by Maniza Naqvi

I. Mass and Matter

II. Drywall

I. Mass and Matter

There is never, nothing. Nothingness is everything. What does it matter? Matter and meaning? Hurtling through life and hoping that it will amount to something—that it will take on mass.

This Higgs boson question of what gives matter mass? In this moment—two points in the collective ether: the Higgs boson and debt. The world is concerned about how matter—particles, become mass—how particles travel through the treacle of energy called Higgs boson. And the world is concerned about debt the one thing that has become the “be all” of human meaning—amassing—meaningless matter.

To travel, at a velocity, so great, and so often, as to stop mattering and to stop, having any meaning. To, keep on, leaving before accumulating enough meaning, enough evidence of existing. But if you can travel so far, and still keep going isn’t that evidence of something? Or does it mean that the further you go and keep on going, this can only happen without gaining substance or without gaining enough of it to stop the velocity—and then does that mean you don’t matter—you are incapable of gathering mass—becoming something? And then do those, who stay those who find it hard to leave, to part, those who remain to resist, those that accumulate, do they—matter? But to depart, to part is an article of inevitability isn’t it for a particle -it is the way a particle accumulates mass—As it travels through space that treacle offering resistance to the particle’s velocity sticking to it and assisting it in gaining mass. That treacle is existence—it is society offering resistance, termed responsibilities, saying stop. It is mass that stops velocity. Mass is when something offers resistance.

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by Kevin S. Baldwin

When I first moved to a small town in the midwest in the summer of 1999, I walked downtown to check out and support the local businesses. I honestly cannot remember what I bought, but I do remember that the change the cashier made for that first purchase included a very worn 1907 Liberty Head nickel. I had never seen one before! It was one of those “Twilight Zone” moments: I could almost hear the repetitive four note musical theme, and half-expected Rod Serling to step out from behind an architectural column, cigarette smoke swirling towards the ceiling, to deliver a pithy introduction: “He thought he was moving to a new place but it was really another time.”

My thoughts alternated between delight and horror. What were the odds of this coin showing up during the very first purchase in my new hometown? If rare, was this some kind of auspicious sign? If common, where had I moved to? Did women have the vote? Had news of the repeal of prohibition made it here yet? (I later found out it isn't possible to buy alcohol before 1pm on Sundays). I haven't noticed any coins of similar vintage since, so I guess maybe somebody found it in their attic and put it back into circulation. I tucked it away as a memento and forgot about it.

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by Sarah Firisen

I look up to the heavens in prayer
Let Obamacare die now I swear
There's no words to berate
That evil mandate
And keep your hands right off my Medicare

Stop the death panels right now I cry
The government wants me to die
It's the private insurers
Who should be healthcare jurors
Only corporations won't send this awry

Jesus cured the sick and the lame
But today it's Democrats that he'd blame
And say each man for himself
I've a right to my wealth
If you're poor, well I guess that's a shame

Pre-existing conditions aren't nice
But we all take our roll of the dice
Some get sick, some are well
That I'm healthy is swell
Just try harder, that's my advice

You clearly have not done your part
Yes I know that you have a bad heart
The free market knows best
Some are lucky and blessed
Some our Lord has just set apart

So I'll make sure that I do my share
Vote for repeal of Obamacare
I have not one doubt
Of the private health route
And keep your hands right off my Medicare

Key and Gate

Heading out the door
I forgot my key
and time is short

it’s late
but I’m going nowhere
in this keyless state

Last night the moon
phasing out again
with its back to utter reaches
seemed for a second
like a key or switch
needing a turn or flick
to open or start
some thought
I don’t know what but
imminent nonetheless
behind the moon’s back
through its silver hatch
that will, not too late,
open itself with itself
being at once its own
key and gate
.

by Jim Culleny
6/21/12

By Liam Heneghan

A unicorn is described as having the legs of a deer, the tail of a lion, the head and body of a horse. It possesses a single horn which is white at the base, black in the middle and red at the tip. Its body is white, its head red, and its eyes are blue. Clearly, the only thing unreal about a unicorn is in the combination of its parts. That is, a unicorn is less than the sum of its parts, assuming, that is (with a prayerful nod to Anselm of Canterbury), that existing in reality trumps existing in the mind, or in this case existing in the mind as in a series of disarticulated parts that are themselves very real.

When an ecosystem is described as greater than the sum of its parts, as it was in Eugene Odum’s holistic conception of it, what is meant is that when the biotic components of ecological communities interact with the abiotic realm (that is, the formerly living and the never-alive), certain properties of the whole emerge that cannot be readily predicted from an analysis of the component parts. This claim, made on behalf of the larger units of nature, was persuasive to generations of ecologists influenced by Odum’s textbook, first published in 1953 and now in its posthumously published 5^th edition (2005).[1] However, in as much as Odum’s notion of the ecosystem manifests a Balance of Nature perspective it has almost universally fallen out of favor in ecology and, like the unicorn, is emphatically relegated to myth and fancy.

In one of a number of strenuous critiques of Odum’s holistic conception of the ecosystem, ecologist Dan Simberloff claimed that it resurrected one of ecology’s earliest and now discredited paradigms, the notion of the biotic community as a superorganism.[2] The superorganismic quality of the ecological community was a tenet of one of the first comprehensive theories in ecology where vegetation scientist Frederic Clements likened changes in the plant community over time to the developmental processes of organisms. The appeal of holistic ecosystem ecology with its Clementsian flavor was not, Simberloff argued, because it improved the science, but because it drew upon a myth of enduring appeal, one that derived from the metaphysical conceptions of the ancient Greeks. Less technically, one can say that holistic conceptions of ecology tap into a notion of the Balance of Nature – something, as we’ve seen contemporary ecologists choose not to defend.

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by Misha Lepetic

“Look – you're my best friend, so don't take this the wrong way.
In twenty years, if you're still livin' here, comin' over to my house
to watch the Patriots games, still workin' construction, I'll fuckin' kill you.
That's not a threat; now, that's a fact.”
~Good Will Hunting

Culture warriors from the 1990s may remember Charles Murray, who rather stirred the pot with The Bell Curve, a highly contentious book co-written with Richard Herrnstein. The authors hypothesized, among other things, that not only intelligence but also its alleged heritability could be measured and used to explain differences in the success of social (or, perhaps, economic and ethnic) groups.* At any rate, Murray, who seems to be a refreshingly damn-the-torpedoes type of fellow, is back with another doozy, this time concerning inequality in America. But where is this America of which he speaks?

The inequality narrative is nothing new, of course. The Economist has been harping on the threat that income inequality poses for years now (I believe that this is due, in no small part, to that publication’s consistent undercurrent of Burkean anxiety). In 2009, Emmanuel Saez won the John Bates Clarke medal for illuminating how income inequality is not just increasing but is increasing at faster velocities for the more rarefied strata. And the Russell Sage Foundation recently released a pretty authoritative report on the matter, although I’m sure they won’t be the last to do so. And regardless of your opinion of it, the Occupy movement has brought the inequality narrative into the forefront of the “national conversation”, if such a thing actually exists.

But Murray is here to tell us that income inequality is just the tip of the iceberg: what we are really faced with is, as he puts it, “cultural inequality.” As he writes in a Wall Street Journal essay in support of his book, Coming Apart:

And the isolation is only going to get worse. Increasingly, the people who run the country were born into that world. Unlike the typical member of the elite in 1960, they have never known anything but the new upper-class culture. We are now seeing more and more third-generation members of the elite. Not even their grandparents have been able to give them a window into life in the rest of America.**

This isn’t really all that earth-shattering, but Murray introduces a few new angles. The first is his exclusive focus on the white demographic. I will return to the consequences of this choice in a moment, but let’s accept that, as seconded by his soft-ball fellow-WSJ reviewer, this was done “to avoid conflating race with class”.

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by Rishidev Chaudhuri

The first lecture I got on summer drinking was accompanied by my first real job offer and my first real marriage proposal. All three were delivered by an elderly Sikh man, sitting next to me on a London-Delhi flight. His fondness for me emerged early, when I agreed to ask the air hostess for extra whiskies and pass them onto him; he'd already swallowed three and was cautious about attracting attention. He began by telling me that while he lived in London, he still spent part of the year in Riga, where he used to arrange prostitutes for East Asian businessmen, and he was looking for someone to take his place. Later, after a few more drinks, he asked how old I was (I was 18) and then told me that his daughter needed to get married to a reliable man, and asked me to consider her. Having taken care of these social pleasantries, he spent the next hour or two explaining to me the trouble with drinking in hot weather (makes you feel hotter¹), and his theory about the appropriate balances necessary for drinking in the summer. His approach was simple: he drank only whisky and beer in the summer, and he drank only rum and brandy in the winter. He never quite explained to me where this particular seasonal partitioning came from, or whether it was primarily physiological (to balance the humors?) or aesthetic (in case inventing drinking conventions is the only thing that separates us from the beasts)². But I was left deeply moved, at the very least by his consistency, and I think of him towards the beginning of every summer, especially if I'm transgressing his rules and drinking rum or brandy.

Every curated summer drink list should include some manner of gin and bitters combination, to clarify the senses and lighten the flesh. At the simplest, you could roll bitters around a glass (pop it into the microwave for a few seconds to open up the flavors, if you like), drop in a measure of gin (always make it a generous measure) and top it with ice (crushed, if you're feeling fancy). That suffices, but you could add tonic water and lime or, if you're lucky enough to live in a place where coconut water is readily available, gin and bitters and coconut water is a classical tropical summer drink and the coconut water will keep you suitably hydrated.

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by Tom Jacobs

How many stories are born of images? All of them? Most of them? Without some founding image (of a person, of a family, of a moment) is it even possible to conceive of a story? The relation between an image and its story—all of the resistances and exchanges between these two very different forms of expression and representation—is both important and incredibly slippery. In a Paris Review interview, Faulkner was asked “How did The Sound and the Fury Begin?” His answer is struck with the force of a small revelation, in part I guess because it is so simple. It began with a mental picture.

I didn't realize at the time it was symbolical. The picture was of the muddy seat of a little girl's drawers in a pear tree, where she could see through a window where her grandmother's funeral was taking place and report what was happening to her brothers on the ground below. By the time I explained who they were and what they were doing and how her pants got muddy, I realized it would be impossible to get all of it into a short story and that it would have to be a book. And then I realized the symbolism of the soiled pants, and that image was replaced by the one of the fatherless and motherless girl climbing down the drainpipe to escape from the only home she had, where she had never been offered love or affection or understanding.

He notes that he tried to tell the story through the eyes of several characters, and even to “gather the pieces together and fill in the gaps by making myself the spokesman,” and ends up admitting that he “never could tell it right, though I tried hard and would like to try again, though I’d probably fail again.”

Kundera, too, in his excellently-titled, The Unbearable Lightness of Being, explains that his characters came into being by virtue of a haunting image. I have been thinking about Tomas for many years. […] I saw him standing at the window of his flat and looking out across the courtyard at the opposite walls, not knowing what to do.” He is trying to figure out if what he feels for Tereza is hysteria or love.

This puts me in the mind of (as most things that I find incredibly engaging interesting do), Walter Benjamin. He has a castoff comment in his Arcades Project where he is thinking about why criticism and analytical thinking are so much less successful than advertising. And he says this: Not what the moving red neon sign says—but the fiery pool reflecting it in the asphalt. That, to be sure, is the kind of declaration that will, if you are so inclined and share a similar sensibility, make you stop and think really hard.

There’s something there, but what does it mean? Why does the reflection of something affect us in such a different manner than the thing itself, unmediated? We have all seen an advertisement or a sign or whatever via its reflection and been kind of startled by it. It’s hard to know why our sensuous assimilation of things is so hard to talk about or describe or explain.

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by Namit Arora

Some years ago in a Montana slaughterhouse, a Black Angus cow awaiting execution suddenly went berserk, jumped a five-foot fence, and escaped. She ran through the streets for hours, dodging cops, animal control officers, cars, trucks, and a train. Cornered near the Missouri river, the frightened animal jumped into its icy waters and made it across, where a tranquilizer gun brought her down. Her “daring escape” stole the hearts of the locals, some of whom had even cheered her on. The story got international media coverage. Telephone polls were held, calls demanding her freedom poured into local TV stations. Sensing the public mood, the slaughterhouse manager made a show of “granting clemency” to what he dubbed “the brave cow.” Given a name, Molly, the cow was sent to a nearby farm to live out her days grazing under open skies—which warmed the cockles of many a heart.

Cattle trying to escape slaughterhouses are not uncommon. Few of their stories end happily though. Some years ago in Omaha, six cows escaped at once. Five were quickly recaptured; one kept running until Omaha police cornered her in an alley and pumped her with bullets. The cow, bellowing miserably and hobbling like a drunk for several seconds before collapsing, died on the street in a pool of blood. This brought howls of protest, some from folks who had witnessed the killing. They called the police’s handling inhumane and needlessly cruel.

It’s tempting to see these commiserating folks as animal lovers—and that's how they likely see themselves—until one remembers what they eat for dinner. A typical slaughterhouse in the United States kills over a thousand Mollys a day—lined up, shot in the head, and often cut-open and bled while still conscious, an end no less cruel and full of bellowing—all because Americans keep buying neatly-packaged slices of their corpses in supermarkets. Raised unnaturally and inhumanely, over a million protesting birds and mammals are violently killed in the U.S. every hour (that's 300 per second!). Is it then unreasonable to say that nearly all meat-eaters in America participate quite directly in a cycle of suffering and cruelty of staggering scale?

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Speed and Trouble

Sunday
……………… —my head spins
suddenly it’s Saturday again

wind whistles through hours
days are bullet trains

yet in this garden
long as the space of a light year
crows drop in to listen for the bristle
of worms making way below
through a sea dark as biker leathers
black as predator feathers

I love these crows
……………………… —being so
we-are-masters-of-this-row

they strut with natural equanimity
unlike cocksure CEOs who strut
but with a limp of sociopathy

meanwhile, two blood red cardinals
perch upon a limb outside our room
much nearer god then those of
the red-habit class

our fat cat’s
laser gaze nails them, though she looms
impotent behind the slider glass

—in this leisure garden bubble
these crows and I know zip
of speed and trouble
.

by Jim Culleny
6/14/12

PASSIVITY

Two Birds of Paradise
On the Tree of Life
Dazzle the wall above
His king-size bed

He names the female bird
After my cousin Sofia
Heartless tease at fourteen
I too fancy her

Feigning sleep in his bedroom
On a corner chaise
My fingers tremble
Above combed fringes

Perched on a branch
The male yearns for flight
His one-eyed gaze fixed
Upon Grandfather’s hand

Fondling Sofia on the bed
The female flutters in midair
Plumes fanning out
Brilliant madder dyes

by Rafiq Kathwari, guest poet at 3Quarks Daily.

by Mara Jebsen

What has happened before can happen again– and so can what hasn’t.

— Bertolt Brecht

When I was in college, I wrote angry letters to the controversial and often political poet, Amiri Baraka. The letters were neither kept nor sent, but I remember what it was like to write them. I remember the yellow legal pads, crammed with inky scrawls.

In the old Mercer Street Books in the village, where I buy myself used plays and spy novels once a week, I spotted “Preface to A Twenty-Volume Suicide Note” heaped in the dusty Rare Books cabinet and bought it, for seventeen dollars and ninety-five cents. Opening the mildly aged volume, I had that strange feeling you get when you’re flooded with a whiff of more recent history. It is the sense that something was fresh and current in the time when your mother was younger than you are now. It has magic like moon-rocks because it's stylistically foreign, yet deeply known. In this case, so perfectly 1961, Village. A whole flavor of semi-bullshit, semi-real bohemia surrounds this little paperback. On the last page, Corinth books advertises Ginsberg’s Empty Mirror for a dollar twenty-five, and works by Kerouac and O’Hara for ninety-five cents. I remember as I thumb through it that Baraka wasn't yet Baraka; this book was written by a very young man. His name was Leroi Jones.

It is interesting to think about how and when you come across the seminal poems of your life. “And each night, I count the stars/and each night, I get the same number/ and when they will not come to be counted/I count the holes they leave”—These 28 words, in this order, have appeared, unbidden, at some of the most poignant moments of my life, arriving from beneath me like a wave, or seeming sometimes as if they'd never left; are more like an invisible walking companion whose steps match mine—company I will keep as long as memory holds.

Why was I angry? To remember properly, I have to contextualize those unsent letters with other unsent letters:

From Durham NC to Lome, Togo, 1997

Dear Mom,

I am taking another class in the Africana studies department. It kind of can’t believe this is happening/I am choosing this. Those tomes you and Kodjo lugged from Philadelphia to each of our houses in Lome always struck me as such a waste of time; so dry. The sex life of savages? Folktales from Cameroun? And now… They’re actually assigning me some of the same books. How Europe Underdeveloped Africa. The Black Jacobins. And I’m into it. Will everything that bored me to tears when I was a kid come back and claim me? And would this be a happy or a sad thing?

I really, really love it here. But it is a strange place, haunted. Makes you want to write poems. Here is how I would describe Duke:

That place with its gothic architecture lit under floodlights at night like a stage; the whole of it a show. Magical-ghostly. At night black men came and planted. We’d wake in the morning to fully-grown beds of dusty miller, pansies, geraniums, azaeleas, rows and rows of sweet-smelling things I couldn’t name. At night black women cleaned the vomit from the bathrooms stalls and commons room, made us steaming trays of chicken and dumplings, macaroni and cheese; cabbage stewed down in butter to practically nothing; in the cranky mornings ladies in hairnets served up buttered grits, fat rashers of bacon and fluffy biscuits. One of them looks like Auntie Rogatthe.

I am hanging out mostly with these brilliant Asian and Latina girls. We are trying to figure out how American we are. We are trying to figure everything out. Poetry seems more and more interesting to me. Also, I met someone I really like. His name is x. I’ll tell you about it later

Love,

M

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Storm

whips crack over the
back of Massamet

lurid light
color of lime

May spits crazy
cat calls through
the wet lips of June

croaks
big threats

groans like distant trains
hauling mayhem up slopes

sky, a mad gymnast of electricity
tumbles and casts bolts
that land like T-Rex bones
upon a timpani

drums thump down under
circumambulating blasts of Jericho
let-loose spirit

uncorked jinn
flattens new corn low
upon a bed of fresh compost

god’s blow

blow god
blow!

god above god
below!

.
by Jim Culleny
6/8/12

by Hasan Altaf

If you search on Google or Wikipedia for “Pierre Bourdieu,” the results will paint you a picture of a man who was very much a theorist, an intellectual in the fullest sense of the word. Bourdieu contributed to the disciplines of philosophy, sociology, anthropology, history, literature, and politics; he was influenced by Bachelard, Pascal, and Durkheim, and himself became an influence on younger intellectuals such as ‪Loïc Wacquant‬. In an obituary in the Guardian, after Bourdieu's death in 2002, Douglas Johnson described him as being “as important to the second half of the 20th century as Sartre had been to the generation before”; you could easily imagine an ivory-tower life. What cursory internet searches and obituaries do not reveal, however, is Bourdieu's beginnings as a photographer, and the importance of his photography to the rest of his work.

In Picturing Algeria: Pierre Bourdieu (Columbia University Press), the sociologist Franz Schultheis and the curator Christine Frisinghelli offer the reader an unprecedented selection of Bourdieu's photographs from Algeria, where he traveled for the first time as part of his national service, at twenty-five. He was to return again a few years later, as a lecturer at the University of Algiers, and he joined a research effort run by the Algerian arm of the French statistical institute. He helped produce two important books – one on labor migrants, and another that depicted the impact of brutal French resettlement policies. The photographs in Picturing Algeria date mostly from the time of this research, between 1957 and 1960, but they aren't just the snapshots of a researcher with a camera and some free time. Bourdieu's experiences in Algeria were to have a profound impact on his later life and work; as Craig Calhoun notes in his foreword, in Algeria Bourdieu was learning his trade, and “photography was one crucial way in which [he] gathered data – and developed his sociological eye.”

There is a strange kind of distance and balance in Bourdieu's photographs. Calhoun writes that “they are neither the completely naive snapshots of a newcomer nor products of a fully formed sociologist” – that is, they are neither picturesque, touristy snapshots, nor rote illustrations of theories. Even without any background information, the pictures suggest study, learning, research. They are usually square (he used a medium-format camera, rather than the standard Leica, partly to be more unobtrusive) and generally harshly lit – the highlights (a turban, a veil, a white teacup in the sun) can be almost painful. The picture that most struck me was of an elderly woman sitting in the dirt outside her home. She's sitting in the shade, but has one arm, elbow on her knee, stretched out, and in the sun her forearm bleaches transparent, pure white, like a negative or an X-ray.

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