Tuesday Poem

The Gardenia

The trouble is, you can never take
That flower from Billie’s hair.
She is always walking too fast
and try as we might,

there’s no talking her into slowing.
Don’t go down into that basement,
we’d like to scream. What will it take
to bargain her blues,

To retire that term when it comes
to her? But the grain and the cigarettes,
the narcs and the fancy-dressed boys,
the sediment in her throat.

That’s the soil those petals spring from,
Like a fist, if a fist could sing.

Cornelius Eady
from poets.org



How Greenwich Republicans Learned to Love Trump

Evan Osnos in The New Yorker:

The story of Trump’s rise is often told as a hostile takeover. In truth, it is something closer to a joint venture, in which members of America’s élite accepted the terms of Trumpism as the price of power. Long before anyone imagined that Trump might become President, a generation of unwitting patrons paved the way for him. From Greenwich and places like it, they launched a set of financial, philanthropic, and political projects that have changed American ideas about government, taxes, and the legitimacy of the liberal state.

The former congressman Christopher Shays is a moderate Republican who was elected eleven times to represent the Gold Coast, from 1987 to 2009. Now conservatives mock him as a rino—a Republican in name only. “When Sean Hannity calls someone like me a rino, I want to punch him in the nose,” Shays told me. “I got elected as a Republican for thirty-four effing years, and Hannity has never gotten elected for anything.” When Shays talks to former staff and constituents in Connecticut, he has come to recognize the delicate language of accommodation: “I was talking to a guy I know well, after some pathetic thing that Trump did, and his response was ‘Yes, but he’s selecting the right Supreme Court Justices.’ I started to laugh at him, because I know for a fact that’s a minor issue for him.” Shays believes that many Americans quietly share Trump’s desire to reduce immigration and cut social-welfare programs for the poor. “He’s saying what people think, and they appreciate that,” Shays said. “But not many are going to admit that’s why they support him.”

When it comes to the essential question—will Trump get reëlected?—the answer rests heavily on a persistent mystery: how many Americans plan to vote for him but wouldn’t say so to a pollster? In Greenwich, Edward Dadakis, a corporate insurance broker who has been involved with Republican politics for fifty years, told me that many of his friends are “below the radar screen.” He went on, “In a sense, I’m one of them. I’m out there in the public domain, so people know where I stand, but in 2016, for the first election ever, I did not put a bumper sticker on my car.” He worries how strangers will react. He said, “I still have two ‘Make America Great Again’ hats at home, wrapped in plastic.”

More here.

Monday, May 11, 2020

The World After COVID-19

by Ali Minai

Like most people who have time to think in these stressful days, I have been thinking about life after the COVID-19 pandemic has passed – mostly at a personal level, but also a little about the world at large. This essay is an attempt to put some of these thoughts down as a time-capsule of how things appear from this perch in May of 2020, the first year of the New Plague.

The most important lesson that the current calamity should teach every one of us is humility, though it will surely fail to do so until it is too late. The armchair thinker, however, has the luxury of indulging in the vanity of speculation without risking anything more than a proverbial dish of crow – delivered, one hopes, untouched by human hands and at a safe distance. But the time for that will come later, in a different world with different delicacies and intimacies. This is a message from the “here and now.”

So what will the world come to?

The biggest – and totally unknown – factor that will influence the answer to this question is the future course of the pandemic. Broadly there are four possibilities:

  1. An effective vaccine or prophylactic is found by late 2020 and is deployed worldwide by next spring, resulting in virtual eradication of the SARS Cov-2 virus sometime in 2021.
  2. No vaccine or prophylactic is found soon, but a post-infection treatment is developed by early 2021 so that COVID-19 becomes a treatable disease – possibly at significant expense and/or inconvenience.
  3. Finding a preventive or treatment takes much longer than a year, resulting in a second, third, and more waves of infections before something usable is found or herd immunity develops everywhere.
  4. No preventive or treatment is found, and herd immunity fails to develop for some reason.

Possibility 4 is the stuff of apocalypse, so let us assume that it is extremely unlikely. Possibility 1 is conceivable given the scientific firepower being directed at the problem, but seems rather optimistic. If it does come to pass, most things will probably go back to the way they were in November 2019, leaving behind a detritus to bankrupt businesses, lost jobs, disrupted lives, and a deep economic recession. Possibility 2 has similar prospects, but would lead to more significant changes in areas such as work patterns, wearing of masks, large gatherings, etc. The more realistic possibility is number 3, which will have a profound effect on humanity. Going through such an extended trauma will alter life in ways that defy imagination. While humanity waits on science, uncertainty will grip the world. Everything – social interaction, work, education, healthcare, entertainment, sports, travel, politics, business, the media –will change so much during this time that it will be impossible to return to earlier ways. Read more »

Star Maker: The Life of Cecilia Payne-Gaposchkin

by Ashutosh Jogalekar

What’s the universe made up of? Most people who have read popular science would probably say “Mostly hydrogen, along with some helium.” Even people with a passing interest in science usually know that the sun and stars are powered by nuclear reactions involving the conversion of hydrogen to helium. The dominance of hydrogen in the universe is so important that in the 1960s, two physicists suggested that the best way to communicate with alien civilizations would be to broadcast radio waves at the frequency of hydrogen atoms. Today the discovery that the stars, galaxies and the great beyond are primarily made up of hydrogen stands as one of the most important discoveries in our quest for the origin of the universe. What a lot of people don’t know is that this critical fact was discovered by a woman who should have won a Nobel Prize for it, who went against all conventional wisdom questioning her discovery and who was often held back because of her gender and maverick nature. And yet, in spite of these drawbacks, Cecilia Payne-Gaposchkin achieved so many firsts: the first PhD thesis in astronomy at Harvard and one that is regarded as among the most important in science, the first woman to become a professor at Harvard and the first woman to chair a major department at the university.

Donovan Moore has performed a service in bringing this remarkable woman’s life story to a broad audience, and he tells it with sensitivity and a wonderful sense of place. His story focuses on the human personalities, and while I was a bit disappointed that the book is way too light on the science, it is still a worthy read. Payne grew up in a quintessentially Edwardian England in the late 19th century, a time when women were all supposed to be like those in “Little Women”, grooming themselves to be proper girls who spent all their time cultivating skills that would make them prime prospects for marriage to a wealthy man. But Cecilia was different from the start, largely because of her parents; she did not care much for looks and dresses and much more instead for exploring nature and playing with her two siblings. Her doting father, a lawyer, writer and musician who was fifty-five when he had her, spared no efforts to get her interested in science, music and books. Read more »

Skepticism in the 21st century

by Jeroen Bouterse

I sometimes consider becoming a skeptic, but then I’m not so sure what that entails.

Mind you, I mean a proper skeptic, a Pyrrhonist or something. What attracts me is not this unsustainable Cartesian angst about maybe living in the Matrix, but the wholesome promise of the ancient skeptics: that if you can live with uncertainty, you unlock this treasury of psychological benefits. Suspension of judgment, not believing to know what you don’t know, supposedly allows you to level up intellectually: to be inquisitive and critical, to open your mind without your brain falling out. The ancient skeptics were smart and prescient about contrasting themselves to the ‘dogmatists’ – who wants to be a dogmatist anymore?

So what’s holding me back? Well, I’m ashamed to say that the first thing that comes to mind are those paradoxes. You know them. Does our skepticism extend to the truth of skepticism, and similar objections. Also, are we supposed to suspend judgment about the truth-value of identity-statements, tautologies or contradictions? And if not, don’t those simple tautologies bleed into more complicated analytical truths, or even into mathematics? I’m not sure. Do I have to have a clear-cut opinion on questions like these before I can, with conviction, call myself a skeptic – all the while maintaining my suspension-of-judgment? That is a difficult balancing act that sounds almost like work.

Even though I humbly admit that I don’t know enough about these issues, I fear that my very insecurity about them demonstrates that I don’t have the mind to be a skeptic. I’m afraid to be a dogmatist about any of these questions, because I’m afraid to be wrong. That’s a condition that can easily escalate into desiring to be right. The skeptic on the other hand, while interested in problems surrounding knowledge, somehow manages to see all of them as somebody else’s problems. Read more »

Housed

by Joan Harvey

At night you’d think
my house abandoned.
Come closer. You
can see and hear
the writing-paper
lines of light
and the voices of
my radio

Jerónimo’s House, Elizabeth Bishop

Don Quixote, and with him, of course, faithful Sancho Panza, inhabit my kitchen; primarily the space between the sink and the kitchen island. I listen to the tale of The Knight of the Sorrowful Face when I do the dishes and clean the counters and, as it is a very long book and I only spend around twenty minutes at a time doing these tasks, these two adventurers have been getting frightfully bashed up in my kitchen for months. While in other times I might have also listened on long car trips, I’m now programmed, when walking into that space, to immediately think of donkeys and basins and chivalry. At the moment I have only 17 hours 27 minutes and 56 seconds in the book left to go, but I suspect it will be even longer before my kitchen is free of knights errant and their faithful squires.

My Pavlovian response brings to mind that mnemomic device, the Memory Palace, in which you mentally put something you want to remember into a room in your house. To be honest I haven’t really tried this method, because I can never remember to use it when I need to remember something.

This is all to say that our houses are home not just to our bodies. Bodies are the condition of architecture, but the way in which our dwellings hold us, keep us warm, give us space and light (or lack thereof), also plays on our minds. Houses haunt us as much as we haunt them. And because during this virus most of us are home, most of the time, our relationship with our homes, with our houses (in French to be at home is to be at the house), comes to the forefront. Whether we’re alone in a tiny studio apartment, or with our three charming daughters and two charming dogs in a large house in the suburbs, or in a queer communal house in a small city, this place where we live and now rarely leave has come to have much more weight. We are aware of the homeless and hope that they are finding shelter as we do. And we might also grow aware that, with our heavy mortgages and loss of income, this shelter we’ve taken for granted is a somewhat precarious thing. Read more »

Obit

by Rafiq Kathwari

Mother passed away in her sleep at Hebrew Home, The Bronx. The last time I visited her was on 7th March. Hebrew Home locked down on the 10th. Mother died alone on 31 March. She was 96.

Mother’s caregiver, Sabila from Nepal, who over the last 10 years created an extraordinary bond with mother, called her Ami Jan, an endearment, and who follows the Hindu faith, once gave Mother a framed picture of Mother India or Bharat Mata, which Sabila thought symbolized her relationship with Mother who, in turn, taught Sabila to recite the first surah of the Koran which, consequently, Sabila did most beautifully and by heart.

So, here she is Bharat Mata, or as Sabila saw my mother, wrapped in a bright sari, superimposed on a map of India painted on a box of safety matches. It’s incendiary. Kashmir crowns the Mata who wields a trident in her right hand. A multi-color flag erases Afghanistan and Pakistan. Left-hand shadows Bangla Desh gesturing towards Myanmar. Her foot seems bigger than pearl-shaped Sri Lanka which forms the central story of the Hindu epic Ramayana. Here’s how Sabila told Mother the story.

One day, God Rama saw Sita  bathing nude in Sitaharan a spring near the Line of Control in Kashmir: It was lust at first sight. Enter Ravana, demon king who abducted Sita to Sri Lanka to avenge a previous wrong, angering  Rama who flew south to Lanka in his glitzy winged chariot Made in Prehistoric India using indigenous materials, piloted by a crew of monkeys.Rama, who shot a divine arrow which pierced Ravana in the heart and killed him, flew Sita back to Kashmir where legend has it they lived happily until India divided herself 73 years ago.

Mother said, broods of the Dogras want their land back, flora, fauna, valleys, peaks, pashmina goats, Mother said after I told her that Hindutva goons are calling it Zameen jihad.  Of course, they will, she said. It’s the nature of fascists to clasp opposite concepts to serve their own propaganda. Read more »

Time, Stand Still

by Mary Hrovat

Photograph of a path through a forest with a bend in the distanceOne of the things that fascinates me about history is the different ways we know historical periods. We know the times we live through in a very deep way, not just the events and how they affect us, but the details of daily life. We know the slang, the jokes, the mid-list books; the forgettable songs and the ephemeral news; what the world smells like and how it tastes and sounds. It’s very hard to know another time period in anything like the detail we know our own: what people wore to work, what they did on Saturday afternoons, what all the machines did and why they were made.

However, it’s easier to see more distant periods of history as a cohesive whole, or a completed story. As details inevitably fade from collective memory with time, and most of the possible futures are abandoned, meaning and coherence can emerge. Distillation and compression over time reveal story lines, themes, and meanings that weren’t obvious in the rich confusion and immediacy of experience.

The meaning we find or make may be illusory, but we value it anyway. Galen Rowell, in The Inner Game of Outdoor Photography, says, “Minute by minute, year by year, details fall away as our mental imagery becomes more iconographic. That’s how we see; that’s how we think.” Perhaps it’s also how we remember, and especially how we form collective memories.

I can only guess how future generations will view the times I lived through. It seems obvious that the Apollo moon landings and the COVID-19 pandemic will loom large. It’s more difficult to say which politicians or writers or entertainers will be remembered (or for what), or even which disasters or events. I don’t know how things will turn out. It’s even harder to guess which books or paintings or films will survive, or how much anyone will know about, say, how we worked or vacationed or died. Read more »

Visual Histories: Peter de Swart and Rachelle Reichert

by Timothy Don

The current economic crisis is crushing artists, museums, and galleries everywhere. In the San Francisco Bay Area, where I live, an exorbitant rental market made maintaining a practice difficult before this crisis hit. It’s even harder now. With 3QD’s permission, I’m going to use this column to talk about the work of some of the artists and art professionals I have met here. I ask you to support artists wherever and however you can.

Peter de Swart, works on paper: Triptych

The triptych form is associated with religious painting. It first appeared as a feature of early Christian art and became popular for altar paintings and devotionals during the Middle Ages. While Peter de Swart’s Triptych is not overtly religious, it emanates an undeniably religious or spiritual aura. It is, in a word, numinous. To encounter this painting is to witness a sacred transaction. You’d have to be a stone to look at it and not experience a yearning for the divine. Why, apart from its rearticulation of the history and symbolism of the triptych form, is that?

It must have something to do, first of all, with the simple purity of the object pictured, which appears to be a bowl of some sort. Bowls are one of those inventions (like scissors or chopsticks or the hourglass) that we got right the first time. They were perfect the moment they appeared. In the bowl, function lives harmoniously with form. Its shape is so ideal as to be almost Platonic. Furthermore, bowls are used to prepare and serve food and drink, which means that they give sustenance, enable shared meals, and consequently help to strengthen communal bonds and deepen human relationships. Finally, bowls are vessels. Like hands and pockets and ships, they hold and contain and convey things—but they are not grasping like hands, nor like pockets do they secret away their contents, and they don’t trade goods and gold like ships. Quite the opposite, in fact: Bowls are generous, open, gratuitous. They give away the things they hold.

All of these attributes (form, use value, ethos) lend bowls a quasi-spiritual redolence, but they do not make bowls sacred. If this triptych depicted a bowl no different from any other bowl, then its effect would be decorative rather than numinous. This bowl is special. Again we must ask: Why is that? Read more »

You Win Again Finn Again

by Thomas O’Dwyer

It seemed like a good idea. What better time than a pandemic lockdown to tackle again a feat that no human has so far accomplished and yet which seems to require nothing more than a comfortable chair, fingers that can turn pages, and a slice of uninterrupted time. It was another perfect opportunity to try just once more to read Finnegans Wake. It’s a book. How hard can it be? There are no spoilers here; it’s hard, and I failed and will most likely never try again.

Finnegan's Fall, from an illustrated edition of Finnegans Wake, by John Vernon Lord for the Folio Society.
Finnegan’s Fall, from an illustrated edition of Finnegans Wake, by John Vernon Lord for the Folio Society.

When he published Finnegans Wake in May 1939 after 17 years writing it, Joyce said that he wrote the book “to keep the critics busy for 300 years” and “the only demand I make of my reader is that he should devote his whole life to reading my works.” So far, so good – they’re still going strong, critics and masochistic readers, 81 years later. But most unusually, the critics began trying to decipher the Wake before it was even written. In 1929 Joyce’s friend Samuel Beckett and a group of writers produced a symposium on what Joyce then called Work in Progress. This was ten years before the final Wake emerged. They published their erudite musings in a booklet ominously titled Our Exagmination Round His Factification Of Work In Progress. We readers can’t say we weren’t warned.

Jerry Seinfeld is unlikely to pose the question, but here it is: “What’s the deal with Finnegans Wake?” First, what is it? The Wake built on Joyce’s already formidable reputation for reconstructing the English language – Portrait of the Artist as a Young Man, Dubliners, and the astonishing saga of one insignificant man’s ordinary day in Dublin, Ulysses. Finnegans Wake was something else – so dense, incomprehensible and apparently pointless that even today it is perfectly respectable to argue that it was a giant hoax which Joyce produced for his own amusement and to confound his critics. Read more »

Sunday, May 10, 2020

Naomi Klein: Under Cover of Mass Death, Andrew Cuomo Calls in the Billionaires to Build a High-Tech Dystopia

Naomi Klein in The Intercept:

For a few fleeting moments during New York Gov. Andrew Cuomo’s daily coronavirus briefing on Wednesday, the somber grimace that has filled our screens for weeks was briefly replaced by something resembling a smile.

“We are ready, we’re all-in,” the governor gushed. “We are New Yorkers, so we’re aggressive about it, we’re ambitious about it. … We realize that change is not only imminent, but it can actually be a friend if done the right way.”

The inspiration for these uncharacteristically good vibes was a video visit from former Google CEO Eric Schmidt, who joined the governor’s briefing to announce that he will be heading up a blue-ribbon commission to reimagine New York state’s post-Covid reality, with an emphasis on permanently integrating technology into every aspect of civic life.

“The first priorities of what we’re trying to do,” Schmidt said, “are focused on telehealth, remote learning, and broadband. … We need to look for solutions that can be presented now, and accelerated, and use technology to make things better.” Lest there be any doubt that the former Google chair’s goals were purely benevolent, his video background featured a framed pair of golden angel wings.

Just one day earlier, Cuomo had announced a similar partnership with the Bill and Melinda Gates Foundation to develop “a smarter education system.” Calling Gates a “visionary,” Cuomo said the pandemic has created “a moment in history when we can actually incorporate and advance [Gates’s] ideas … all these buildings, all these physical classrooms — why with all the technology you have?” he asked, apparently rhetorically.

More here.

Sunday Poem

VI—The Stare’s Nest by My Window

The bees build in the crevices
Of loosening masonry, and there
The mother birds bring grubs and flies.
My wall is loosening, honey bees
Come build in the empty house of the stare.

We are closed in, and the key is turned
On our uncertainty; somewhere
A man is killed, or a house burned,
Yet no clear fact to be discerned:
Come build in the empty house of the stare

A barricade of stone or of wood;
Some fourteen days of civil war;
Last night they trundled down the road
That dead young soldier in his blood:
Come build in the empty house of the stare.

We had fed the heart on fantasies,
The heart’s grown brutal from the fare,
More substance in our enmities
Than in our love; oh, honey-bees
Come build in the empty house of the stare.

W.B. Yeats

On Ancestry

Justin E. H. Smith at his own blog:

Two thoughts have long come unbidden to my mind whenever I hear people talking about doing their family trees, or, more recently, getting their DNA done. The first is of Bruce Willis’s character in Pulp Fiction, the boxer Butch Coolidge in the back of the taxi, who, when asked by his South American driver what his name means, replies, “I’m an American, baby, our names don’t mean shit.” The other is of Seneca, who wrote in his Moral Letters to Lucilius: “If there is any good in philosophy, it is this, — that it never looks into pedigrees. All men, if traced back to their original source, spring from the gods.”

To be an American is to bear a name with no historical resonance, or at least none worth looking into, to orient oneself in the world without regard for lineage. To be a philosopher is to know consciously what the American feels by instinct: that the reason lineages are not worth looking into is the same for all of us, namely, that we all derive from the same divine source.

But I am, or like to think of myself as, an American philosopher, and so of course I always scoffed when my late father –who did not share my sensibility, did not see being American in the same way– used to come home with all sorts of vital-statistics records from Utah and Arkansas, with genealogical scrolls stretching back to Olde England. I always got a vague whiff of prejudice moreover from those family-history buffs more extreme than my father ever was, displaying with pride their ancestors’ tartan patterns above the fireplace, or hanging up a coat-of-arms and explaining with pride why the stag is rampant as opposed to statant, say, or offering an embroidered pillow with some implausible sentiment about Irish or Polish or Swedish superiority. No, I always thought, to hell with all that. I come from nowhere. I come from no one but the gods.

More here.