt, prey to the caprice of wind and wave, confined below decks on a sailing ship. If the captain doesn’t get the respect he demands, he will impose it. So will the sea.

The sailor found solace in ritual. You get the idea he rather enjoyed taboo things. If the ship’s bell rings of its own accord the ship is doomed. Flowers are for funerals, not welcome aboard ship. Don’t bring bananas on board, or you won’t catch any fish. Don’t set sail on Fridays (In Norse myth that was the day evil witches gathered).

Helge Ingstad, an explorer we are about to meet, wrote that “Norsemen firmly believed in terrible sea trolls …. And those who sailed far out on the high seas might be confronted with the greatest danger of all: they risked sailing over the edge of the world, only to plunge into the great abyss.”

If they fell short of the abyss, what did they find? Fortunate men like Eirik the Red found safe harbors and hospitable enough terrain in Greenland to scratch out a life beyond the reach of Norwegian kings. Freedom. Read more »

by Pranab Bardhan

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

At MIT I had my initiation into a breathless pace of academic activity that was quite different from the pace I had seen elsewhere until then. The whole place was a dynamo of research activity, you could almost hear the hum and feel the energetic throb of multiple high-powered brains at work. While teaching was an important part of daily activity and it often fed into research, it was research where the main action was. Later I found out this was more or less the case in other top departments in the country, but at MIT I had my first experience. There was the thrill of thriving at the frontier of your subject, you saw the frontier visibly moving from one seminar to another, from one widely-cited journal article to another, you had to run fast even to remain at the same place, and while the competition and the race were invigorating, you could also see the jostling and the occasional hustle.

I was amazed how well-informed people were about who was doing what in which department in the country, who was pushing the (research) boundary where, which young faculty you had to attract before others grab them, what was the going market rate for a particular ‘hot-shot’ scholar, who was having an offer from which top department, and so on. (This reminds me of a phone conversation I had with the Dean of a top east-coast university much later when I joined Berkeley. This Dean wanted to know if I’d be interested in joining his University. Before he went any farther, I told him that I had only recently settled down in Berkeley, both my wife and myself liked the place, and just bought a house, and so I’d not be interested in moving. He talked for a while and then gave up. But before ending the conversation, I think he took pity on me and gave me a bit of ‘personal advice’. He said he could see that I was not yet used to the system in the American academic market. “When somebody offers you a job”, he said, “you don’t say ‘no’ even before I told you the salary I was going to offer you, which I am sure is much higher than what Berkeley is paying you. Even if you are ultimately not really interested, you try to get all the information, take the time, bargain with your Department, and get a raise for yourself”).

At the MIT Department those days the most revered leader clearly was Paul Samuelson, who every day at noon would preside over the lunch table at the Faculty Club in the top floor of the building. At the table, he’d often entertain us drawing upon his spectacular collection of stories and gossip, not just about economists, but often about physicists and mathematicians. To Paul there was a clear hierarchy of disciplines. It was visibly demonstrated to me one day when we took a visiting English friend who wanted to meet Paul. We told Paul that he’d be interested to know that this friend had done his degree in Astrophysics, but now he was thinking of moving to Economics. At this Paul immediately said, putting his hand above his head, “Astrophysics, then Economics (he lowered his hand to his chest level), what next? Theology? (moving his hand to the knee level). Read more »

by Claire Chambers

I was delighted to learn that Abdulrazak Gurnah had been awarded the Nobel Prize for Literature. On 7 October 2021 it was announced that the prize had been bestowed on Prof Gurnah for‘his uncompromising and compassionate penetration of the effects of colonialism and the fate of the refugee in the gulf between cultures and continents.’

My immediate thought after finding out that he had won this ultimate literary accolade was that it couldn’t have happened to a nicer or more grounded writer. In a Tweet that went semi-viral, another colleague, Dr Michael Collins who now works at King’s College London, encapsulated widespread feelings of surprised glee that a man of Gurnah’s humility whose writing is not widely known had won the £840,000: ‘My former colleague at Kent just won the Nobel Prize in Literature! I once hit him with a door’. This humorously bathetic post made me think of the photograph I took to accompany an interview I did with Prof Gurnah over a decade ago, for my book British Muslim Fictions (2011).  In it, Gurnah is tall and dignified, his white hair distinguished over a dark suit jacket and light button-up shirt. What interests me, though, is the humble backdrop. Gurnah stands in front of an ugly Brutalist building at the University of Kent, where he works as Professor of Postcolonial Literature. In the foreground are garish plastic safety barriers, temporarily fencing off some roadworks. This, then, is a novelist whose high standards for his writing never shade into elitism or pretentiousness.

I wrote to congratulate him on this richly-deserved achievement. In these dark days of the Covid-19 pandemic, it felt great to have some good news to celebrate for a change. As well as our interview, we had got to know each other a bit more at a talk of his which I moderated at Nottingham Contemporary in 2013. In this post, I would like to provide some short reflections about his body of fiction, reflections which are informed by the interview and talk. Read more »

Nothing But Light

reflections stutter in the picture plane
as if Vincent were still alive
dragging oils across canvas in French light
inhaling the color of things
expiring his incandescent translations
in spectacular conjugations of frequencies
setting fire to a field with crows
turning night into pinwheels, vibrations
underpinning everything in sight
nothing still but the lying frame
a thing suggesting what is seen is all there is
while what’s real is past that edge
beyond expanse and nothing but light

Jim Culleny
10/27/21

painting, Wheatfield with Crows,
by Vincent Van Gogh

by Chris Horner

De gustibus non est disputandum —Roman Maxim

How can I know what I think until I see what I say? —EM Forster

When I first began to take photography seriously, as a practitioner as well as a viewer, I naturally discussed the activity with other photographers. It wasn’t long before I noticed a paradox in the way they view what they do. On the one hand, it is widely accepted that photographic results are subjective: if you like what you do, its enough: you should ‘shoot for you’, not for anyone else’s taste, because nobody can be right or wrong about what makes a good image. On the other hand there is a tendency to search out the opinions of others, talking about improving, learning from other photographers and generally getting better at the craft. Some is about the technical business of using the camera to best effect, but much more is about the notion achieving the goal of making aesthetically  ‘better’ pictures. To this end certain photographers in the various genres (landscape, street, portrait etc) are held up as exemplars (Ansel Adams, Cartier Bresson etc). So it seems that there is the belief that judgment is entirely subjective, and yet, somehow, not. But what makes something ‘better’ when it it comes to art?

A few years ago, there was a debate in the pages of a British newspaper along the lines of ‘is Keats better than Bob Dylan?’. Mainly futile, I think, as the unanswered question was surely better at what? It’s not clear that one can usefully compare -and rank -an early 19th century lyric poet with a 20th/21st singer-songwriter, because they aren’t really doing the same thing. Another half submerged question lurking in the discussion, was really: are there standards by which we can assess the excellence or otherwise of a work of art? Is there is a qualitative difference between the novels of Tolstoy and those of Dan Brown – or should we just say, ‘if you like it, it’s as good as anything else’? Here, I think, the discussion often gets confused. So we have a debate about excellence, or worth, judged according to an uncertain standard; and conflated with that another about the canon, about ‘high’ and ‘low’ art, so called. Here you might well be tempted to dismiss it all, and just say ‘if I like it, its enough’, or maybe better: ‘there are no standards beyond ones own taste’. If that is so, we might as well just shut up about what we like or don’t like in art. A person just has the response they happen to have, and different people will have different responses. The rest is, or should be, silence. Read more »

by Tim Sommers

Suppose on your way to work every day you pass a small, shallow pond. One day as you approach it, you hear a commotion and cries of “Help!” When you get close enough, you can see a small child is drowning in the pond. You could save them. The only problem is you are wearing new shoes for a big meeting today and they will get very muddy, probably ruined, if you save the child.

Should you save the child?

It seems like you should, right? At least, morally, you should. Peter Singer who came up with that example wanted to derive a very simple principle from it.

The Singer Principle: If it is in our power to prevent something very bad from happening, without sacrificing anything morally significant, we ought, morally, to do it.

What might be significant enough to make you hesitate to save the child? What if you might lose your job over it? And what if, when you lose your job, you and your family will quickly become homeless? What if the pond were deeper and you might drown yourself trying to save the kid?

Consider this.

You’re on your way to the movies. You’ve got your ticket money and your popcorn money. Let’s say $20. You run into an old friend of yours out front collecting money to save people from some far away catastrophe. You have complete faith and trust in her, so when she tells you that every $5 will save the life of one person, you believe her. And when she tells you that the catastrophe is likely short-lived and there’s no reason to think that anyone you save will die soon after. One life? $5. Two lives? $10. Do you give her anything? Your popcorn money? The whole $20? Do you go the ATM and withdrawal all you have? Would you be willing to remortgage your house? Read more »

Sughra Raza. Starry Night, October 2021.

Digital photograph.

by Ethan Seavey

On the Métro a man reads an ancient book. He cares for it greatly and flips each page with an abundance of caution. You know that it is ancient because the incredibly thin sides of each page have been painted an antique green and the page that he is reading is yellowed but in otherwise very good condition. The cover is a nice dark gray but it is too dark to read the title from where you stand clutching a pole, your body swaying and swinging and attempting to balance inside this skittish steel carriage. You know that he cares about this book because the dark cover reflects his fingertips. It is covered with a cellophane wrapper which implies that he has bought it just an hour ago from a Bouquiniste along the Seine and that he hasn’t brought it home yet where he would throw out the plastic. But he is deep within the book, hours, days into its story. He kept the plastic to protect it in a world as dangerous for an antique book as the Métro.

This man engages with his identity in a way that you fear. He’s seen: he is a literature professor in the making, the kind that leaves behind a stable life of business and begins to teach later in life. Today he’s too young and proud and primped to stoop to that salary. He wears a Hugo Boss mask and three layers of suit and tweed and pressed cotton. His shoes are as shiny as the cellophane holding the book and he is seen loving books and he is a bit unhappy. He turns and leans his forehead against the door and looks into the lightless tunnel flashing past. This tells his fellow passengers that they should expect his departure and a wordless goodbye and more space in the car and a subtly sentimental vacancy. Read more »

by David Oates

The  soon-to-be famous ship is part-way around the world. It will eventually become only the second vessel in recorded history to achieve the complete circumnavigation – after Magellan. But the ship is poised over disaster. Somewhere in the seas off present-day Indonesia, the captain has ordered full sail and then retired to his cabin. The ship hits something – there’s an awful shudder and it stops dead in the water. A reef, probably.

There it stays for some twenty hours – “as its crew tries and tries to fathom the trouble they are in.”

The ship is the Golden Hinde, and the captain is thus, of course, Sir Francis Drake – hero to every British schoolchild for the following four hundred-some years. Four hundred years of “gloating,” as author Horatio Morpurgo puts it, as he uses this pivotal moment to put some questions to the glittering hero – to its crew – and to ourselves.

Is Drake’s triumphant return to Plymouth harbor in September 1580 – the ship loaded with treasure – really all there is of this tale? It makes for easy telling, with Drake cast as the swashbuckling old sea-dog, as if from an Errol Flynn movie of the thirties. But what has been left out of this version?  Morpurgo uses this daylong pause to ask the question: this episode of doubt ended in bitter enmity between the captain and his ship’s chaplain, who apparently preached against the great man – upon his own ship! – during these hours of peril. Why? What other stories are buried beneath the blinding treasures and easy clichés of the Golden Hinde? Read more »

by Brooks Riley