In the beginning the Universe was created. This has made a lot of people very angry and been widely regarded as a bad move.

– The Restaurant at the End of the Universe

A Short History of DNA

Douglas Noel Adams was a best-selling British writer, born in 1952. (As you may have noticed, he had the distinct pleasure of having “DNA” as his initials.) He studied literature at Cambridge, UK, after being extended an invite on the basis of his essay writing. It appears he wanted to be part of the great university to join the the Footlights, an exclusive comedy club that was the springboard for many British comedians. There were various incredible opportunities that flew into Adams’ life, such as: being noticed by Python, Graham Chapman; being one of two non-Pythons to get a writing credit in Monty Python; performing with the likes of Pink Floyd (my favourite band) because he was friends with the incredible David Gilmour; and so on. More importantly, for us, was a radio-series he pitched to BBC Radio 4 in 1977, called The Hitchhiker’s Guide to the Galaxy.

His Hitchhiker series was not constrained to only one medium, of course. It began as this radio-show, then leaked into other mediums: a television series, a stage show, a three part DC Comics series, a computer game, and a major film. More importantly it became a series of books. Being bored easily by sounds, the written-version (and computer game) is my favourite medium of Adams’ universal message of weirdness, brilliance and the overall irony of existence in an uncaring universe.

The overarching story in The Hitchhikers Guide to the Galaxy (now shortened to H2G2) is about Arthur Dent who is a dreary British Earthman (a tautology to many). Dent is friends with Ford Prefect – who is not in fact from Guildford, as he claims but “a small planet somewhere in the vicinity of Betelgeuse.” In the beginning of the story, Earth is destroyed by horrible aliens called Vogons – who appear to be based on any Home Affairs Department anywhere in the world. They are making way for a “hyperspace bypass”; an event that mirrors Dent’s troubles in the beginning of the books where his own house is about to be destroyed to make way for a bypass. (The idea of mirroring houses and planets will return later in this essay.)

From there, Dent finds himself transported all over the universe experiencing adventures that involve: hunting couches, the true nature of humanity, the bored and postmodernist ruler of the Universe (not god), god’s Final Message to his Creation, the evils of making tea, time-travel, and, famously, a cynical bowl of petunias and the first and final thoughts of a sperm whale.

We discover fascinating details about humans in the series. For example, the Guide tells us something rather interesting about human arrogance: “on the planet Earth, man had always assumed that he was more intelligent than dolphins because he had achieved so much—the wheel, New York, wars and so on—whilst all the dolphins had ever done was muck about in the water having a good time. But conversely, the dolphins had always believed that they were far more intelligent than man—for precisely the same reasons.”

Yet, what makes these books and the whole series so important is the reflection that is thrust upon us as a species. Adams manages to deflate the petty worries and doubts of everyday human concerns by juxtaposing it to the movements and thoughts of greater, more intelligent alien-life forms: Beings who can create planets, talk to the controller of the universe, go to different dimensions and times, and so on. But throughout, he still manages to compact everyday human concerns but mock them at the same time.

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by Tom Jacobs

Over the course of many years of micturating into all manner of urinals (and, it must be said, the occasional sink, as well) from Buenos Aires to Brooklyn, my attention has been drawn again and again to the peculiar little devices that affix the stalls or the little barriers (the little planes of pressed metal that separate urinator from fellow urinator, presumably to prevent the awkward social encounters of standing exposed before complete strangers without a barrier to mitigate). I am speaking of what, in an unlovely phrase, must be called “bathroom screws”—the strange anti-theft screws used in public bathrooms. These screws are neither philips head nor flat head screws. These are what are called in the industry “hex” or “security torx” or “spanner head” (aka, “snake eye”) screws. These are screws that look usually like this * or this : (But not like the more familiar this – or this +. They are designed to prevent “you,” the faceless, nameless, and disembodied citizen from disassembling the bathroom, because you don’t have the right tools. This, it seems to me, is interesting.

To the type of person who is given to free ranging, loosely analytical reflections upon all the strange things that the world casts is his way, who finds himself attracted to strange little disturbances in the otherwise smooth surfaces of everyday life (things like the creative defacement of public advertisements, unpicked up dog poo on the sidewalk, the strange guy on the subway, the unexpected pattern of ice crystals on my kitchen window, and so forth), these bathroom screws have been a point of particular and considerable interest. What, the querulous mind asks, do these screws assume? And what do they imply?

Walter Benjamin was excited by the prospects of applying historical-materialist (or “Marxist, really, I suppose) analysis to everyday life. He thought that one of the great challenges of the age (his age, which is still, in some sense, “our” age, even if the mechanics of reproduction have gone all ethereal and immaterial) was to “assemble large-scale constructions out of the smallest and most precisely cut components. Indeed, to discover in the analysis of the small individual moment the crystal of the total event.” What I take him to mean is something to the effect that we need to pay attention to how the little details of our experience can, if we pay proper attention to them, tell us something important about the larger world. These are what might be called “clues.”

A favorite professor (of sociology) once dropped this little iridescent observation in passing, which I immediately dutifully wrote down: “you can read a person’s class by paying attention to two things: their shoes and their watch.” These days, things have gotten much slipperier. No one wears a watch anymore, for one thing, unless out of affectation or nostalgia. And shoes? Well, rich people frequently pursue the shabby chic look while the impoverished seek to conspicuously display outward signs that they are not impoverished (I count myself among the latter, by the way…the shoes that I am now wearing I bought for ten bucks at a thrift store in Lincoln, Nebraska…these lovely suede buckskins are way above my pay grade, but you’d never know it.)

The literature of detection is inherently interesting because it hinges upon this fuzzy, slippery dimension of everyday life: that it is still possible to read the macro in the micro, to see in “the small individual moment the crystal of the total event.” This sort of thing relies upon the notion that there is a stable and coherent social order against which one can read a given particular clue. If, for instance, you lived in England during the Victorian age, you could pretty safely assume that someone sporting a tan had, in all likelihood been in the South at some point. Possibly India. Possibly in a military or civil/administrative capacity. So suddenly you know a fair amount about this stranger. There’s just no other way to obtain a tan. Callouses on your hands meant that you were a laborer.

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Book Review: It’s Our Turn to Eat: The Story of a Kenyan Whistleblower, Michela Wrong (HarperCollins, 354pp, 2009)

by Edward B. Rackley

A fast-moving tale of intrigue, deception and murder, It’s Our Turn to Eat follows conflicted patriot John Githongo into battle with a $1 billion USD corruption scheme directed by co-workers in Kenyan President Mwai Kibaki’s administration. The arc of events leading to his exile in Britain, the barrage of threats by Kenyan security agents and Githongo’s prodigal return are recast through the lens of classical tragedy, but with a single, telling anomaly: there’s no redemption, no glory. This is the real world, not Hollywood.

Returning in 2007 after two years in hiding, Githongo watches Kenya plunge into a fratricidal abyss following botched national elections. Waves of inter-ethnic violence push Kenya to the brink, with much of the bloodshed fomented by political elites, six of whom are now wanted by the International Criminal Court. That political violence between ethnic communities was not caused by tribalism, as many outside observers believe, but was a direct result of state-sponsored corruption is the deep water current in this book.

Michela Wrong has written two previous accounts of visionary leaders gone mad; the first on Mobutu, ‘Le Roi du Zaire’ (In the Footsteps of Mr. Kurtz: Living on the Brink of Disaster in Mobutu’s Congo), the second on post-independence Eritrea (I Didn’t Do It for You: How the World Betrayed a Small African Nation). How the poorest pay the price for their country’s corrupt leadership is a recurring theme, but It’s Our Turn to Eat stands above her previous work thanks to the author’s friendship with the protagonist and proximity to his plight. Wrong risked her own safety by sheltering Githongo when he first landed in England.

The result is a distinctly personal portrayal of Githongo’s psychological makeup and his inner conflict between principle and belonging, Kenyan citizen and Kikuyu brother, as the scams reveal themselves and relations with Kibaki, initially an advocate of accountability, grow tenuous and distant. Readers will visualize a film adaptation of this thriller that, unlike John LeCarre’s The Constant Gardener, casts Africans as crusaders risking life and limb to reset the course of wayward leaders.

Githongo’s principled resistance reads at first like a dream-come-true for practitioners like myself who work in public sector reform, demand-driven accountability and anti-corruption in developing countries. The portrait of Githongo the man is fascinating and helps answer the perennial question – “Who in this country can lead real reform?” But by the end of the story, we see Githongo alone, tilting at windmills and abandoned by the global aid industry that initially championed his cause.

The closing chapters are devoted to teasing out the motivations behind donor silence, a passivity that Wrong, along with most average Kenyans, finds indistinguishable from complicity. And what of local opposition to corruption and tribalism’s destructiveness, why its seeming absence from the national psyche? Wrong has answers to that question too.

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In the middle of last month a violent storm blew across Palestine and Israel, the worst in decades. The strongest winds were felt in the East, but Gaza also took a battering. Fifteen-foot waves swept up the coast and cleared the breakwater of the fishing port, wrecking boats and gear, while a sandy wind scoured the fields and greenhouses, uprooting fruit trees, polytunnels, beehives and animal shelters. Initial assessments put the damage around $3 million – not a huge figure, perhaps, but to put it in context it is more than the entire agriculture sector received in emergency assistance in 2010. The only small compensation was for the few lucky fishermen who know where ancient wrecks lie (and who guard those secrets closely): when the water cleared the seabed yielded its customary crop of coins and artefacts from this richest of historical palimpsests.

Of course, modern-day Gazans live in nothing like the splendour of their Bronze Age, Roman or Ayyubid counterparts, and farmers and fishermen are among the poorest. Despite fertile soils and a (usually) clement climate, they are handicapped by the continuing Israeli occupation of the coastal enclave. Free-fire zones on land and sea prevent farmers from reaching 35% of the remaining arable land and fishermen from accessing 85% of their fishing grounds. Until June, when the deaths of nine Turkish activists attempting to reach Gaza by sea sparked international outrage, Israel imposed a sanctions regime harsher than any in force anywhere else in the world, including Burma and North Korea. Three lost winters for cash crops (including Gaza’s famous strawberries) crippled the once-thriving export industry, while production for the domestic market foundered for the lack of basic inputs such as insect-proof mesh, water pumps and greenhouse plastic. Although the blockade has been partially eased, gaps are still being filled by imports through the tunnels along the Egyptian border, including of unvaccinated cattle originating in countries where diseases like East Coast fever are rife.

The shortage of water also causes animals to sicken, with kidney diseases in ruminants on the rise thanks to the salinisation of the aquifer. Abstraction of water stands at around 200% of the annual recharge capacity, leaving less than 10% of Gaza’s water potable. Cruelly, it barely rained at all during the recent storm: this is the fourth consecutive year of below average rainfall, and the worst so far. Winter vegetables may not be grown at all in some areas. Finally (if you haven’t yet switched off), mention must be made of the dreaded tomato leaf miner, tuta absoluta, which has been munching its way through Gaza’s tomatoes since arriving in the Strip in 2010, and which could move onto sweet peppers, chillies, aubergines and potatoes if it gets really hungry. The woeful state of Gaza’s greenhouses caused by blockade and bombardment allowed the infestation to take hold, and the storm means that at least 3,000 will need insect-proofing again.

I anticipate that readers may well have switched off by this stage, because the only thing that seems to come out of Gaza is bad news.

I could add to this litany of woes for several more paragraphs (although foolishly I signed up to these Monday Columns using my real name, so don’t expect too many pearls of wisdom about the UN, the Palestinian Authority or Hamas), but most people already know that life for the 1.6 million people of Gaza is tough. Over 70% are dependent on external assistance, and each square kilometre contains an average of around 4,400 people. (For comparison, if you moved the entire population of the world to Mexico, it would be 20% less densely populated. Now try feeding everybody…) However, other people’s problems are never as interesting as our own, especially if they have been going on for a long time, and in any case I already spend a good deal of time talking about Gaza’s woes to an increasingly-fatigued donor community.

What you may find interesting, however, are the small pinpricks of good news that I come across in the course of my work.

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Artificial neural networks are computational models inspired by the organization of neurons in the brain. They are used to model and analyze data, to implement algorithms and in attempts to understand the computational principles used by the brain. The popularity of neural networks in computer science, machine learning and cognitive science has varied wildly, both across time and between people. To an enthusiast, neural networks are seen as a revolutionary way of conceiving of computation; the entry point to robust, distributed, easily parallelizable processing; the means to build artificial intelligence systems that replicate the complexity of the brain; and a way to understand the computations that the brain carries out. To skeptics they are poorly understood and over-hyped, offering little insight into general computational principles either in computer science or in cognition. Neural networks are often called “the second best solution to any problem”. Depending on where you stand, this either means that they are often promising but never actually useful or that they are applicable to a range of problems and do almost as well as solutions explicitly tailored to the particular details of a problem (and only applicable to that particular problem).

Neural networks typically consist of a number of simple information processing units (the “neurons”). Each neuron combines a number of inputs (some or all of which come from other neurons) to give an output, which is then typically used as input to other neurons in the network. The connections between neurons normally have weights, which determine the strength of the effect of the neurons on each other. So, for example, a simple neuron could sum up all its inputs weighted by the connection strengths and give an output of 0 or 1 depending on whether this sum is below or above some threshold. This output then functions as an input to other neurons, with appropriate weights for each connection.

A computation involves transforming some stream of input into some stream of output. For example, the input stream might be a list of numbers that come into the network one by one, and the desired output stream might be the squares of those numbers. Some or all of the neurons receive the input through connections just like those between neurons. The output stream is taken to be the output of some particular set of neurons in the network. The network can be programmed to do a particular transformation (“trained”) by adjusting the strengths of connections between different neurons and between the inputs and the neurons. Typically this is done before the network is used to process the desired input, but sometimes the connection weights are changed according to some pre-determined rule as the network processes input.

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By Liam Heneghan

[This is the first in an occasional series of pieces on the philosophy of science.]

In the guestbook of a flower shop near my Evanston, Illinois home, a few blocks west of Lake Michigan – that body of water which serves as a sea for those born far from the brinier fluids of a true ocean – I observed the tiny carcass of an insect compressed upon the page, beneath a comment that read, “Yellow roses are the gift of cowards, Carl.” Intriguing. Its antennae were shaped like little Christmas trees, an anatomical curiosity permitting many people, I expect, to readily identify the fly as a chironomid midge, a fly hatched from a larva that lived in the lake’s proximate substrate, whose pupating body rose at some late life-stage and floated upon the surface of the waters, whose pupal exuvium sloughed off like the skin of a small but darkly-meated banana, and which then, as an adult, rose again to swarm as part of a male-only congregation waiting for a mate to flit along. Chironomid males, recall, have those telltale plumose antennae which act as a delicate sexual nose of sorts, to detect the presence of female flies. The ephemeral and outlandishly sexual nature of their adult lives is underscored by the fact that they do not feed, being equipped with a greatly reduced feeding apparatus. This much is well enough known; a well-informed school-child will elaborate on the matter. What drew me to this tiny creature flattened beneath the testy comment in the guest book, however, was neither its antennae nor its little head bereft of proper chompers; I was drawn to the curious genital structures of the tiny beast. I could see from the arrangement of it gonocoxites, apodemae, and sundry genital appendages that it was a Tanytarsus species. Now this, I grant you, is relatively arcane knowledge, the sort of knowledge that comes with expensive training, a scientific training. A word or two, therefore, on said training.

I qualified as a zoologist at University College Dublin, getting a master’s degree for work on chironmids that I collected in Irish National Parks in 1987, having completed my bachelor’s work the year before. I eventually earned my PhD there in 1994. A rigorous education. In our Irish system a young person shows up at university at seventeen or eighteen years of age, knowing, it is assumed, exactly what subject matters they expect to devote a lifetime of work to. Choosing, in my case, the natural sciences, I was educated in these sciences: all other domains of knowledge were excluded. I was taught (eclectically) across four science sub-disciplines in my first year, in my second specializing in three, in my third year, two, and yes in my last year I honed my skills as a zoologist taking a suite of specialist courses and undertaking a year-long research project on the systematics of a genus of chironomid midges, the Thienemannimyia group. The task: to unravel the phylogenetic (roughly evolutionary) relationships between the numerous species in the group.

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At the V&A until 20th February 2011
www.vam.ac.uk/shadowcatchers
Sponsored by Barclays Wealth

by Sue Hubbard

In his Allegory of the Cave, Plato’s chained prisoners, trapped in their subterranean world, mistook shadows cast on the wall for reality. When they spoke of the objects seen what was it they were speaking of; the object itself or its shadow? Such conundrums lie not only at the heart of western philosophical debate about the nature of reality but, also, of photography. The essence of photography involves an apparent magical ability to fix shadows on light sensitive surfaces. As far back as the second half of the eighth century, the Arab alchemist Jabir ibn Hayyan (c.721-c.815) recorded that silver nitrate – the significant element of the light-sensitive emulsion of photographs – darkened in the light. In the eighteenth century Thomas Wedgwood experimented with painting on glass placed in contact with paper and leather made chemically sensitive to the effects of light. Sadly the results remain unknown as Wedgwood lacked the know-how to fix his images.

From 1834 William Henry Fox Talbot (1800-1877) created ‘sciagrphaphs’ (the depiction of shadows) and ‘photogenic drawings’ using botanical specimens and lace placed on sensitized paper. These spectral images implicitly posed questions about the nature of reality. The term for all such works is a ‘photogram’, though strictly speaking they do not depict shadows as they are caused by the blocking of light rather than by a cast shadow. The photogram was later usurped by the process of projecting negatives through an enlarger lens. In an increasingly mechanist age this new technology proved more seductive to the scientifically minded Victorians than camera-less photography, which became the idiosyncratic realm of those interested in exploring the subconscious and the so-called spirit world. The playwright August Strindberg took to leaving sheets of photographic paper in developer exposed to the night sky, believing that his resulting ‘celestographs’ were caused by this exposure to the heavens rather than to the more prosaic explanation of dust collecting on the surface of the paper. In 1895 the previously unwitnessed interior of the human body was revealed by Wilhelm Konrad von Röntgen’s newly discovered x-rays, mirroring a growing interest in the unconscious and the revelation of that which could not be seen by the naked eye.

During the 1920s the photogram was rediscovered by a number of modern artists, particularly the Dadaists. Man Ray and László Moholy-Nagy were both attracted by its automatic qualities and the possible patterns of light that could be developed on sensitised paper without the use of any apparatus. László Moholy-Nagy wrote: “The photogram opens up perspectives of a hitherto wholly unknown morphosis governed by optical laws peculiar to itself. It is the most completely dematerialized medium which the new vision commands”. In 1937 his move to Chicago, to teach at the New Bauhaus, ensured that an interest in camera-less photography was transported across the Atlantic.

During the Second World War the role of documentary photography, with its ability to act as a witness to unpalatable truths and humanitarian concerns, became ever more important. In 1947 Robert Capa, Henri Cartier-Bresson, George Rodger and David “Chim” Seymour – photographers who had all been very much affected by what they had witnessed during the conflict – began the photographic agency Magnum, leaving the more experimental practice of camera-less techniques to the fringes of fine art practice. Now the V&A have mounted an intriguing exhibition entitled Shadow Catchers , the first UK museum exhibition of the work by contemporary camera-less photographers that includes Pierre Cordier (Belgium), Floris Neusüss (Germany), Susan Derges and Garry Fabian Miller (UK) and Adam Fuss (UK/USA).

[Photo credit: Floris Neusüss, Untitled, (Körperfotogramm), Berlin, 1962, Collection Chistian Diener, Berlin, ©Courtesy of Floris Neusüss.]

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by Fred Zackel

Didja hear?

This February, NewSouth Books will publish “Tom Sawyer” and “The Adventures of Huckleberry Finn” in a single volume, removing the “n” word and the word “injun” from the text. The word “slave” will replace the “n” word.

Mark Twain must be twirling in his grave.

Last year 2010 marked the 175th anniversary of his birth, the 100th anniversary of his death and the 125th anniversary of the American publication of “Adventures of Huckleberry Finn.”

This book “Adventures of Huckleberry Finn” is, as Lionel Trilling said, was “America's most eloquent argument against racism.”

If you never read it, don't wait for some instructor to force you.

As Twain himself said, “I never let schooling interfere with my education.”

But let’s look at what else we can “hear” from Twain, the First Great, Internationally Famous California Writer.

Oh yeah. Mark Twain was a California writer.

Listen to the Voice in this 1865 yarn, “The Celebrated Jumping Frog of Calaveras County,” his earliest success.

“I'll risk forty dollars that he can outjump any frog in Calaveras county.”

And later …

“I don't see no p'ints about that frog that's any better'n any other frog.”

The Jumping Frog was the first California International Best-seller. It made Twain famous. The story was spawned in the Gold Country. It traveled the world.

The story is about a con man getting conned. And what could be more All American?

Mark Twain said about the American art …

“To string incongruities and absurdities together in a wandering and sometimes purposeless way, and seem innocently unaware that they are absurdities, is the basis of the American art, if my position is correct.”

Yes, he was the first great California writer. Hard to believe, yes.

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by Colin Marshall

“No good movie is too long,” Roger Ebert once wrote, “and no bad movie is short enough.” Oh, how my inner cinephile regrets bringing up the 201-minute length of Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles so early in the discussion, it supports that dictum so well! Later revised to “All good films are the right length,” the line now applies to the film that much more directly. I'll sound higher-flown but surely even more accurate when I claim that the form of all good movies closely fits their substance. Here we have one of the closest form-substance matches ever made.

The title may have already given this away, but those three-and-change hours don't serve a labyrinthine plot, an ensemble of dozens, or any particular historical sweep; we get a widow, her son, three days in mid-1970s Brussels, and the preparations for those days' three dinners. Already we hit the fearsome wall this film raises against critics: having watched (and perhaps loved) it, you want to insist that, against the implication of all possible summaries, it's not boring. Yet that insistence sounds, to the rightfully skeptical reader, like too much protestation. What's more, you feel all the while that the very impulse to deliberately highlight non-boringness trivializes the many fascinating (and actually relevant) qualities of a picture so richly non-boring on every level. It's like making a big deal out of the fact that it was shot with a camera; sure, it's true, but it's also part of the work's very nature.

Generally speaking, no serious viewer considers boredom a function of length. After all, many boring movies clock in around 90 minutes, and often they're filled with event after tiresome event. Neither, then, can a serious viewer consider boredom a function of happenings. Let's not even start on all the turgid “epics” the annals of cinema history offer us. I would submit that boredom is actually the result of a form-substance mismatch; it's the unpleasant sensation of those two aspects of a film grinding away at one another, rattling, vibrating, putting out that awful burning-rubber smell. Hence the dullness of so many films adapted from other media — literature especially — as well as those conceived first and foremost as screenplays. When the material can't properly engage all the creative bandwidth cinema has to offer, something's bound to burn out. Usually, it's the audience.

Having said that, I'll tell you what happens in Jeanne Dielman. Bear with me. The titular widow's precisely scheduled days have her cooking breakfast, polishing shoes, buying ingredients, preparing impressively bland dinners out of those ingredients, eating those dinners in near-silence with her son Sylvain, reading letters from relatives in Canada, and unfolding and refolding the sofa bed. Each afternoon, she makes the time to let a different man in the front door, take him into the bedroom, and not come out until the sun sets. It's not altogether clear at first what's going on with that last bit, though Jeanne does drop a few bills into a jar on the dining table after each visit.

“A-ha,” you might say to yourself as the first day ends. “The loss of her husband has forced this poor single mother into prostitution!” To be sure, nothing in the film refutes that interpretation, but almost everything in the film hints at a deeper, stranger, far less identifiable depravity. If you're looking for indicators of homes in chaos, mothers selling sex would seem promising, yet Jeanne, whose face at certain angles looks like a death mask of domestic efficiency, could hardly have regimented her household further. Each weeknight has its dinner — Wednesdays are veal — from which there can be no deviation. Jeanne and Sylvain step out of the apartment and into town at the same time every evening. That cleanliness reigns goes without saying; even right after seeing a “client,” Jeanne takes a bath that would do an obsessive-compulsive proud.

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Why Do We Have Heads At All?
—on Daniel Lieberman’s The Evolution of the Human Head

“The head presents an evolutionary paradox,”
says Lieberman, “The roof of the orbits
is the floor of the brain.” And I imagine a room
in which a miracle sponge sits soaking up
what it means to be alive while other skulls
orbit this particular one which,
a la Ptolemy, imagines it’s a sun

This head’s tenant thinks it knows
something of the world. It sits in its domed room
sometimes as if it were a church in a cloister
somewhere emanating wishes. It wonders if
somehow it'll ever change its world. It hopes that
someday all sapient heads will in
some way plumb the paradox, lay it bare, and
sum up what they find in pithy words without in
any way diminishing the comfort of brain's appendages

“I’m not ready to ditch fossil fuels, and war's good for business,” says Id.
“Why does the head look the way it does,” asks Lieberman?
“Why do we have heads at all,” asks Jim?

by Jim Culleny, 1/9/11

In the third week of November in 2004, I dialed up to the Internet on a cellphone for the first time, then actively searched for blogs to read and bookmark. Though six years have passed, I clearly recall the first post I read through on 3quarksdaily.com. It was this one, a brief report after a trip to Karachi by Abbas Raza.

For disparate reasons (which might become clearer in future columns) the post struck some chords with me. I felt immediately sympathetic to the author and his viewpoint – a feeling since reinforced by years of devoted reading of this blog – and I was also immediately touched by his recollection of a lost “culturally diverse, tolerant, and progressive” Karachi.

Now, it is true that I have never been to Karachi. But bizarre as it may seem to many of you, large numbers of Goans cherish their connections to the city. This is because from 1850 or so, it was where we made good in numbers.

Meet May Cordeiro (b.1912), sitting with poise between her much-older siblings. She will describe herself all through her life as a Karachi girl, and will assume a lifelong posture of disdain towards everyone who comes from everywhere else.

The Cordeiro family came to Karachi from Saligao, a modest village in Goa which has never been reknowned for agriculture or natural beauty or anything similar. Instead, Saligao has distinguished itself by exporting people.

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By Tolu Ogunlesi

There were only two Nigerians in TIME Magazine’s ’60 Years of Heroes’ special issue in 2006: Writer Chinua Achebe and musician Fela Anikulapo Kuti. Apart from being artists both men were politicians too – drawn, when democracy beckoned in the late 1970s, onto that treacherous terrain by the prospects of providing an alternative to that god-awful brand of leadership Nigeria throws up with the constancy of clockwork.

Last November, I encountered both men in the United Kingdom – Fela as a reincarnated being in a National Theatre Musical (the Musical first opened on Broadway, earlier in 2010), and Achebe in flesh at Cambridge University, at a lecture he delivered in honour of Audrey Richards, the founder of the University’s Centre of African Studies.
I have written about my Achebe encounter elsewhere. Here is where I will pay my tributes to Fela, arguably the greatest musician to ever come out of Nigeria.

On the National Theatre stage in London, Fela came alive. But only just – in my opinion as a Nigerian speaker of pidgin, the corrupted version of English that served as the universal solvent for Fela’s lyrics and philosophy.

The “Fela” onstage clearly didn’t speak pidgin, he merely learnt it for the performance. And so his awkward handling of it kept getting in the – er, my – way. Fela’s pidgin (in which he delivered his trademark yabis – stinging verbal attacks on the political class, business elite and religious leaders) was as crucial to his persona as his saxophone was. Using a non-native pidgin speaker to play Fela was for me the equivalent of putting a violin in the maestro's hands.

But it was an ambitious performance, the kind one hardly ever sees in Nigeria – detailed costuming and stage set-up, and the accompanying band combined to (re)create a convincing setting. The scene in which Fela’s ‘Kalakuta Republic’ base is invaded is so well done you feel like you were a fleeing bystander on that horrible February day. Hundreds of soldiers stormed the premises on February 18, 1977, brutalising Fela’s band members, dancers and hangers-on.

By the time the soldiers were done, Kalakuta lay in ruins, and Fela's much-beloved mother, Funmilayo – the first Nigerian woman to drive a car, a woman who had left a revolt that deposed and popular monarch in the 1940s and, in defiance of the colonial authorities, visited the Soviet Union and China in the 1950s – lay dying. The soldiers had thrown her out of an upstairs window. She would die soon after.

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By Namit Arora

(An excerpt from a longer work of fiction.)

It has been a month since they first slept together. He wondered why their verbal sparring had increased in recent days. Just this morning at her place, Liz set off on the youth-obsessed American culture and the skinny ideals of female beauty manufactured by the consumer industry—a conspiracy, she said, to keep women down. ‘That’s true but what’s also true,’ he argued, ‘is that there will always be some power that will try to contain us, define us, or gain from us. Did earlier ages not have oppressive ideals of beauty? In this culture, power is exercised mainly through marketing. Fortunately, women here also have the power to free themselves from the narrow ideals of beauty impressed on them.’

‘Easier said than done,’ she retorted. ‘You don’t know the pressure this culture puts on women, how it ruins their self-esteem, causes them anxiety and self-loathing, not to mention eating disorders and health problems. These days many college sororities even have puking contests after dinner. You don’t know because you are not constantly evaluated by the shape of your tits and butt, are you?’

‘That may be because I don’t have tits,’ he tried to inject some humor.

‘What pains me more,’ she ignored his remark, ‘is the knowledge that so many women don’t see the big picture, and become co-conspirators with men in their own oppression.’

‘Co-conspirators? Wait a minute. Are you saying that men conspire to oppress women?’

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(Wherein we dump the obsolete Adam and Eve tale of the Advent of Consciousness for a more radical and contemporary one based on evolutionary psychology and cognitive neuroscience)

by

Fred Zackel, Ph.D.

“Something fell out of the mirror.”
“Did you hold it upside down?”
“Yes.”
“Did you shake it?”
“Yes.”
“After I told you not to?”
“I got curious.”

We must congratulate ourselves. Name another animal capable of creating its own meaning for its existence and then imposing it on the universe. We might even be the ones who most delay their own extinction.

Yet inside the mirror is the abyss inside us.

Let me tell you about Gregory of Nazianzus (330 – c.390) who later became Gregory, the Archbishop of Constantinople. He was known as “the Trinitarian Theologian” for his preliminary work with the emperor Theodosius on imagining the Trinity at the Second Ecumenical Council of Constantinople in 381 AD.

What? You think this Trinity popped out of the Church’s head full-blown like Athena out of Zeus? You think the Word became Flesh (snap!) just like that?

Gregory of Nazianzus argued just as we cannot look directly at the sun, we can know about it by seeing it reflected in water. So too we can know the Divine.

Our species may have gained self-awareness this way. We saw our reflection in the water hole. The word “epiphany” means seeing our place in the Great Scheme of Things.

∞

One day many millennia in the past, we human beings, each of us, one after another, saw our reflections at the water hole and for the first time. Oh, not all at once, of course. Each of us saw it independently. Some of us much sooner than others. And some of us needed it pointed out to us. But each of us saw ourselves and at that moment each of us became aware of our Self. Each of us, one after another, discovered self-awareness. Each of us had an epiphany and we learned we had individual identities, and thus, one after another, we saw our place in the Great Cosmic Scheme of Things.

What we saw was either a mirage or a miracle.

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I grew up with a mysterious man. He talks about depleting natural resources, the concept of class, Sweden’s welfare state, religion, Kyoto, corporate influence in politics, monarchy in Saudi Arabia and AIDS. And he kills people. Many, many people. I don’t understand him. I’ve never met him. I don’t even know if he’s alive anymore. I heard about him precisely on the morning of September 11, 2001. I was eleven, just starting to see the world.

I went to Peshawar in the aftermath of 9/11, an eleven-year old child, roaming the commercial streets and realizing, astounded, that the only posters as popular as the semi-naked Bollywood actresses were the close-ups of a bearded man with a raised finger, proclaimed as the “soldier of Islam”- Osama bin Laden.

I listened to my mother’s friend, sitting in our common room, speaking in hushed tones, around the end of 2001, guiltily admiring Osama, infatuated and defending, asking, after all, what had he done so wrong?

To my brain, it didn’t make sense when someone declared that if Osama bin Laden came knocking on his door in the middle of the night he would rather give him the security of his house than give him up to American troops.

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Justin E. H. Smith

The Internet, it seems, is destroying everything. In the aftermath of its Shiva-like arrival, the rest of the world now appears shabby, neglected, left over.

It has destroyed or is in the process of destroying long-familiar objects: TVs, stereos, telephones, newspapers, musical instruments, clocks, books. It is also destroying institutions: stores, universities, banks, happy hours, travel agencies. Teleconferencing is increasingly obviating the need for travel; Wikipedia is now vastly superior to anything Diderot could have imagined (and unlike the Encyclopédie, Jimmy Wales's creation is perpetually improvable). As a friend recently put it to me: to denounce Wikipedia is like denouncing the Enlightenment. Nay more: Wikipedia is the Enlightenment realized, for better or worse.

The Internet has concentrated once widely dispersed aspects of a human life into one and the same little machine: work, friendship, commerce, creativity, eros. As someone sharply put it a few years ago in an article in Slate or something like that: our work machines and our porn machines are now the same machines. This is, in short, an exceptional moment in history, next to which 19th-century anxieties about the railroad or the automated loom seem frivolous. Looms and cotton gins and similar apparatuses each only did one thing; the Internet does everything.

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Capela dos Ossos
—on a Chruch of Bones, Evora, Portugal

We pray in a church of bones
in which skulls outline graceful arches
of low vaults and whose columns are ladders
of stacked femurs. We admire its capitals
of craniums

It’s walls, unlike the idealizations
of Michelangelo, are not fantasies
romanced in fresco but the real thing:
stony remnants of once-respiring
antiquity

We pray in a church of bones
whose windows look out
beneath an osseous calcium dome

Our chapel of once-articulating skeletons
—a reliquary of calcium phosphate—
rises over a promontory like a lighthouse
warning the world of muscle and breath,
spit and sweat, bile and blood
to steer clear of the promises of ghosts
and constantly sound to avoid being
beached in mud

We pray in a church of bone
We hope in a field of dreams
We hate or love between
unknown and unknown

by Jim Culleny
Jan 1, 2010

The Church of Bones

By Jenny White

December 31, 2010 — Today on the cusp of renewal, I read a singularly deflating article in The New York Times by Susan Jacoby who, on this sunny final day of the new year, took the opportunity to remind unsuspecting readers that we are going to get old and probably do so badly, and then die. Well, I, for one, had been planning to refashion myself in the new year — more yoga, fewer pounds, a new boyfriend, a mortgage-busting advance on my next novel. Won't work; Jacoby has that covered. It seems healthy living will not protect us from Alzheimer's, one of many left hooks the indifferent cosmos jabs in our direction. And forget that “late-in-life love affair” or “financial bonanza”. What awaits us is “unremitting struggle”, Jacoby warns, and we'd better get busy identifying a health care proxy.

But why tell us now? Why not in February, when we're sunk in darkness and cold, our backs thrown out by shoveling, primed to believe the bad news? Or November, when crumpled husks of leaves cling like forlorn bats to the naked branches. I'd be willing to contemplate mortality then. Not now when the gates are flung wide open. Of course it's important to plan for the worst. But it's just as important, I would argue, to hope and not to expect the worst. Hope lights the fire under our butts that keeps us moving, even as our energy fades to black. Yeats said it better (naturally):

Everything that man esteems
Endures a moment or a day.
Love's pleasure drives his love away,
The painter's brush consumes his dreams;
The herald's cry, the soldier's tread
Exhaust his glory and his might:
Whatever flames upon the night
Man's own resinous heart has fed.

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