Category Archives: Arts and Letters

Can Anyone Say “Neuroaesthetics”

As in all other branches of science, there seem to be fascinating new theories, research and discoveries in neuroscience on a daily, if not hourly, basis. With this in mind, brain and cognitive researchers have recently turned their attentions to the science of art, or more specifically to addressing the question “how does the human brain appreciate art?” Yes, welcome to the world of “neuroaesthetics”.

[div class=attrib]From Scientific American:[end-div]

The notion of “the aesthetic” is a concept from the philosophy of art of the 18th century according to which the perception of beauty occurs by means of a special process distinct from the appraisal of ordinary objects. Hence, our appreciation of a sublime painting is presumed to be cognitively distinct from our appreciation of, say, an apple. The field of “neuroaesthetics” has adopted this distinction between art and non-art objects by seeking to identify brain areas that specifically mediate the aesthetic appreciation of artworks.

However, studies from neuroscience and evolutionary biology challenge this separation of art from non-art. Human neuroimaging studies have convincingly shown that the brain areas involved in aesthetic responses to artworks overlap with those that mediate the appraisal of objects of evolutionary importance, such as the desirability of foods or the attractiveness of potential mates. Hence, it is unlikely that there are brain systems specific to the appreciation of artworks; instead there are general aesthetic systems that determine how appealing an object is, be that a piece of cake or a piece of music.

We set out to understand which parts of the brain are involved in aesthetic appraisal. We gathered 93 neuroimaging studies of vision, hearing, taste and smell, and used statistical analyses to determine which brain areas were most consistently activated across these 93 studies. We focused on studies of positive aesthetic responses, and left out the sense of touch, because there were not enough studies to arrive at reliable conclusions.

The results showed that the most important part of the brain for aesthetic appraisal was the anterior insula, a part of the brain that sits within one of the deep folds of the cerebral cortex. This was a surprise. The anterior insula is typically associated with emotions of negative quality, such as disgust and pain, making it an unusual candidate for being the brain’s “aesthetic center.” Why would a part of the brain known to be important for the processing of pain and disgust turn out to the most important area for the appreciation of art?

[div class=attrib]Read entire article here.[end-div]

[div class=attrib]Image: The Birth of Venus by Sandro Botticelli. Courtesy of Wikipedia.[end-div]

MondayPoem: Frederick Douglass

Robert Hayden is generally accepted as one of the premier authors of African American poetry. His expertly crafted poems focusing on the black historical experience earned him numerous awards.

Hayden was elected to the American Academy of Poets in 1975. From 1976 – 1978, he was Consultant in Poetry to the Library of Congress (the first African American holder of that post). He died in 1980.

By Robert Hayden

– Frederick Douglass

When it is finally ours, this freedom, this liberty, this beautiful
and terrible thing, needful to man as air,
usable as earth; when it belongs at last to all,
when it is truly instinct, brain matter, diastole, systole,
reflex action; when it is finally won; when it is more
than the gaudy mumbo jumbo of politicians:
this man, this Douglass, this former slave, this Negro
beaten to his knees, exiled, visioning a world
where none is lonely, none hunted, alien,
this man, superb in love and logic, this man
shall be remembered. Oh, not with statues’ rhetoric,
not with legends and poems and wreaths of bronze alone,
but with the lives grown out of his life, the lives
fleshing his dream of the beautiful, needful thing.

[div class=attrib]Image: Robert Hayden. Courtesy of Wikipedia.[end-div]

The Renaissance of Narcissism

In recent years narcissism has been taking a bad rap. So much so that Narcissistic Personality Disorder (NPD) was slated for removal from the 2013 edition of the Diagnostic and Statistical Manual of Mental Disorders – DSM-V. The DSM-V is the professional reference guide published by the American Psychiatric Association (APA). Psychiatrists and clinical psychologists had decided that they needed only 5 fundamental types of personality disorder: anti-social, avoidant, borderline, obsessive-compulsive and schizotypal. Hence no need for NPD.

Interestingly in mid-2010, the APA reversed itself by saving narcissism from the personality disorders chopping block. While this may be a win for narcissists by having their “condition” back in the official catalog, some suggest this is a huge mistake. After all narcissism now seems to have become a culturally fashionable, de rigeur activity rather than a full-blown pathological disorder.

[div class=attrib]From the Telegraph:[end-div]

… You don’t need to be a psychiatrist to see that narcissism has shifted from a pathological condition to a norm, if not a means of survival.

Narcissism appears as a necessity in a society of the spectacle, which runs from Andy Warhol’s “15 minutes of fame” prediction through reality television and self-promotion to YouTube hits.

While the media and social media had a role in normalising narcissism, photography has played along. We exist in and for society, only once we have been photographed. The photographic portrait is no longer linked to milestones like graduation ceremonies and weddings, or exceptional moments such as vacations, parties or even crimes. It has become part of a daily, if not minute-by-minute, staging of the self. Portraits appear to have been eclipsed by self-portraits: Tweeted, posted, shared.

According to Greek mythology, Narcissus was the man who fell in love with his reflection in a pool of water. According to the DSM-IV, 50-70 per cent of those diagnosed with NPD are men. But according to my Canadian upbringing looking at one’s reflection in a mirror for too long was a weakness particular to the fairer sex and an anti-social taboo.

I recall doubting Cindy Sherman’s Untitled Film Stills (1977-80): wasn’t she just a narcissist taking pictures of herself all day long? At least she was modest enough to use a remote shutter trigger. Digital narcissism has recently gained attention with Gabriela Herman’s portrait series Bloggers (2010-11), which captures bloggers gazing into their glowing screens. Even closer to our narcissistic norm are Wolfram Hahn’s portraits of people taking pictures of themselves (Into the Light, 2009-10).

[div class=attrib]Read the entire article here.[end-div]

[div class=attrib]Image: Cindy Sherman: the Early Works 1975-77. Courtesy of the Telegraph / Frieze.[end-div]

Fahrenheit 2451? Ray Bradbury Comes to the eReader

Fahrenheit 2,451 may well be the temperature at which the glass in your Kindle or Nook eReader is likely to melt. This may give Ray Bradbury mixed feelings.

In one of his masterworks, Fahrenheit 451, Bradbury warned of the displacement and destruction of books by newer means of distribution such as television. Of the novel’s central idea Bradbury says, “It’s about the moronic influence of popular culture through local TV news, the proliferation of giant screens and the bombardment of factoids… We’ve moved in to this period of history that I described in Fahrenheit 50 years ago.”

So, it’s rather a surprise to see his work in full digital form available through an eReader, such as the Kindle or Nook. More over at Wired on Bradbury’s reasoning.

[div class=attrib]From Wired:[end-div]

Ray Bradbury’s Fahrenheit 451 is now officially available as an e-book. Simon & Schuster are publishing both the hardcover and digital editions in the United States for a deal reportedly worth millions of dollars, according to the Associated Press.

Bradbury has been vocal about his dislike for e-books and the internet, calling it “a big distraction.” In order to get him to relent, the publisher had to both pay a premium price and play a little hardball.

Bradbury’s agent Michael Congdon told the AP that renewing the book’s hardcover rights, whether with Simon & Schuster or any other publisher, had to include digital rights as well.

“We explained the situation to [Bradbury] that a new contract wouldn’t be possible without e-book rights,” said Congdon. “He understood and gave us the right to go ahead.”

Unfortunately for hard-core Bradbury fans, according to Simon & Schuster’s press release [PDF], only Fahrenheit 451 is currently being released as an e-book. The deal includes the mass-market rights to The Martian Chronicles and The Illustrated Man, but not their digital rights.

Like the Harry Potter books before them, samizdat digital copies of Bradbury’s books edited by fans have been floating around for years. (I don’t know anyone who’s actually memorized Fahrenheit, like the novel’s “Book People” do with banned books.)

Bradbury is far from the last digital holdout. Another K-12 classic, Harper Lee’s To Kill A Mockingbird, is only available in print. None of Thomas Pynchon’s novels are available as e-books, although Pynchon has been characteristically quiet on the subject. Nor are any English translations of Gabriel Garcia Marquez, and only a few of Marquez’s story collections and none of his classic novels are even available in Spanish. Early editions of James Joyce’s books are in the public domain, but Finnegans Wake, whose rights are tightly controlled by Joyce’s grandson, is not.

Most of the gaps in the digital catalog, however, don’t stem from individual authors or rightsholders holding out like Bradbury. They’re structural; whole presses whose catalogs haven’t been digitized, whose rights aren’t extended to certain countries, or whose contracts didn’t anticipate some of the newer innovations in e-reading, such as book lending, whether from a retailer, another user, or a public library.

In light of Bradbury’s lifelong advocacy for libraries, I asked Simon & Schuster whether Fahrenheit 451 would be made available for digital lending; their representatives did not respond. [Update: Simon & Schuster’s Emer Flounders says the publisher plans to make Fahrenheit 451 available as an e-book to libraries in the first half of 2012.]

In a 2009 interview, Bradbury says he rebuffed an offer from Yahoo to publish a book or story on the internet. “You know what I told them? ‘To hell with you. To hell with you and to hell with the Internet.’”

[div class=attrib]Read the entire article here.[end-div]

[div class=attrib]Image: Fahrenheit 451. Courtesy of Panther.[end-div]

Pickled Sharks and All

Regardless of what you may believe about Damien Hirst or think about his art it would not be stretching the truth to say he single-handedly resurrected the British contemporary art scene over the last 15 years.

Our favorite mainstream blogger on all things art, Jonathan Jones, revisits Hirst and his “pickled shark”.

[div class=attrib]From the Guardian:[end-div]

I had no job and didn’t know where I was going in life when I walked into the Saatchi Gallery in 1992 and saw a tiger shark swimming towards me. Standing in front of Damien Hirst’s The Physical Impossibility of Death in the Mind of Someone Living in its original pristine state was a disconcerting and marvellous experience. The shark, then, did not look pickled, it looked alive. It seemed to move as you moved around the tank that contained it, because the refractions of the liquid inside which it “swam” caused your vision of it to jump as you changed your angle.

There it was: life, or was it death, relentlessly approaching me through deep waters. It was galvanising, energising. It was a great work of art.

I knew what I thought great art looked like. I doted on Leonardo da Vinci, I loved Picasso. I still revere them both. But it was Hirst’s shark that made me believe art made with fish, glass vitrines and formaldehyde – and therefore with anything – can be great. I found his work not just interesting or provocative but genuinely profound. As a memento mori, as an exploration of the limits of art, as a meditation on the power of spectacle, even as a comment on the shark-infested waters of post-Thatcherite Britain, it moved me deeply.

I’m looking forward to Damien Hirst’s retrospective at Tate Modern because it will be a new chance to understand the power I have, in my life, sensed in his imagination and intellect. I think Hirst is a much more exciting modern artist than Marcel Duchamp. To be honest, the word “exciting” just doesn’t go with the word “Duchamp”. Get a load of that exciting urinal!

Picasso is exciting; Duchamp is an academic cult. The readymade as it was deployed by Duchamp gave birth to conceptual forms that are “interesting” but rarely grab you where it matters.

Hirst is more Picasso than Duchamp – the Picasso who put a bicycle seat and handlebars together to create a bull’s head. He’s even more Holbein than Duchamp – the Holbein who painted a skull across a portrait of two Renaissance gentlemen.

He is a giant of modern art.

[div class=attrib]Read the entire article here.[end-div]

[div class=attrib]Image: The Physical Impossibility of Death in the Mind of Someone Living by Damien Hirst (1991). Courtesy of Wikipedia.[end-div]

MondayPoem: Inferno – Canto I

Dante Alighieri is held in high regard in Italy, where he is often referred to as il Poeta, the poet. He is best known for the monumental poem La Commedia, later renamed La Divina Commedia – The Divine Comedy. Scholars consider it to be the greatest work of literature in the Italian language. Many also consider Dante to be symbolic father of the Italian language.

[div class=attrib]According to Wikipedia:[end-div]

He wrote the Comedy in a language he called “Italian”, in some sense an amalgamated literary language mostly based on the regional dialect of Tuscany, with some elements of Latin and of the other regional dialects. The aim was to deliberately reach a readership throughout Italy, both laymen, clergymen and other poets. By creating a poem of epic structure and philosophic purpose, he established that the Italian language was suitable for the highest sort of expression. In French, Italian is sometimes nicknamed la langue de Dante. Publishing in the vernacular language marked Dante as one of the first (among others such as Geoffrey Chaucer and Giovanni Boccaccio) to break free from standards of publishing in only Latin (the language of liturgy, history, and scholarship in general, but often also of lyric poetry). This break set a precedent and allowed more literature to be published for a wider audience—setting the stage for greater levels of literacy in the future.

By Dante Alighieri

(translated by the Rev. H. F. Cary)

– Inferno, Canto I

In the midway of this our mortal life,
I found me in a gloomy wood, astray
Gone from the path direct: and e’en to tell
It were no easy task, how savage wild
That forest, how robust and rough its growth,
Which to remember only, my dismay
Renews, in bitterness not far from death.
Yet to discourse of what there good befell,
All else will I relate discover’d there.
How first I enter’d it I scarce can say,
Such sleepy dullness in that instant weigh’d
My senses down, when the true path I left,
But when a mountain’s foot I reach’d, where clos’d
The valley, that had pierc’d my heart with dread,
I look’d aloft, and saw his shoulders broad
Already vested with that planet’s beam,
Who leads all wanderers safe through every way.

Then was a little respite to the fear,
That in my heart’s recesses deep had lain,
All of that night, so pitifully pass’d:
And as a man, with difficult short breath,
Forespent with toiling, ‘scap’d from sea to shore,
Turns to the perilous wide waste, and stands
At gaze; e’en so my spirit, that yet fail’d
Struggling with terror, turn’d to view the straits,
That none hath pass’d and liv’d.  My weary frame
After short pause recomforted, again
I journey’d on over that lonely steep,

The hinder foot still firmer.  Scarce the ascent
Began, when, lo! a panther, nimble, light,
And cover’d with a speckled skin, appear’d,
Nor, when it saw me, vanish’d, rather strove
To check my onward going; that ofttimes
With purpose to retrace my steps I turn’d.

The hour was morning’s prime, and on his way
Aloft the sun ascended with those stars,
That with him rose, when Love divine first mov’d
Those its fair works: so that with joyous hope
All things conspir’d to fill me, the gay skin
Of that swift animal, the matin dawn
And the sweet season.  Soon that joy was chas’d,
And by new dread succeeded, when in view
A lion came, ‘gainst me, as it appear’d,

With his head held aloft and hunger-mad,
That e’en the air was fear-struck.  A she-wolf
Was at his heels, who in her leanness seem’d
Full of all wants, and many a land hath made
Disconsolate ere now.  She with such fear
O’erwhelmed me, at the sight of her appall’d,
That of the height all hope I lost.  As one,
Who with his gain elated, sees the time
When all unwares is gone, he inwardly
Mourns with heart-griping anguish; such was I,
Haunted by that fell beast, never at peace,
Who coming o’er against me, by degrees
Impell’d me where the sun in silence rests.

While to the lower space with backward step
I fell, my ken discern’d the form one of one,
Whose voice seem’d faint through long disuse of speech.
When him in that great desert I espied,
“Have mercy on me!”  cried I out aloud,
“Spirit! or living man! what e’er thou be!”

He answer’d: “Now not man, man once I was,
And born of Lombard parents, Mantuana both
By country, when the power of Julius yet
Was scarcely firm.  At Rome my life was past
Beneath the mild Augustus, in the time
Of fabled deities and false.  A bard
Was I, and made Anchises’ upright son
The subject of my song, who came from Troy,
When the flames prey’d on Ilium’s haughty towers.
But thou, say wherefore to such perils past
Return’st thou?  wherefore not this pleasant mount
Ascendest, cause and source of all delight?”
“And art thou then that Virgil, that well-spring,
From which such copious floods of eloquence
Have issued?”  I with front abash’d replied.
“Glory and light of all the tuneful train!
May it avail me that I long with zeal
Have sought thy volume, and with love immense
Have conn’d it o’er.  My master thou and guide!
Thou he from whom alone I have deriv’d
That style, which for its beauty into fame
Exalts me.  See the beast, from whom I fled.
O save me from her, thou illustrious sage!

“For every vein and pulse throughout my frame
She hath made tremble.”  He, soon as he saw
That I was weeping, answer’d, “Thou must needs
Another way pursue, if thou wouldst ‘scape
From out that savage wilderness.  This beast,
At whom thou criest, her way will suffer none
To pass, and no less hindrance makes than death:
So bad and so accursed in her kind,
That never sated is her ravenous will,
Still after food more craving than before.
To many an animal in wedlock vile
She fastens, and shall yet to many more,
Until that greyhound come, who shall destroy
Her with sharp pain.  He will not life support
By earth nor its base metals, but by love,
Wisdom, and virtue, and his land shall be
The land ‘twixt either Feltro.  In his might
Shall safety to Italia’s plains arise,
For whose fair realm, Camilla, virgin pure,
Nisus, Euryalus, and Turnus fell.
He with incessant chase through every town
Shall worry, until he to hell at length
Restore her, thence by envy first let loose.
I for thy profit pond’ring now devise,
That thou mayst follow me, and I thy guide
Will lead thee hence through an eternal space,
Where thou shalt hear despairing shrieks, and see
Spirits of old tormented, who invoke
A second death; and those next view, who dwell
Content in fire, for that they hope to come,
Whene’er the time may be, among the blest,
Into whose regions if thou then desire
T’ ascend, a spirit worthier then I
Must lead thee, in whose charge, when I depart,
Thou shalt be left: for that Almighty King,
Who reigns above, a rebel to his law,
Adjudges me, and therefore hath decreed,
That to his city none through me should come.
He in all parts hath sway; there rules, there holds
His citadel and throne.  O happy those,
Whom there he chooses!” I to him in few:
“Bard! by that God, whom thou didst not adore,
I do beseech thee (that this ill and worse
I may escape) to lead me, where thou saidst,
That I Saint Peter’s gate may view, and those
Who as thou tell’st, are in such dismal plight.”

Onward he mov’d, I close his steps pursu’d.

[div class=attrib]Read the entire poem here.[end-div]

[div class=attrib]Image: Dante Alighieri, engraving after the fresco in Bargello Chapel, painted by Giotto di Bondone. Courtesy of Wikipedia.[end-div]

Viewfinder Replaces the Eye

The ubiquity of point-and-click digital cameras and camera-equipped smartphones seems to be leading us towards an era where it is more common to snap and share a picture of the present via a camera lens than it is to experience the present individually and through one’s own eyes.

Roberta Smith over at the New York Times laments this growing trend, which we label “digitally-assisted Killroy-was-here” syndrome, particularly evident at art exhibits. Ruth Fremson, New York Times’ photographer, chronicled some of the leading offenders.

[div class=attrib]From the New York Times:[end-div]

SCIENTISTS have yet to determine what percentage of art-viewing these days is done through the viewfinder of a camera or a cellphone, but clearly the figure is on the rise. That’s why Ruth Fremson, the intrepid photographer for The New York Times who covered the Venice Biennale this summer, returned with so many images of people doing more or less what she was doing: taking pictures of works of art or people looking at works of art. More or less.

Only two of the people in these pictures is using a traditional full-service camera (similar to the ones Ms. Fremson carried with her) and actually holding it to the eye. Everyone else is wielding either a cellphone or a mini-camera and looking at a small screen, which tends to make the framing process much more casual. It is changing the look of photography.

The ubiquity of cameras in exhibitions can be dismaying, especially when read as proof that most art has become just another photo op for evidence of Kilroy-was-here passing through. More generously, the camera is a way of connecting, participating and collecting fleeting experiences.

For better and for worse, it has become intrinsic to many people’s aesthetic responses. (Judging by the number of pictures Ms. Fremson took of people photographing Urs Fischer’s life-size statue of the artist Rudolf Stingel as a lighted candle, it is one of the more popular pieces at the Biennale, which runs through Nov. 27.) And the camera’s presence in an image can seem part of its strangeness, as with Ms. Fremson’s shot of the gentleman photographing a photo-mural by Cindy Sherman that makes Ms. Sherman, costumed as a circus juggler, appear to be posing just for him. She looks more real than she did in the actual installation.

Of course a photograph of a person photographing an artist’s photograph of herself playing a role is a few layers of an onion, maybe the kind to be found only among picture-takers at an exhibition.

[div class=attrib]Read the entire article here.[end-div]

[div class=attrib]Image: Visitors at the Venice Biennale capture Urs Fisher’s statue. Courtesy of Ruth Fremson / The New York Times.[end-div]

Book Review: Thinking, Fast and Slow. Daniel Kahneman

Daniel Kahneman brings together for the first time his decades of groundbreaking research and profound thinking in social psychology and cognitive science in his new book, Thinking Fast and Slow. He presents his current understanding of judgment and decision making and offers insight into how we make choices in our daily lives. Importantly, Kahneman describes how we can identify and overcome the cognitive biases that frequently lead us astray. This is an important work by one of our leading thinkers.

[div class=attrib]From Skeptic:[end-div]

The ideas of the Princeton University Psychologist Daniel Kahneman, recipient of the Nobel Prize in Economic Sciences for his seminal work that challenged the rational model of judgment and decision making, have had a profound and widely regarded impact on psychology, economics, business, law and philosophy. Until now, however, he has never brought together his many years of research and thinking in one book. In the highly anticipated Thinking, Fast and Slow, Kahneman introduces the “machinery of the mind.” Two systems drive the way we think and make choices: System One is fast, intuitive, and emotional; System Two is slower, more deliberative, and more logical. Examining how both systems function within the mind, Kahneman exposes the extraordinary capabilities and also the faults and biases of fast thinking, and the pervasive influence of intuitive impressions on our thoughts and our choices. Kahneman shows where we can trust our intuitions and how we can tap into the benefits of slow thinking. He offers practical and enlightening insights into how choices are made in both our business and personal lives, and how we can guard against the mental glitches that often get us into trouble. Kahneman will change the way you think about thinking.

[div class=attrib]Image: Thinking, Fast and Slow, Daniel Kahneman. Courtesy of Publishers Weekly.[end-div]

MondayPoem: First Thanksgiving

A chronicler of the human condition and deeply personal emotion, poet Sharon Olds is no shrinking violet. Her contemporary poems have been both highly praised and condemned for their explicit frankness and intimacy.

[div class=attrib]From Poetry Foundation:[end-div]

In her Salon interview, Olds addressed the aims of her poetry. “I think that my work is easy to understand because I am not a thinker. I am not a…How can I put it? I write the way I perceive, I guess. It’s not really simple, I don’t think, but it’s about ordinary things—feeling about things, about people. I’m not an intellectual. I’m not an abstract thinker. And I’m interested in ordinary life.” She added that she is “not asking a poem to carry a lot of rocks in its pockets. Just being an ordinary observer and liver and feeler and letting the experience get through you onto the notebook with the pen, through the arm, out of the body, onto the page, without distortion.”

Olds has won numerous awards for her work, including fellowships from the Guggenheim Foundation and the National Endowment for the Arts. Widely anthologized, her work has also been published in a number of journals and magazines. She was New York State Poet from 1998 to 2000, and currently teaches in the graduate writing program at New York University.

By Sharon Olds

– First Thanksgiving

When she comes back, from college, I will see
the skin of her upper arms, cool,
matte, glossy. She will hug me, my old
soupy chest against her breasts,
I will smell her hair! She will sleep in this apartment,
her sleep like an untamed, good object,
like a soul in a body. She came into my life the
second great arrival, after him, fresh
from the other world—which lay, from within him,
within me. Those nights, I fed her to sleep,
week after week, the moon rising,
and setting, and waxing—whirling, over the months,
in a slow blur, around our planet.
Now she doesn’t need love like that, she has
had it. She will walk in glowing, we will talk,
and then, when she’s fast asleep, I’ll exult
to have her in that room again,
behind that door! As a child, I caught
bees, by the wings, and held them, some seconds,
looked into their wild faces,
listened to them sing, then tossed them back
into the air—I remember the moment the
arc of my toss swerved, and they entered
the corrected curve of their departure.

[div class=attrib]Image: Sharon Olds. Courtesy of squawvalleywriters.org.[end-div]

MondayPoem: Voyager

Poet, essayist and playwright Todd Hearon grew up in North Carolina. He earned a PhD in editorial studies from Boston University. He is winner of a number of national poetry and playwriting awards including the 2007 Friends of Literature Prize and a Dobie Paisano Fellowship from the University of Texas at Austin.

By Todd Hearon

– Voyager

We’ve packed our bags, we’re set to fly
no one knows where, the maps won’t do.
We’re crossing the ocean’s nihilistic blue
with an unborn infant’s opal eye.

It has the clarity of earth and sky
seen from a spacecraft, once removed,
as through an amniotic lens, that groove-
lessness of space, the last star by.

We have set out to live and die
into the interstices of a new
nowhere to be or be returning to

(a little like an infant’s airborne cry).
We’ve set our sights on nothing left to lose
and made of loss itself a lullaby.

[div class=attrib]Todd Hearon. Image courtesy of Boston University.[end-div]

MondayPoem: When the World Ended as We Knew It

Joy Harjo is an acclaimed poet, musician and noted teacher. Her poetry is grounded in the United States’ Southwest and often encompasses Native American stories and values.

As Poetry Foundation remarks:

Consistently praised for the depth and thematic concerns in her writings, Harjo has emerged as a major figure in contemporary American poetry.

She once commented, “I feel strongly that I have a responsibility to all the sources that I am: to all past and future ancestors, to my home country, to all places that I touch down on and that are myself, to all voices, all women, all of my tribe, all people, all earth, and beyond that to all beginnings and endings. In a strange kind of sense [writing] frees me to believe in myself, to be able to speak, to have voice, because I have to; it is my survival.” Harjo’s work is largely autobiographical, informed by her love of the natural world and her preoccupation with survival and the limitations of language.

By Joy Harjo

– When the World Ended as We Knew It

We were dreaming on an occupied island at the farthest edge
of a trembling nation when it went down.

Two towers rose up from the east island of commerce and touched
the sky. Men walked on the moon. Oil was sucked dry
by two brothers. Then it went down. Swallowed
by a fire dragon, by oil and fear.
Eaten whole.

It was coming.

We had been watching since the eve of the missionaries in their
long and solemn clothes, to see what would happen.

We saw it
from the kitchen window over the sink
as we made coffee, cooked rice and
potatoes, enough for an army.

We saw it all, as we changed diapers and fed
the babies. We saw it,
through the branches
of the knowledgeable tree
through the snags of stars, through
the sun and storms from our knees
as we bathed and washed
the floors.

The conference of the birds warned us, as the flew over
destroyers in the harbor, parked there since the first takeover.
It was by their song and talk we knew when to rise
when to look out the window
to the commotion going on—
the magnetic field thrown off by grief.

We heard it.
The racket in every corner of the world. As
the hunger for war rose up in those who would steal to be president
to be king or emperor, to own the trees, stones, and everything
else that moved about the earth, inside the earth
and above it.

We knew it was coming, tasted the winds who gathered intelligence
from each leaf and flower, from every mountain, sea
and desert, from every prayer and song all over this tiny universe
floating in the skies of infinite
being.

And then it was over, this world we had grown to love
for its sweet grasses, for the many-colored horses
and fishes, for the shimmering possibilities
while dreaming.

But then there were the seeds to plant and the babies
who needed milk and comforting, and someone
picked up a guitar or ukulele from the rubble
and began to sing about the light flutter
the kick beneath the skin of the earth
we felt there, beneath us

a warm animal
a song being born between the legs of her;
a poem.

[div class=attrib]Image courtesy of PBS.[end-div]

The Middleman is Dead; Long Live the Middleman

In another sign of Amazon’s unquenchable thirst for all things commerce, the company is now moving more aggressively into publishing.

[div class=attrib]From the New York Times:[end-div]

Amazon.com has taught readers that they do not need bookstores. Now it is encouraging writers to cast aside their publishers.

Amazon will publish 122 books this fall in an array of genres, in both physical and e-book form. It is a striking acceleration of the retailer’s fledging publishing program that will place Amazon squarely in competition with the New York houses that are also its most prominent suppliers.

It has set up a flagship line run by a publishing veteran, Laurence Kirshbaum, to bring out brand-name fiction and nonfiction. It signed its first deal with the self-help author Tim Ferriss. Last week it announced a memoir by the actress and director Penny Marshall, for which it paid $800,000, a person with direct knowledge of the deal said.

Publishers say Amazon is aggressively wooing some of their top authors. And the company is gnawing away at the services that publishers, critics and agents used to provide.

Several large publishers declined to speak on the record about Amazon’s efforts. “Publishers are terrified and don’t know what to do,” said Dennis Loy Johnson of Melville House, who is known for speaking his mind.

“Everyone’s afraid of Amazon,” said Richard Curtis, a longtime agent who is also an e-book publisher. “If you’re a bookstore, Amazon has been in competition with you for some time. If you’re a publisher, one day you wake up and Amazon is competing with you too. And if you’re an agent, Amazon may be stealing your lunch because it is offering authors the opportunity to publish directly and cut you out.

[div class=attrib]Read more here.[end-div]

In Praise of the Bad Bookstore

Tens of thousands of independent bookstores have disappeared from the United States and Europe over the last decade. Even mega-chains like Borders have fallen prey to monumental shifts in the distribution of ideas and content. The very notion of the physical book is under increasing threat from the accelerating momentum of digitalization.

For bibliophiles, particularly those who crave the feel of physical paper, there is a peculiar attractiveness even to the “bad” bookstore or bookshop (in the UK): the airport bookshop of last resort, the pulp fiction bookstore in a suburban mall. Mark O’Connell over at The Millions tells us there is no such thing as a bad bookstore.

[div class=attrib]From The Millions:[end-div]

Cultural anxieties are currently running high about the future of the book as a physical object, and about the immediate prospects for survival of actual brick and mortar booksellers. When most people think about the (by now very real) possibility of the retail side of the book business disappearing entirely into the online ether, they mostly tend to focus on the idea of their favorite bookshops shutting their doors for the last time. Sub-Borgesian bibliomaniac that I am (or, if you prefer, pathetic nerd), I have a mental image of the perfect bookshop that I hold in my mind. It’s a sort of Platonic ideal of the retail environment, a perfect confluence of impeccable curation and expansive selection, artfully cluttered and with the kind of quietly hospitable ambiance that makes the passage of time seem irrelevant once you start in on browsing the shelves. For me, the actual place that comes closest to embodying this ideal is the London Review Bookshop in Bloomsbury, run by the people behind the London Review of Books. It’s a beautifully laid-out space in a beautiful building, and its selection of books makes it feel less like an actual shop than the personal library of some extremely wealthy and exceptionally well-read individual. It’s the kind of place, in other words, where you don’t so much want to buy half the books in the shop as buy the shop itself, move in straight away and start living in it. The notion that places like this might no longer exist in a decade or so is depressing beyond measure.

But I don’t live in Bloomsbury, or anywhere near it. I live in a suburb of Dublin where the only bookshop within any kind of plausible walking distance is a small and frankly feeble set-up on the second floor of a grim 1970s-era shopping center, above a large supermarket. It’s flanked by two equally moribund concerns, a small record store and a travel agent, thereby forming the centerpiece of a sad triptych of retail obsolescence. It’s one of those places that makes you wonder how it manages to survive at all.

But I have an odd fondness for it anyway, and I’ll occasionally just wander up there in order to get out of the apartment, or to see whether, through some fluke convergence of whim and circumstance, they have something I might actually want to buy. I’ve often bought books there that I would never have thought to pick up in a better bookshop, gravitating toward them purely by virtue of the fact that there’s nothing else remotely interesting to be had.

And this brings me to the point I want to make about bad bookshops, which is that they’re rarely actually as bad as they seem. In a narrow and counterintuitive sense, they’re sometimes better than good bookshops. The way I see it, there are three basic categories of retail bookseller. There’s the vast warehouse that has absolutely everything you could possibly think of (Strand Bookstore in New York’s East Village, for instance, is a fairly extreme representative of this group, or at least it was the last time I was there ten years ago). Then there’s the “boutique” bookshop, where you get a sense of a strong curatorial presence behind the scenes, and which seems to cater for some aspirational ideal of your better intellectual self. The London Review Bookshop is, for me at least, the ultimate instance of this. And then there’s the third — and by far the largest — category, which is the rubbish bookshop. There are lots of subgenii to this grouping. The suburban shopping center fiasco, as discussed above. The chain outlet crammed with celebrity biographies and supernatural teen romances. The opportunistic fly-by-night operation that takes advantage of some short-term lease opening to sell off a random selection of remaindered titles at low prices before shutting down and moving elsewhere. And, of course, the airport bookshop of last resort.

[div class=attrib]Catch more of this essay here.[end-div]

[div class=attrib]Image courtesy of The Millions.[end-div]

Book Review: The Big Thirst. Charles Fishman

Charles Fishman has a fascinating new book entitled The Big Thirst: The Secret Life and Turbulent Future of Water. In it Fishman examines the origins of water on our planet and postulates an all to probable future where water becomes an increasingly limited and precious resource.

[div class=attrib]A brief excerpt from a recent interview, courtesy of NPR:[end-div]

For most of us, even the most basic questions about water turn out to be stumpers.

Where did the water on Earth come from?

Is water still being created or added somehow?

How old is the water coming out of the kitchen faucet?

For that matter, how did the water get to the kitchen faucet?

And when we flush, where does the water in the toilet actually go?

The things we think we know about water — things we might have learned in school — often turn out to be myths.

We think of Earth as a watery planet, indeed, we call it the Blue Planet; but for all of water’s power in shaping our world, Earth turns out to be surprisingly dry. A little water goes a long way.

We think of space as not just cold and dark and empty, but as barren of water. In fact, space is pretty wet. Cosmic water is quite common.

At the most personal level, there is a bit of bad news. Not only don’t you need to drink eight glasses of water every day, you cannot in any way make your complexion more youthful by drinking water. Your body’s water-balance mechanisms are tuned with the precision of a digital chemistry lab, and you cannot possibly “hydrate” your skin from the inside by drinking an extra bottle or two of Perrier. You just end up with pee sourced in France.

In short, we know nothing of the life of water — nothing of the life of the water inside us, around us, or beyond us. But it’s a great story — captivating and urgent, surprising and funny and haunting. And if we’re going to master our relationship to water in the next few decades — really, if we’re going to remaster our relationship to water — we need to understand the life of water itself.

[div class=attrib]Read more of this article and Charles Fishman’s interview with NPR here.[end-div]

MondayPoem: Water

This week, theDiagonal focuses its energies on that most precious of natural resources — water.

In his short poem “Water”, Ralph Waldo Emerson reminds us of its more fundamental qualities.

Emerson published his first book, Nature, in 1836, in which he outlined his transcendentalist philosophy. As Poetry Foundation elaborates:

His manifesto stated that the world consisted of Spirit (thought, ideas, moral laws, abstract truth, meaning itself ) and Nature (all of material reality, all that atoms comprise); it held that the former, which is timeless, is the absolute cause of the latter, which serves in turn to express Spirit, in a medium of time and space, to the senses. In other words, the objective, physical world—what Emerson called the “Not-Me”—is symbolic and exists for no other purpose than to acquaint human beings with its complement—the subjective, ideational world, identified with the conscious self and referred to in Emersonian counterpoint as the “Me.” Food, water, and air keep us alive, but the ultimate purpose for remaining alive is simply to possess the meanings of things, which by definition involves a translation of the attention from the physical fact to its spiritual value.

By Ralph Waldo Emerson

– Water

The water understands
Civilization well;
It wets my foot, but prettily,
It chills my life, but wittily,
It is not disconcerted,
It is not broken-hearted:
Well used, it decketh joy,
Adorneth, doubleth joy:
Ill used, it will destroy,
In perfect time and measure
With a face of golden pleasure
Elegantly destroy.

[div class=attrib]Image courtesy of Wikipedia / Creative Commons.[end-div]

Greatest Literary Suicides

Hot on the heals of our look at literary deaths we look specifically at the greatest suicides in literature. Although subject to personal taste and sensibility the starter list excerpted below is a fine beginning, and leaves much to ponder.

[div class=attrib]From Flavorpill:[end-div]

1. Ophelia, Hamlet, William Shakespeare

Hamlet’s jilted lover Ophelia drowns in a stream surrounded by the flowers she had held in her arms. Though Ophelia’s death can be parsed as an accident, her growing madness and the fact that she was, as Gertrude says, “incapable of her own distress.” And as far as we’re concerned, Gertrude’s monologue about Ophelia’s drowning is one of the most beautiful descriptions of death in Shakespeare.

2. Anna Karenina, Anna Karenina, Leo Tolstoy

In an extremely dramatic move only befitting the emotional mess that is Anna Karenina, the heroine throws herself under a train in her despair, mirroring the novel’s early depiction of a railway worker’s death by similar means.

3. Cecilia Lisbon, The Virgin Suicides, Jeffrey Eugenides

Eugenides’ entire novel deserves to be on this list for its dreamy horror of five sisters killing themselves in the 1970s Michigan suburbs. But the death of the youngest, Cecilia, is the most brutal and distressing. Having failed to kill herself by cutting her wrists, she leaves her own party to throw herself from her bedroom window, landing impaled on the steel fence below.

4. Emma Bovary, Madame Bovary, Gustave Flaubert

In life, Emma Bovary wished for romance, for intrigue, to escape the banalities of her provincial life as a doctor’s wife. Hoping to expire gracefully, she eats a bowl of arsenic, but is punished by hours of indelicate and public suffering before she finally dies.

5. Edna Pontellier, The Awakening, Kate Chopin

This is the first suicide that many students experience in literature, and it is a strange and calm one: Edna simply walks into the water. We imagine the reality of drowning yourself would be much messier, but Chopin’s version is a relief, a cool compress against the pains of Edna’s psyche in beautiful, fluttering prose.

Topping out the top 10 we have:

Lily Bart, The House of Mirth, Edith Wharton
Septimus Warren Smith, Mrs. Dalloway, Virginia Woolf
James O. Incandeza, Infinite Jest, David Foster Wallace
Romeo and Juliet, Romeo and Juliet, William Shakespeare
Inspector Javert, Les Misérables, Victor Hugo

[div class=attrib]Read the entire article here.[end-div]

[div class=attrib]Ophelia by John Everett Millais (1829–1896). Image courtesy of Wikipedia / Creative Commons.[end-div]

Greatest Literary Deaths

Tim Lott over at the Guardian Book Blog wonders which are the most dramatic literary deaths — characters rather than novelist. Think Heathcliff in Emily Brontë’s Wuthering Heights.

[div class=attrib]From the Guardian:[end-div]

What makes for a great literary death scene? This is the question I and the other four judges of the 2012 Wellcome Trust book prize for medicine in literature have been pondering in advance of an event at the Cheltenham festival.

I find many famous death scenes more ludicrous than lachrymose. As with Oscar Wilde’s comment on the death of Dickens’s Little Nell, you would have to have a heart of stone not to laugh at the passing of the awful Tullivers in Mill on the Floss, dragged down clutching one another as the river deliciously finishes them off. More consciously designed to wring laughter out of tragedy, the suicide of Ronald Nimkin in Roth’s Portnoy’s Complaint takes some beating, with Nimkins’s magnificent farewell note to his mother: “Mrs Blumenthal called. Please bring your mah-jongg rules to the game tonight.”

To write a genuinely moving death scene is a challenge for any author. The temptation to retreat into cliché is powerful. For me, the best and most affecting death is that of Harry “Rabbit” Angstrom in John Updike’s Rabbit at Rest. I remember my wife reading this to me out loud as I drove along a motorway. We were both in tears, as he says his farewell to his errant son, Nelson, and then runs out of words, and life itself – “enough. Maybe. Enough.”

But death is a matter of personal taste. The other judges were eclectic in their choices. Roger Highfield, editor of New Scientist, admired the scenes in Sebastian Junger’s A Perfect Storm. At the end of the chapter that seals the fate of the six men on board, Junger writes: “The body could be likened to a crew that resorts to increasingly desperate measures to keep their vessel afloat. Eventually the last wire has shorted out, the last bit of decking has settled under the water.” “The details of death by drowning,” Highfield says, “are so rich and dispassionately drawn that they feel chillingly true.”

[div class=attrib]Read the entire article here.[end-div]

Berlin’s Festival of Lights

Since 2005 Berlin’s Festival of Lights has brought annual color and drama to the city. This year the event runs from October 12-23, and bathes light on around 20 of Berlin’s most famous landmarks and iconic buildings. Here’s a sampling from the 2010 event:

[div class=attrib]For more information on the Festival of Lights visit the official site here.[end-div]

MondayPoem: And Death Shall Have No Dominion

Ushering in our week of articles focused mostly on death and loss is a classic piece by Welshman, Dylan Thomas. Although Thomas’ literary legacy is colored by his legendary drinking and philandering, many critics now seem to agree that his poetry belongs in the same class as that of W.H. Auden.

By Dylan Thomas:

– And Death Shall Have No Dominion

And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost love shall not;
And death shall have no dominion.

And death shall have no dominion.
Under the windings of the sea
They lying long shall not die windily;
Twisting on racks when sinews give way,
Strapped to a wheel, yet they shall not break;
Faith in their hands shall snap in two,
And the unicorn evils run them through;
Split all ends up they shan’t crack;
And death shall have no dominion.

And death shall have no dominion.
No more may gulls cry at their ears
Or waves break loud on the seashores;
Where blew a flower may a flower no more
Lift its head to the blows of the rain;
Though they be mad and dead as nails,
Heads of the characters hammer through daisies;
Break in the sun till the sun breaks down,
And death shall have no dominion.

MondayPoem: Further In

Tomas Tranströmer is one of Sweden’s leading poets. He studied poetry and psychology at the University of Stockholm. Tranströmer was awarded the 2011 Nobel Prize for Literature “because, through his condensed, translucent images, he gives us fresh access to reality”.

By Tomas Tranströmer:

– Further In
On the main road into the city
when the sun is low.
The traffic thickens, crawls.
It is a sluggish dragon glittering.
I am one of the dragon’s scales.
Suddenly the red sun is
right in the middle of the windscreen
streaming in.
I am transparent
and writing becomes visible
inside me
words in invisible ink
which appear
when the paper is held to the fire!
I know I must get far away
straight through the city and then
further until it is time to go out
and walk far in the forest.
Walk in the footprints of the badger.
It gets dark, difficult to see.
In there on the moss lie stones.
One of the stones is precious.
It can change everything
it can make the darkness shine.
It is a switch for the whole country.
Everything depends on it.
Look at it, touch it…

Art Criticism at its Best

[div class=attrib]From Jonathan Jones over at the Guardian:[end-div]

Works of art are not objects. They are … Oh lord, what are they? Take, for convenience, a painting. It is a physical object, obviously, in that it consists of a wooden panel or a stretched canvas covered in daubs of colour. Depending on the light you may be more or less aware of cracks, brush marks, different layers of paint. Turn it around and it is even more obviously a physical object. But as such it is not art. Only when it is experienced as art can it be called art, and the intensity and value of that experience varies according to the way it is made and the way it is seen, that is, the receptiveness of the beholder to that particular work of art.

And this is why critics are the only real art writers. We are the only ones who acknowledge, as a basic principle, that art is an unstable category – it lives or dies according to rules that cannot ever be systematised. If you treat art in a pseudo-scientific way, as some kinds of art history do, you miss everything that makes it matter. Only on the hoof can it be caught, or rather followed on its elusive meanderings in and out of meaning, significance, and beauty.

Equally, an uncritical, purely literary approach to art also risks missing the whole point about it. You have to be critical, not just belle-lettriste, to get to the pulse of art. To respond to a work is to compare it with other works, and that comparison only has meaning if you judge their relative merits.

No such judgment is final. No critic is right, necessarily. It’s just that criticism offers a more honest and realistic understanding of the deep strangeness of our encounters with these mysterious human creations called works of art.

That is why the really great art historians were critics, who never fought shy of judgment. Kenneth Clark and EH Gombrich were extremely opinionated about what is and is not good art. Were they right or wrong? That is irrelevant. The response of one passionate and critical writer is worth a hundred, or a thousand, uncritical surveys that, by refusing to come off the fence, never get anywhere near the life of art.

[div class=attrib]Read more of this article here.[end-div]

[div class=attrib]Photograph of John Ruskin, circa 1870. Image courtesy of W. & D. Downey / Wikipedia.[end-div]

MondayPoem: Immortal Autumn

The Autumnal Equinox finally ushers in some cooler temperatures for the northern hemisphere, and with that we reflect on this most human of seasons courtesy of a poem by Archibald MacLeish.

By Archibald MacLeish:

– Immortal Autumn

I speak this poem now with grave and level voice
In praise of autumn, of the far-horn-winding fall.

I praise the flower-barren fields, the clouds, the tall
Unanswering branches where the wind makes sullen noise.

I praise the fall: it is the human season.
Now

No more the foreign sun does meddle at our earth,
Enforce the green and bring the fallow land to birth,
Nor winter yet weigh all with silence the pine bough,

But now in autumn with the black and outcast crows
Share we the spacious world: the whispering year is gone:
There is more room to live now: the once secret dawn
Comes late by daylight and the dark unguarded goes.

Between the mutinous brave burning of the leaves
And winter’s covering of our hearts with his deep snow
We are alone: there are no evening birds: we know
The naked moon: the tame stars circle at our eaves.

It is the human season. On this sterile air
Do words outcarry breath: the sound goes on and on.
I hear a dead man’s cry from autumn long since gone.

I cry to you beyond upon this bitter air.

MondayPoem: When I have Fears That I May Cease to Be

This week’s poem courtesy of the great romantic John Keats delves into the subject of time and brevity on this Earth. Although Keats was frequently scorned by critics during his lifetime, death transformed him into one of England’s most loved poets.

By John Keats:

– When I have Fears That I May Cease to Be

When I have fears that I may cease to be
Before my pen has gleaned my teeming brain,
Before high-pilèd books, in charactery,
Hold like rich garners the full ripened grain;
When I behold, upon the night’s starred face,
Huge cloudy symbols of a high romance,
And think that I may never live to trace
Their shadows with the magic hand of chance;
And when I feel, fair creature of an hour,
That I shall never look upon thee more,
Never have relish in the fairy power
Of unreflecting love—then on the shore
Of the wide world I stand alone, and think
Till love and fame to nothingness do sink.

 

[div class=attrib]Portrait of John Keats by William Hilton. National Portrait Gallery, London, courtesy of Wikipedia.[end-div]

MondayPoem: Mathematics Considered as a Vice

A poem by Anthony Hecht this week. On Hecht, Poetry Foundation remarks, “[o]ne of the leading voices of his generation, Anthony Hecht’s poetry is known for its masterful use of traditional forms and linguistic control.”

Following Hecht’s death in 2004 the New York Times observed:

It was Hecht’s gift to see into the darker recesses of our complex lives and conjure to his command the exact words to describe what he found there. Hecht remained skeptical about whether pain and contemplation can ultimately redeem us, yet his ravishing poems extend hope to his readers that they can.

By Anthony Hecht:

– Mathematics Considered as a Vice

I would invoke that man
Who chipped for all posterity an ass
(The one that Jesus rode)
Out of hard stone, and set its either wing
Among the wings of the most saintly clan
On Chartres Cathedral, and that it might sing
The praise to all who pass
Of its unearthly load,
Hung from its neck a harp-like instrument.
I would invoke that man
To aid my argument.

The ass smiles on us all,
Being astonished that an ass might rise
To such sure eminence
Not merely among asses but mankind,
Simpers, almost, upon the western wall
In praise of folly, who midst sow and kine,
Saw with its foolish eyes
Gold, Myrrh, and Frankincense
Enter the stable door, against all odds.
The ass smiles on us all.
Our butt at last is God’s.

That man is but an ass—
More perfectly, that ass is but a man
Who struggles to describe
Our rich, contingent and substantial world
In ideal signs: the dunged and pagan grass,
Misted in summer, or the mother-of-pearled
Home of the bachelor-clam.
A cold and toothless tribe
Has he for brothers, who would coldly think.
That man is but an ass
Who smells not his own stink.

For all his abstract style
Speaks not to our humanity, and shows
Neither the purity
Of heaven, nor the impurity beneath,
And cannot see the feasted crocodile
Ringed with St. Francis’ birds to pick its teeth,
Nor can his thought disclose
To normal intimacy,
Siamese twins, the double-beasted back,
For all his abstract style
Utters our chiefest lack.

Despite his abstract style,
Pickerel will dawdle in their summer pools
Lit by the flitterings
Of light dashing the gusty surfaces,
Or lie suspended among shades of bile
And lime in fluent shift, for all he says.
And all the grey-haired mules,
Simple and neuter things,
Will bray hosannas, blessing harp and wing.
For all his abstract style,
The ass will learn to sing.

Book Review: Are You Serious? Lee Siegel

“You cannot be serious”, goes the oft quoted opening to a John McEnroe javelin thrown at an unsuspecting tennis umpire. This leads us to an earnest review of what is means to be serious from Lee Siegel’s new book, “Are You Serious?” As Michael Agger points out for Slate:

We don’t know what to take seriously anymore. Is Brian Williams a serious news anchor or is he playing at being serious? How about Jon Stewart? The New York Times exudes seriousness, but the satire of The Onion can also be very serious.

Do we indeed need a how-to manual on how to exude required seriousness in the correct circumstances? Do we need a 3rd party narrator to tell us when to expect seriousness or irony or serious irony? Perhaps Lee Siegel’s book can shed some light.

[div class=attrib]More from Slate’s review of Siegel’s book:[end-div]

Siegel’s business-casual jaunt through seriosity begins with the Victorian poet Matthew Arnold, who saw the decline of religious spirit and proposed the “high seriousness” of poetry and literature in its place. “Seriousness implied a trustworthy personality,” Siegel writes, “just as faith in God once implied a trustworthy soul.” The way in which Arnold connected morality to cultural refinement soothed the intellectual insecurity of Americans vis-à-vis Europe and appealed to our ethos of self-improvement. The contemporary disciples of Arnold are those friends of yours who read Ulysses along with Ulysses Annotated, actually go to art galleries, and know their way around a Ring cycle. The way they enjoy culture expresses their seriousness of purpose.

I’ve only pulled at a few of the provocative strings in Siegel’s book. His argument that Sarah Palin is someone who has signaled seriousness by being willing to humiliate herself on reality TV makes a wild sort of sense. At other times, Siegel floats some nonsense that he knows to be silly.

But I don’t want to leave you hanging without providing Siegel’s answer to the question of finding seriousness in life. He gives us his “three pillars”: attention, purpose, continuity. That could mean being a really competent lawyer. Or being so skilled at being a pilot that you land a plane on the Hudson and save everyone onboard. Or being like Socrates and drinking the hemlock to prove that you believed in your ideas. Just find the thing that makes you “fully alive” and then you’re set. Which is to say that although the cultural and political figures we should take seriously change, the prospect of becoming a serious person remains dauntingly unchanged.

[div class=attrib]More from theSource here.[end-div]

MondayPoem: A Little Language

This week theDiagonal triangulates its sights on the topic of language and communication. So, we introduce an apt poem by Robert Duncan. Of Robert Duncan, Poetry Foundation writes:

Though the name Robert Duncan is not well known outside the literary world, within that world it has become associated with a number of superlatives. Kenneth Rexroth, writing in Assays, names Duncan “one of the most accomplished, one of the most influential” of the postwar American poets.

 

By Robert Duncan:

– A Little Language
I know a little language of my cat, though Dante says
that animals have no need of speech and Nature
abhors the superfluous.   My cat is fluent.   He
converses when he wants with me.   To speak
is natural.   And whales and wolves I’ve heard
in choral soundings of the sea and air
know harmony and have an eloquence that stirs
my mind and heart—they touch the soul.   Here
Dante’s religion that would set Man apart
damns the effluence of our life from us
to build therein its powerhouse.
It’s in his animal communication Man is
true, immediate, and
in immediacy, Man is all animal.
His senses quicken in the thick of the symphony,
old circuits of animal rapture and alarm,
attentions and arousals in which an identity rearrives.
He hears
particular voices among
the concert, the slightest
rustle in the undertones,
rehearsing a nervous aptitude
yet to prove his. He sees the flick
of significant red within the rushing mass
of ruddy wilderness and catches the glow
of a green shirt
to delite him in a glowing field of green
—it speaks to him—
and in the arc of the spectrum color
speaks to color.
The rainbow articulates
a promise he remembers
he but imitates
in noises that he makes,
this speech in every sense
the world surrounding him.
He picks up on the fugitive tang of mace
amidst the savory mass,
and taste in evolution is an everlasting key.
There is a pun of scents in what makes sense.
Myrrh it may have been,
the odor of the announcement that filld the house.
He wakes from deepest sleep
upon a distant signal and waits
as if crouching, springs
to life.
[div class=attrib]Image courtesy of Wikipedia / Creative Commons.[end-div]

MondayPoem: A Sunset of the City

Labor Day traditionally signals the end of summer. A poem by Gwendolyn Brooks sets the mood. She was the first black author to win the Pulitzer Prize.
[div class=attrib]By Gwendolyn Brooks:[end-div]

A Sunset of the City —

Already I am no longer looked at with lechery or love.
My daughters and sons have put me away with marbles and dolls,
Are gone from the house.
My husband and lovers are pleasant or somewhat polite
And night is night.

It is a real chill out,
The genuine thing.
I am not deceived, I do not think it is still summer
Because sun stays and birds continue to sing.

It is summer-gone that I see, it is summer-gone.
The sweet flowers indrying and dying down,
The grasses forgetting their blaze and consenting to brown.

It is a real chill out. The fall crisp comes.
I am aware there is winter to heed.
There is no warm house
That is fitted with my need.
I am cold in this cold house this house
Whose washed echoes are tremulous down lost halls.
I am a woman, and dusty, standing among new affairs.
I am a woman who hurries through her prayers.

Tin intimations of a quiet core to be my
Desert and my dear relief
Come: there shall be such islanding from grief,
And small communion with the master shore.
Twang they. And I incline this ear to tin,
Consult a dual dilemma. Whether to dry
In humming pallor or to leap and die.

Somebody muffed it? Somebody wanted to joke.

[div class=attrib]Image courtesy of Poetry Foundation.[end-div]

MondayPoem: Silence

A poem by Billy Collins ushers in another week. Collins served two terms as the U.S. Poet Laureate, from 2001-2003. He is known for poetry imbued with leftfield humor and deep insight.

[div]By Billy Collins:[end-div]

Silence —

There is the sudden silence of the crowd
above a player not moving on the field,
and the silence of the orchid.

The silence of the falling vase
before it strikes the floor,
the silence of the belt when it is not striking the child.

The stillness of the cup and the water in it,
the silence of the moon
and the quiet of the day far from the roar of the sun.

The silence when I hold you to my chest,
the silence of the window above us,
and the silence when you rise and turn away.

And there is the silence of this morning
which I have broken with my pen,
a silence that had piled up all night

like snow falling in the darkness of the house—
the silence before I wrote a word
and the poorer silence now.

[div class=attrib]Image courtesy of Poetry Foundation.[end-div]

Business Transforms Street Art

Street art once known as graffiti used to be a derided outlet for social misfits and cultural rebels. Now it is big business. Corporations have embraced the medium, and some street artists have even “sold out” to commercial interests.

Jonathan Jones laments the demise of this art form and its transformation into just another type of corporate advertising.

[div class=attrib]By Jonathan Jones for the Guardian:[end-div]

Street art is so much part of the establishment that when David Cameron spoke about this summer’s riots, he was photographed in front of a bright and bulbous Oxfordshire graffiti painting. Contradiction? Of course not. The efforts of Banksy and all the would-be Banksys have so deeply inscribed the “coolness” of street art into the middle-class mind that it is now as respectable as the Proms, and enjoyed by the same crowd – who can now take a picnic basket down to watch a painting marathon under the railway arches.

No wonder an event described as “the UK’s biggest street art project” (60 artists from all over the world decorating Nelson Street in Bristol last week) went down fairly quietly in the national press. It’s not that new or surprising any more, let alone controversial. Nowadays, doing a bit of street art is as routine as checking your emails. There’s probably an app for it.

Visitors to London buy Banksy prints on canvas from street stalls, while in Tripoli photographers latch on to any bloke with a spray can near any wall that’s still standing. Graffiti and street art have become instant – and slightly lazy – icons of everything our culture lauds, from youth to rebellion to making a fast buck from art.

Is this how street art will die – not with a bang, but with a whimper? Maybe there was a time when painting a wittily satirical or cheekily rude picture or comment on a wall was genuinely disruptive and shocking. That time is gone. Councils still do their bit to keep street art alive by occasionally obliterating it, and so confirming that it has edge. But basically it has been absorbed so deep into the mainstream that old folk who once railed at graffiti in their town are now more likely to have a Banksy book on their shelves than a collection of Giles cartoons.

[div class=attrib]More from theSource here.[end-div]

[div class=attrib]Image of highly decorative graffiti typically found in Olinda, Pernambuco, Brazil. Courtesy of Bjørn Christian Tørrissen.[end-div]

Book Review: The Believing Brain. Michael Shermer

Skeptic in-chief, Michael Shermer has an important and fascinating new book. The Believing Brain: From Ghosts and Gods to Politics and Conspiracies – How We Construct Beliefs and Reinforce Them as Truths – describes how our beliefs arise from patterns and that these beliefs come first, and explanations for those beliefs comes second.

Shermer reviews 30 years of leading research in cognitive science, neurobiology, evolutionary psychology and anthropology and numerous real-world examples to show how the belief mechanism works. This holds for our beliefs in all manner of important spheres: religion, politics, economics, superstition and the supernatural.

Shermer proposes that our brains are “belief engines” that “look for and find patterns” quite naturally, and it is only following this that our brains assign these patterns with meaning. It is these meaningful patterns that form what Shermer terms “belief-dependent reality.” Additionally, our brains tend to gravitate towards information that further reinforces our beliefs, and ignore data that contradicts these beliefs. This becomes a self-reinforcing loop where beliefs drive explanation seeking behaviors to confirm those beliefs which are further reinforced, and drive further confirmation seeking behavior.

In fact, the human brain is so adept at looking for patterns it “sees” them in places where none exist. Shermer calls this “illusory correlation”. Birds do it, rats to it; humans are masters at it. B.F. Skinner’s groundbreaking experiments on partial reinforcement in animals shows this “patternicity” exquisitely. As Shermer describes:

Skinner discovered that if he randomly delivered the food reinforcement, whatever the pigeon happened to be doing jiust before the delivery of the food would be repeated the next time, such as spinning around once to the left before pecking at the key. This is pigeon patternicity or the learning of a superstition.

. . . If you doubt its potency as a force in  human behavior, just visit a Las Vegas casino and observe people playing the slots with their varied attempts to find a pattern between (A) pulling the slot machine handle and (B) the payoff.

This goes a long way to describing all manner of superstitious behaviors in humans. But Shermer doesn’t stop there. He also describes how and why we look for patterns in the behaviors of others and assign meaning to these as well. Shermer call this “agenticity”. This is “the tendency to infuse patterns with meaning, intention and agency”. As he goes on to describe:

… we often impart the patterns we find with agency and intention, and believe that these intentional agents control the world, sometimes invisibly from the top down, instead of bottom-up causal laws and randomness that makes up much of our world. Souls, spirits, ghosts, gods, demons, angels, aliens, intelligent designers, government conspiracists, and all manner of invisible agents with power and intention are believed to haunt our world and control our lives. Combined with our propensity to find meaningful patterns in both meaningful and meaningless noise, patternicity and agenticity form the cognitive basis of shamanism, paganism, animism, polytheism, monotheism, and all modes of Old and New Age spiritualisms.

Backed with the results of numerous cross-disciplinary scientific studies, Shermer’s arguments are thoroughly engrossing and objectively difficult to refute. This is by far Shermer’s best book to date.

(By the way, in the interest of full disclosure this book thoroughly validated the reviewer’s own beliefs.)