MUDD UP BOOK CLUB: MAY EDITION – TOLSTAYA’S THE SLYNX

toystaya

[Татья́на Ники́тична Толста́я]

For this month’s Mudd Up Book Clubb, we have a very special selection — Tatyana Tolstaya’s The Slynx. It is the only novel I’ve ever read which is both laugh-out-loud funny *and* has given me nightmares. Amazing.

Some people call it a dystopia, and true – The Slynx does take place in Moscow about 200 years after an unspecified Blast has knocked everyone back to Stone Age level amenities – but Tolstaya’s prose is luminous, alive, bursting with a belief in language’s power to create worlds, which is precisely what this book does. Textual pleasures surround the tale of a quasi-literate copyist in the era of Degenerators…

What is The Slynx concerned with? Food, catastrophe, body jokes, gorgeous prose, xerox machines after the apocalypse, social hierarchies, books, melted canonicity, mice-as-currency, etc.

slynx

You might recognize the translator, Jamey Gambrell, from a previous book clubb selection, Vladimir Sorokin’s Ice Trilogy. Her Slynx translation is another impressive work, as the novel is peppered with malapropisms, mutant references to Russian literature, and conversations in a range of voices. These two novels are some of the best I’ve read in a long time, but I should mention that Sorokin and Tolstaya are extremely different writers; all the more power to Gambrell for articulating each into English with such elegant specificity. (While we’re talking translators, tune in to Mudd Up! this Wednesday for a special show with Arabic literature translator Humphrey Davies, recorded in Cairo last month)

The Mudd Up Book Clubb (<– go here to sign up) will meet on Sunday May 27th at 5pm for lively discussion followed by micemeat pies.

Here’s an excerpt from the opening pages:

Benedikt pulled on his felt boots, stomped his feet to get the fit right, checked the damper on the stove, brushed the bread crumbs onto the floor–for the mice–wedged a rag in the window to keep out the cold, stepped out the door, and breathed the pure, frosty air in through his nostrils. Ah, what a day! The night’s storm had passed, the snow gleamed all white and fancy, the sky was turning blue, and the high elfir trees stood still. Black rabbits flitted from treetop to treetop. Benedikt stood squinting, his reddish beard tilted upward, watching the rabbits. If only he could down a couple–for a new cap. But he didn’t have a stone.
It would be nice to have the meat, too. Mice, mice, and more mice–he was fed up with them.
Give black rabbit meat a good soaking, bring it to boil seven times, set it in the sun for a week or two, then steam it in the oven–and it won’t kill you.
That is, if you catch a female. Because the male, boiled or not, it doesn’t matter. People didn’t used to know this, they were hungry and ate the males too. But now they know: if you eat the males you’ll be stuck with a wheezing and a gurgling in your chest the rest of your life. Your legs will wither. Thick black hairs will grow like crazy out of your ears and you’ll stink to high heaven.
Benedikt sighed: time for work.

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xintra: Stat in HARPERS: 80% of M to F transsexuals have backgrounds in electronics/engineering. DARPA MEN: Lay down the drones, build your uteruses

xintra: Stat in HARPERS: 80% of M to F transsexuals have backgrounds in electronics/engineering. DARPA MEN: Lay down the drones, build your uteruses
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Obama’s Same-Sex Marriage Announcement: A Victory for Religion

Today's post is from Jay Michaelson, author of God vs. Gay? The Religious Case for Equality. Michaelson is a writer, scholar, and activist whose work addresses the intersections of religion, sexuality, spirituality, and law. 

This post originally appeared at Huffington Post

Bigstock-White-House-Washington-DC-Uni-30731453

I have to tell you that over the course of several years, as I have talked to friends and family and neighbors, when I think about members of my own staff who are in incredibly committed, monogamous relationships, same-sex relationships, who are raising kids together, when I think about those soldiers or airmen or marines or sailors who are out there fighting on my behalf and yet feel constrained, even now that "don't ask, don't tell" is gone, because they are not able to commit themselves in a marriage, at a certain point I've just concluded that for me, personally, it is important for me to go ahead and affirm that I think same-sex couples should be able to get married.

Angry voices on the so-called "Christian right" are already screaming about President Obama's "war on religion," but today's announcement regarding same-sex marriage was actually an inspiring religious pronouncement. Why?

0147First, because it came one day after one of the nastiest, meanest anti-gay votes in recent memory, North Carolina's "no families but mine" Amendment 1. It offers a studied contrast between humanity and dogmatism, inclusion and nastiness. Religious and non-religious people alike can now see two very different ways of approaching how we ought to live with one another, one welcoming and the other cruel, one open to the experience of others and the other with its hands over its ears, one focused on compassion and the other focused on exclusion. Who Would Jesus Discriminate against, anyway?

Second, Obama's statement is a model of religious reasoning. Jesus said in the Sermon of the Mount, "By your fruits, you shall know them" (Matthew 7:16). This, not some obscure lines in Leviticus or Corinthians, is the real religious message regarding gays and lesbians, and it is the way Obama made up his mind on this issue. Over time, he said, he has come to understand the truth of same-sex couples, that they are as capable of commitment, love, and sanctity as opposite-sex couples, and that it is an injustice to deny the benefits of marriage to gay people.

Those are religious values; they are exactly what the Sermon on the Mount preaches, as well. "A good tree cannot produce bad fruit, nor can a bad tree produce good fruit," Jesus said (Matthew 7:18). Well, let's apply that method to the question of same-sex marriage. Does it produce bad fruit or good fruit? Good fruit, as Obama himself has come to understand. Therefore, it, too, is good.

This process is about the growth of individual conscience: I used to feel one way, but over time, in a careful and long process of discernment, I come to feel a different way. And look at the evidence Obama cited: People on his staff, friends, and family -- these, not abstract principles -- are what shifted his heart and mind. Thinking of his personal responsibility for the lives of soldiers serving our country -- this, not some policy point -- is the data that weighs into questions of right and wrong.

Affirming the equality of LGBT people, including same-sex marriage, is not a choice between religion and some other values, between God and gay. It is, on the contrary, a direct consequence of taking religion seriously. It's easy to sit back comfortably with one's assumptions and prejudices. What's harder, and thus what really counts, religiously speaking, is to be open to what other people and their experiences have to teach us. That's how we can fulfill the injunction of Matthew 7:16, and it's exactly what the president showed us today.

White House photo from Bigstock.

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Obama Courts Equality

In the wake of President Obama's "evolution" on marriage equality, we're collecting reactions from our authors. 

0334Rodger Streitmatter, author of Outlaw Marriages: The Hidden Histories of Fifteen Extraordinary Same-Sex Couples

Obama’s announcement is absolutely huge. I think it will go down in history as an instance when a president had the courage to throw his weight behind an initiative that he believed in—that he wanted to be on the right side of—even if the political consequences were uncertain. It will definitely energize the LGBT community, as well as a lot of young people who are strong supporters of gay marriage. Lots of people are saying, “This is great. The guy I voted for in 2008 is back—somebody who’s committed to change and somebody I can believe in!”       

I think it also will have impact on some people who are still on the fence on the gay marriage issue. Obama’s announcement will nudge them—people who respect him—to commit themselves to this issue.

Read more about Outlaw Marriages.

  


Karen-KahnPat-Gozemba

Karen Kahn (pictured right with partner and co-author Pat Gozemba)
co-author of Courting Equality: A Documentary History of America's First Legal Same-Sex Marriages 

It is very gratifying to have the president of the United States recognize the full humanity of lesbian and gay Americans. I am not surprised. I am reminded of President Clinton being called “the first black president.” President Obama could be called the “first gay president.” He is slowly dismantling the institutions of discrimination at the federal level. After ending Don’t Ask, Don’t Tell and choosing not to defend DOMA, declaring  his support for full marriage equality seems like the next logical step. We should congratulate our movement—and the bravery of millions of gay and lesbian people who over the last thirty years have chosen to come out and fight for their rights. It is amazing that it has been not quite 20 years since the first court—in Hawaii—declared heterosexual marriage laws discriminatory. We still have a long way to go, as the North Carolina vote indicated on Tuesday. But I think we can all rest assured that when the President supports equality, we are moving toward justice for all. (Photo by Marilyn Humphries.)

Read more about Courting Equality.


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Oh. Em. Gee. I am grateful for my tiny role in propagating this,…



Oh. Em. Gee. I am grateful for my tiny role in propagating this, because it led to the amazing drawing below.

yamino:

miss-prince:

emberkeelty:

lappi:

dorirosa:

roachpatrol:

devildyke:

isabelthespy:

douglaswolk:

Julie D’Aubigny was a 17th-century bisexual French opera singer and fencing master who killed or wounded at least ten men in life-or-death duels, performed nightly shows on the biggest and most highly-respected opera stage in the world, and once took the Holy Orders just so that she could sneak into a convent and bang a nun. If nothing in that sentence at least marginally interests you, I have no idea why you’re visiting this website. (via Badass of the Week: Julie D’Aubigny, La Maupin) (thank you, Rachel!)

maybe the best thing i’ve read all week

badass of the week is the best site in the universe

but holy shit i have a new role model y’all

NEW HERO; BEST HERO.

what a fUCKING BADASS

hey ember

Yes.

A+ person

Perfect subject for my morning warmup sketch. In the style of Kate Beaton, because I felt it kinda called for it.

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Discharge’s “Hear Nothing, See Nothing, Say…



Discharge’s “Hear Nothing, See Nothing, Say Nothing” album came out May 11, 1982. Here’s “Free Speech for the Dumb” from it, a brilliant piece of punk rock hyperminimalism: two different chords, five different words, pow.

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New Order’s “Temptation” single came out May…



New Order’s “Temptation” single came out May 11, 1982. Here’s an amazing 1984 performance in the BBC studios—fascinating how similar this is to the slightly later “Perfect Kiss” video in some ways!

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The legendary immolation scene

I have spent the week in a strange variety of activities conducted through a haze of mild to moderate fatigue: 
  • A miscellany of doctor and dentist appointments, each minor/inconsequential in its own right but cumulatively onerous (and I would say that the pharmacy at the Rite Aid on 110th and Broadway is the worst, except that I switched there a few years ago from the Duane Reade across the street because that one really and truly was the worst!); 
  • a large amount of opera (about which more, perhaps, anon - final installment tomorrow); 
  • and a lot of whacking of the zombie book review that would not die, though I think I have sent its final incarnation to my editor just now.  The issue closes today, so that is pretty much going to have to be it!  
Will be very glad to see the back of that one: those who review regularly know that some pieces come together beautifully in the first draft whereas others have to be monstrously hacked about and rewritten again and again.  Not for the first time, I wonder whether it really is a good idea for me to write reviews: I feel that though reviewing comes as a sort of side benefit of my main reading-and-writing skill set, it's not my true metier.  However it is likely that soon I will have forgotten the pains of this week and will accept whatever invitation next comes my way....

The activity that should loom larger on that list but that I'm very behind on: grading!  Must make some more headway today as grades for graduating seniors are due by the end of the day.

Read two very good novels around the edges, Heath Lowrance's demented and captivating The Bastard Hand and Lavie Tidhar's haunting Osama.  I can't recommend these two highly enough: really unusual and high-quality neo-noir in two quite different inflections, very good stuff.

Miscellaneous linkage:

"Glass Gem" corn.  (Via Elatia Harris.)

Charles Peterson has a long and dispiriting two-part piece at n+1 on the devastation of the research mission at the New York Public Library.

Hawkcam!  (Courtesy of Brent.)

Widely linked to already, but orangutans like iPads too...
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When the World Shook (10)

HiLobrow is pleased to present the tenth installment of our serialization of H. Rider Haggard’s When the World Shook. New installments will appear each Friday for 24 weeks.

When adventurers Bastin, Bickley and Arbuthnot are marooned on a South Sea island, they discover two Atlanteans in a state of suspended animation. One of the awakened sleepers, Lord Oro, is a superman — the last king of the Sons of Wisdom, who’d relied on hyper-advanced technology to subjugate the planet’s lesser peoples. The other is Oro’s sexy daughter, Yva… who falls in love with Arbuthnot. Using astral projection, Lord Oro visits London and the battlefields of the Western Front. Why? To determine whether or not he should once again employ an infernal chthonic machine to drown the worthless human race, as he’d done 250,000 years earlier!

“If this is pulp fiction it’s high pulp: a Wagnerian opera of an adventure tale, a B-movie humanist apocalypse and chivalric romance,” says Lydia Millet in a blurb written for HiLoBooks. “When the World Shook has it all — English gentlemen of leisure, a devastating shipwreck, a volcanic tropical island inhabited by cannibals, an ancient princess risen from the grave, and if that weren’t enough a friendly, ongoing debate between a godless materialist and a devout Christian. H. Rider Haggard’s rich universe is both profoundly camp and deeply idealistic.”

Haggard’s only science fiction novel was first published in 1919. In September 2012, HiLoBooks will publish a beautiful new edition of When the World Shook, with an introduction by Atlantic Monthly contributing editor James Parker. NOW AVAILABLE FOR PRE-ORDERING!

SUBSCRIBE to HiLobrow’s serialized fiction via RSS.

LAST WEEK: “‘Great heavens!’ I exclaimed, ‘here’s magic.’ ‘There’s no such thing,’ answered Bickley in his usual formula. Then an explanation seemed to strike him and he added, ‘Not magic but radium or something of the sort. That’s how the temperature was kept up. In sufficient quantity it is practically indestructible, you see. My word! this old gentleman knew a thing or two.’”

ALL EXCERPTS: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24

***

I crept round him and took my stand by the sleeper’s head, that I might watch her face, which was well worth watching, while Bickley, with his medicine at hand, remained near her feet, I think engaged in disinfecting the syringe in some spirit or acid. I believe he was about to make an attempt to use it when suddenly, as though beneath the influence of the hypnotic passes, a change appeared on the Glittering Lady’s face. Hitherto, beautiful as it was, it had been a dead face though one of a person who had suddenly been cut off while in full health and vigour a few hours, or at the most a day or so before. Now it began to live again; it was as though the spirit were returning from afar, and not without toil and tribulation.

Expression after expression flitted across the features; indeed these seemed to change so much from moment to moment that they might have belonged to several different individuals, though each was beautiful. The fact of these remarkable changes with the suggestion of multiform personalities which they conveyed impressed both Bickley and myself very much indeed. Then the breast heaved tumultuously; it even appeared to struggle. Next the eyes opened. They were full of wonder, even of fear, but oh! what marvelous eyes. I do not know how to describe them, I cannot even state their exact colour, except that it was dark, something like the blue of sapphires of the deepest tint, and yet not black; large, too, and soft as a deer’s. They shut again as though the light hurt them, then once more opened and wandered about, apparently without seeing.

At length they found my face, for I was still bending over her, and, resting there, appeared to take it in by degrees. More, it seemed to touch and stir some human spring in the still-sleeping heart. At least the fear passed from her features and was replaced by a faint smile, such as a patient sometimes gives to one known and well loved, as the effects of chloroform pass away. For a while she looked at me with an earnest, searching gaze, then suddenly, for the first time moving her arms, lifted them and threw them round my neck.

The old man stared, bending his imperial brows into a little frown, but did nothing. Bickley stared also through his glasses and sniffed as though in disapproval, while I remained quite still, fighting with a wild impulse to kiss her on the lips as one would an awakening and beloved child. I doubt if I could have done so, however, for really I was immovable; my heart seemed to stop and all my muscles to be paralysed.

I do not know for how long this endured, but I do know how it ended. Presently in the intense silence I heard Bastin’s heavy voice and looking round, saw his big head projecting into the sepulchre.

“Well, I never!” he said, “you seem to have woke them up with a vengeance. If you begin like that with the lady, there will be complications before you have done, Arbuthnot.”

Talk of being brought back to earth with a rush! I could have killed Bastin, and Bickley, turning on him like a tiger, told him to be off, find wood and light a large fire in front of the statue. I think he was about to argue when the Ancient gave him a glance of his fierce eyes, which alarmed him, and he departed, bewildered, to return presently with the wood.

But the sound of his voice had broken the spell. The Lady let her arms fall with a start, and shut her eyes again, seeming to faint. Bickley sprang forward with his sal volatile and applied it to her nostrils, the Ancient not interfering, for he seemed to recognise that he had to deal with a man of skill and one who meant well by them.

In the end we brought her round again and, to omit details, Bickley gave her, not coffee and brandy, but a mixture he compounded of hot water, preserved milk and meat essence. The effect of it on her was wonderful, since a few minutes after swallowing it she sat up in the coffin. Then we lifted her from that narrow bed in which she had slept for—ah! how long? and perceived that beneath her also were crystal boxes of the radiant, heat-giving substance. We sat her on the floor of the sepulchre, wrapping her also in a blanket.

Now it was that Tommy, after frisking round her as though in welcome of an old friend, calmly established himself beside her and laid his black head upon her knee. She noted it and smiled for the first time, a marvelously sweet and gentle smile. More, she placed her slender hand upon the dog and stroked him feebly.

Bickley tried to make her drink some more of his mixture, but she refused, motioning him to give it to Tommy. This, however, he would not do because there was but one cup. Presently both of the sleepers began to shiver, which caused Bickley anxiety. Abusing Bastin beneath his breath for being so long with the fire, he drew the blankets closer about them.

Then an idea came to him and he examined the glowing boxes in the coffin. They were loose, being merely set in prepared cavities in the crystal. Wrapping our handkerchiefs about his hand, he took them out and placed them around the wakened patients, a proceeding of which the Ancient nodded approval. Just then, too, Bastin returned with his first load of firewood, and soon we had a merry blaze going just outside the sepulchre. I saw that they observed the lighting of this fire by means of a match with much interest.

Now they grew warm again, as indeed we did also—too warm. Then in my turn I had an idea. I knew that by now the sun would be beating hotly against the rock of the mount, and suggested to Bickley, that, if possible, the best thing we could do would be to get them into its life-giving rays. He agreed, if we could make them understand and they were able to walk. So I tried. First I directed the Ancient’s attention to the mouth of the cave which at this distance showed as a white circle of light. He looked at it and then at me with grave inquiry. I made motions to suggest that he should proceed there, repeating the word “Sun” in the Orofenan tongue. He understood at once, though whether he read my mind rather than what I said I am not sure. Apparently the Glittering Lady understood also and seemed to be most anxious to go. Only she looked rather pitifully at her feet and shook her head. This decided me.

I do not know if I have mentioned anywhere that I am a tall man and very muscular. She was tall, also, but as I judged not so very heavy after her long fast. At any rate I felt quite certain that I could carry her for that distance. Stooping down, I lifted her up, signing to her to put her arms round my neck, which she did. Then calling to Bickley and Bastin to bring along the Ancient between them, with some difficulty I struggled out of the sepulchre, and started down the cave. She was more heavy than I thought, and yet I could have wished the journey longer. To begin with she seemed quite trustful and happy in my arms, where she lay with her head against my shoulder, smiling a little as a child might do, especially when I had to stop and throw her long hair round my neck like a muffler, to prevent it from trailing in the dust.

A bundle of lavender, or a truss of new-mown hay, could not have been more sweet to carry and there was something electric about the touch of her, which went through and through me. Very soon it was over, and we were out of the cave into the full glory of the tropical sun. At first, that her eyes might become accustomed to its light and her awakened body to its heat, I set her down where shadow fell from the overhanging rock, in a canvas deck chair that had been brought by Marama with the other things, throwing the rug about her to protect her from such wind as there was. She nestled gratefully into the soft seat and shut her eyes, for the motion had tired her. I noted, however, that she drew in the sweet air with long breaths.

Then I turned to observe the arrival of the Ancient, who was being borne between Bickley and Bastin in what children know as a dandy-chair, which is formed by two people crossing their hands in a peculiar fashion. It says much for the tremendous dignity of his presence that even thus, with one arm round the neck of Bickley and the other round that of Bastin, and his long white beard falling almost to the ground, he still looked most imposing.

Unfortunately, however, just as they were emerging from the cave, Bastin, always the most awkward of creatures, managed to leave hold with one hand, so that his passenger nearly came to the ground. Never shall I forget the look that he gave him. Indeed, I think that from this moment he hated Bastin. Bickley he respected as a man of intelligence and learning, although in comparison with his own, the latter was infantile and crude; me he tolerated and even liked; but Bastin he detested. The only one of our party for whom he felt anything approaching real affection was the spaniel Tommy.

We set him down, fortunately uninjured, on some rugs, and also in the shadow. Then, after a little while, we moved both of them into the sun. It was quite curious to see them expand there. As Bickley said, what happened to them might well be compared to the development of a butterfly which has just broken from the living grave of its chrysalis and crept into the full, hot radiance of the light. Its crinkled wings unfold, their brilliant tints develop; in an hour or two it is perfect, glorious, prepared for life and flight, a new creature.

So it was with this pair, from moment to moment they gathered strength and vigour. Near-by to them, as it happened, stood a large basket of the luscious native fruits brought that morning by the Orofenans, and at these the Lady looked with longing. With Bickley’s permission, I offered them to her and to the Ancient, first peeling them with my fingers. They ate of them greedily, a full meal, and would have gone on had not the stern Bickley, fearing untoward consequences, removed the basket. Again the results were wonderful, for half an hour afterwards they seemed to be quite strong. With my assistance the Glittering Lady, as I still call her, for at that time I did not know her name, rose from the chair, and, leaning on me, tottered a few steps forward. Then she stood looking at the sky and all the lovely panorama of nature beneath, and stretching out her arms as though in worship. Oh! how beautiful she seemed with the sunlight shining on her heavenly face!

Now for the first time I heard her voice. It was soft and deep, yet in it was a curious bell-like tone that seemed to vibrate like the sound of chimes heard from far away. Never have I listened to such another voice. She pointed to the sun whereof the light turned her radiant hair and garments to a kind of golden glory, and called it by some name that I could not understand. I shook my head, whereon she gave it a different name taken, I suppose, from another language. Again I shook my head and she tried a third time. To my delight this word was practically the same that the Orofenans used for “sun.”

“Yes,” I said, speaking very slowly, “so it is called by the people of this land.”

She understood, for she answered in much the same language:

“What, then, do you call it?”

“Sun in the English tongue,” I replied.

“Sun. English,” she repeated after me, then added, “How are you named, Wanderer?”

“Humphrey,” I answered.

“Hum—fe—ry!” she said as though she were learning the word, “and those?”

“Bastin and Bickley,” I replied.

Over these patronymics she shook her head; as yet they were too much for her.

“How are you named, Sleeper?” I asked.

“Yva,” she answered.

“A beautiful name for one who is beautiful,” I declared with enthusiasm, of course always in the rich Orofenan dialect which by now I could talk well enough.

She repeated the words once or twice, then of a sudden caught their meaning, for she smiled and even coloured, saying hastily with a wave of her hand towards the Ancient who stood at a distance between Bastin and Bickley, “My father, Oro; great man; great king; great god!”

At this information I started, for it was startling to learn that here was the original Oro, who was still worshipped by the Orofenans, although of his actual existence they had known nothing for uncounted time. Also I was glad to learn that he was her father and not her old husband, for to me that would have been horrible, a desecration too deep for words.

“How long did you sleep, Yva?” I asked, pointing towards the sepulchre in the cave.

After a little thought she understood and shook her head hopelessly, then by an afterthought, she said,

“Stars tell Oro to-night.”

So Oro was an astronomer as well as a king and a god. I had guessed as much from those plates in the coffin which seemed to have stars engraved on them.

At this point our conversation came to an end, for the Ancient himself approached, leaning on the arm of Bickley who was engaged in an animated argument with Bastin.

“For Heaven’s sake!” said Bickley, “keep your theology to yourself at present. If you upset the old fellow and put him in a temper he may die.”

“If a man tells me that he is a god it is my duty to tell him that he is a liar,” replied Bastin obstinately.

“Which you did, Bastin, only fortunately he did not understand you. But for your own sake I advise you not to take liberties. He is not one, I think, with whom it is wise to trifle. I think he seems thirsty. Go and get some water from the rain pool, not from the lake.”

Bastin departed and presently returned with an aluminum jug full of pure water and a glass. Bickley poured some of it into a glass and handed it to Yva who bent her head in thanks. Then she did a curious thing. Having first lifted the glass with both hands to the sky and held it so for a few seconds, she turned and with an obeisance poured a little of it on the ground before her father’s feet.

A libation, thought I to myself, and evidently Bastin agreed with me, for I heard him mutter,

“I believe she is making a heathen offering.”

Doubtless we were right, for Oro accepted the homage by a little motion of the head. After this, at a sign from him she drank the water. Then the glass was refilled and handed to Oro who also held it towards the sky. He, however, made no libation but drank at once, two tumblers of it in rapid succession.

By now the direct sunlight was passing from the mouth of the cave, and though it was hot enough, both of them shivered a little. They spoke together in some language of which we could not understand a word, as though they were debating what their course of action should be. The dispute was long and earnest. Had we known what was passing, which I learned afterwards, it would have made us sufficiently anxious, for the point at issue was nothing less than whether we should or should not be forthwith destroyed—an end, it appears, that Oro was quite capable of bringing about if he so pleased. Yva, however, had very clear views of her own on the matter and, as I gather, even dared to threaten that she would protect us by the use of certain powers at her command, though what these were I do not know.

While the event hung doubtful Tommy, who was growing bored with these long proceedings, picked up a bough still covered with flowers which, after their pretty fashion, the Orofenans had placed on the top of one of the baskets of food. This small bough he brought and laid at the feet of Oro, no doubt in the hope that he would throw it for him to fetch, a game in which the dog delighted. For some reason Oro saw an omen in this simple canine performance, or he may have thought that the dog was making an offering to him, for he put his thin hand to his brow and thought a while, then motioned to Bastin to pick up the bough and give it to him.

Next he spoke to his daughter as though assenting to something, for I saw her sigh in relief. No wonder, for he was conveying his decision to spare our lives and admit us to their fellowship.

After this again they talked, but in quite a different tone and manner. Then the Glittering Lady said to me in her slow and archaic Orofenan:

“We go to rest. You must not follow. We come back perhaps tonight, perhaps next night. We are quite safe. You are quite safe under the beard of Oro. Spirit of Oro watch you. You understand?”

I said I understood, whereon she answered:

“Good-bye, O Humfe-ry.”

“Good-bye, O Yva,” I replied, bowing.

Thereon they turned and refusing all assistance from us, vanished into the darkness of the cave leaning upon each other and walking slowly.

CHAPTER XII
TWO HUNDRED AND FIFTY THOUSAND YEARS!

“You seem to have made the best of your time, old fellow,” said Bickley in rather a sour voice.

“I never knew people begin to call each other by their Christian names so soon,” added Bastin, looking at me with a suspicious eye.

“I know no other,” I said.

“Perhaps not, but at any rate you have another, though you don’t seem to have told it to her. Anyway, I am glad they are gone, for I was getting tired of being ordered by everybody to carry about wood and water for them. Also I am terribly hungry as I can’t eat before it is light. They have taken most of the best fruit to which I was looking forward, but thank goodness they do not seem to care for pork.”

“So am I,” said Bickley, who really looked exhausted. “Get the food, there’s a good fellow. We’ll talk afterwards.”

When we had eaten, somewhat silently, I asked Bickley what he made of the business; also whither he thought the sleepers had gone.

“I think I can answer the last question,” interrupted Bastin. “I expect it is to a place well known to students of the Bible which even Bickley mentions sometimes when he is angry. At any rate, they seem to be very fond of heat, for they wouldn’t part from it even in their coffins, and you will admit that they are not quite natural, although that Glittering Lady is so attractive as regards her exterior.”

Bickley waved these remarks aside and addressed himself to me.

“I don’t know what to think of it,” he said; “but as the experience is not natural and everything in the Universe, so far as we know it, has a natural explanation, I am inclined to the belief that we are suffering from hallucinations, which in their way are also quite natural. It does not seem possible that two people can really have been asleep for an unknown length of time enclosed in vessels of glass or crystal, kept warm by radium or some such substance, and then emerge from them comparatively strong and well. It is contrary to natural law.”

“How about microbes?” I asked. “They are said to last practically for ever, and they are living things. So in their case your natural law breaks down.”

“That is true,” he answered. “Some microbes in a sealed tube and under certain conditions do appear to possess indefinite powers of life. Also radium has an indefinite life, but that is a mineral. Only these people are not microbes nor are they minerals. Also, experience tells us that they could not have lived for more than a few months at the outside in such circumstances as we seemed to find them.”

“Then what do you suggest?”

“I suggest that we did not really find them at all; that we have all been dreaming. You know that there are certain gases which produce illusions, laughing gas is one of them, and that these gases are sometimes met with in caves. Now there were very peculiar odours in that place under the statue, which may have worked upon our imaginations in some such way. Otherwise we are up against a miracle, and, as you know, I do not believe in miracles.”

I do,” said Bastin calmly. “You’ll find all about it in the Bible if you will only take the trouble to read. Why do you talk such rubbish about gases?”

“Because only gas, or something of the sort, could have made us imagine them.”

“Nonsense, Bickley! Those people were here right enough. Didn’t they eat our fruit and drink the water I brought them without ever saying thank you? Only, they are not human. They are evil spirits, and for my part I don’t want to see any more of them, though I have no doubt Arbuthnot does, as that Glittering Lady threw her arms round his neck when she woke up, and already he is calling her by her Christian name, if the word Christian can be used in connection with her. The old fellow had the impudence to tell us that he was a god, and it is remarkable that he should have called himself Oro, seeing that the devil they worship on the island is also called Oro and the place itself is named Orofena.”

“As to where they have gone,” continued Bickley, taking no notice of Bastin, “I really don’t know. My expectation is, however, that when we go to look tomorrow morning—and I suggest that we should not do so before then in order that we may give our minds time to clear—we shall find that sepulchre place quite empty, even perhaps without the crystal coffins we have imagined to stand there.”

“Perhaps we shall find that there isn’t a cave at all and that we are not sitting on a flat rock outside of it,” suggested Bastin with heavy sarcasm, adding, “You are clever in your way, Bickley, but you can talk more rubbish than any man I ever knew.”

“They told us they would come back tonight or tomorrow,” I said. “If they do, what will you say then, Bickley?”

“I will wait till they come to answer that question. Now let us go for a walk and try to change our thoughts. We are all over-strained and scarcely know what we are saying.”

“One more question,” I said as we rose to start. “Did Tommy suffer from hallucinations as well as ourselves?”

“Why not?” answered Bickley. “He is an animal just as we are, or perhaps we thought we saw Tommy do the things he did.”

“When you found that basket of fruit, Bastin, which the natives brought over in the canoe, was there a bough covered with red flowers lying on the top of it?”

“Yes, Arbuthnot, one bough only; I threw it down on the rock as it got in the way when I was carrying the basket.”

“Which flowering bough we all thought we saw the Sleeper Oro carry away after Tommy had brought it to him.”

“Yes; he made me pick it up and give it to him,” said Bastin.

“Well, if we did not see this it should still be lying on the rock, as there has been no wind and there are no animals here to carry it away. You will admit that, Bickley?”

He nodded.

“Then if it has gone you will admit also that the presumption is that we saw what we thought we did see?”

“I do not know how that conclusion can be avoided, at any rate so far as the incident of the bough is concerned,” replied Bickley with caution.

Then, without more words, we started to look. At the spot where the bough should have been, there was no bough, but on the rock lay several of the red flowers, bitten off, I suppose, by Tommy while he was carrying it. Nor was this all. I think I have mentioned that the Glittering Lady wore sandals which were fastened with red studs that looked like rubies or carbuncles. On the rock lay one of these studs. I picked it up and we examined it. It had been sewn to the sandal-strap with golden thread or silk. Some of this substance hung from the hole drilled in the stone which served for an eye. It was as rotten as tinder, apparently with extreme age. Moreover, the hard gem itself was pitted as though the passage of time had taken effect upon it, though this may have been caused by other agencies, such as the action of the radium rays. I smiled at Bickley who looked disconcerted and even sad. In a way it is painful to see the effect upon an able and earnest man of the upsetting of his lifelong theories.

We went for our walk, keeping to the flat lands at the foot of the volcano cone, for we seemed to have had enough of wonders and to desire to reassure ourselves, as it were, by the study of natural and familiar things. As it chanced, too, we were rewarded by sundry useful discoveries. Thus we found a place where the bread-tree and other fruits, most of them now ripe, grew in abundance, as did the yam. Also, we came to an inlet that we noticed was crowded with large and beautiful fish from the lake, which seemed to find it a favourite spot. Perhaps this was because a little stream of excellent water ran in here, overflowing from the great pool or mere which filled the crater above.

At these finds we rejoiced greatly, for now we knew that we need not fear starvation even should our supply of food from the main island be cut off. Indeed, by help of some palm-leaf stalks which we wove together roughly, Bastin, who was rather clever at this kind of thing, managed to trap four fish weighing two or three pounds apiece, wading into the water to do so. It was curious to observe with what ease he adapted himself to the manners and customs of primeval man, so much so, indeed, that Bickley remarked that if he could believe in re-incarnation, he would be absolutely certain that Bastin was a troglodyte in his last sojourn on the earth.

However this might be, Bastin’s primeval instincts and abilities were of the utmost service to us. Before we had been many days on that island he had built us a kind of native hut or house roofed with palm leaves in which, until provided with a better, as happened afterwards, we ate and he and Bickley slept, leaving the tent to me. Moreover, he wove a net of palm fibre with which he caught abundance of fish, and made fishing-lines of the same material (fortunately we had some hooks) which he baited with freshwater mussels and the insides of fish. By means of these he secured some veritable monsters of the carp species that proved most excellent eating. His greatest triumph, however, was a decoy which he constructed of boughs, wherein he trapped a number of waterfowl. So that soon we kept a very good table of a sort, especially after he had learned how to cook our food upon the native plan by means of hot stones. This suited us admirably, as it enabled Bickley and myself to devote all our time to archaeological and other studies which did not greatly interest Bastin.

***

NEXT WEEK: “‘Receive the curse of Oro,’ said the Ancient again. Then followed a terrible spectacle. The man went raving mad. He bounded into the air to a height inconceivable. He threw himself upon the ground and rolled upon the rock. He rose again and staggered round and round, tearing pieces out of his arms with his teeth. He yelled hideously like one possessed. He grovelled, beating his forehead against the rock. Then he sat up, slowly choked and—died.”

Stay tuned!

***

RADIUM AGE SCIENCE FICTION: “Radium Age” is HiLobrow’s name for the 1904–33 era, which saw the discovery of radioactivity, the revelation that matter itself is constantly in movement — a fitting metaphor for the first decades of the 20th century, during which old scientific, religious, political, and social certainties were shattered. This era also saw the publication of genre-shattering writing by Edgar Rice Burroughs, Sax Rohmer, E.E. “Doc” Smith, Jack London, Rudyard Kipling, Arthur Conan Doyle, Aldous Huxley, Olaf Stapledon, Karel Čapek, H.P. Lovecraft, Charlotte Perkins Gilman, Yevgeny Zamyatin, E.M. Forster, Philip Wylie, and other pioneers of post-Verne/Wells, pre-Golden Age “science fiction.” More info here.

HILOBOOKS: The mission of HiLoBooks is to serialize novels on HiLobrow; and also, as of 2012, operating as an imprint of Richard Nash’s Cursor, to reissue Radium Age science fiction in beautiful new print editions. In May 2012, we will publish Jack London’s The Scarlet Plague; in June, Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”); in July, Arthur Conan Doyle’s The Poison Belt; in September, H. Rider Haggard’s When the World Shook; in October, Edward Shanks’ The People of the Ruins; and in November, William Hope Hodgson’s The Night Land. For more information, visit the HiLoBooks homepage.

READ: You are reading H. Rider Haggard’s When The World Shook. Also read our serialization of: Jack London’s The Scarlet Plague | Rudyard Kipling’s With the Night Mail and “As Easy As A.B.C.” | Arthur Conan Doyle’s The Poison Belt

READ: HiLobrow’s previous serialized novels, both original works: James Parker’s The Ballad of Cocky The Fox (“a proof-of-concept that serialization can work on the Internet” — The Atlantic) and Karinne Keithley Syers’s Linda Linda Linda. We also publish original stories and comics.

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Rose Ausländer

The Jewish German- and English-language poet ROSE AUSLÄNDER (Rosalie Beatrice Scherzer, 1901-88) lived, learned, and wrote in, fled from, returned to, was jailed and hid in, and left again from Czernowitz in the Bukowina — a region now shared between Romania and Ukraine. A spiritual insurrection was afoot in Czernowitz so pretty that it just had to disappear. Arbitrary borders it seemed no one cared about floated away. Fortunately, Ausländer breathed in enough Spinoza during her youth there to carry her all the way to here. Ausländer strolled in the no man’s land between seeing too much and innocence. Titanic, otherworldy strength to resist any of her own edges being dulled. Childlike, bending strength to drain cruelty into fairytales. Solemnly letting the bread rise in a ghetto selected just for her before she baked it for a dying mother. Ausländer’s lyricism is simple, modern chiffre. Elusively complex because the road to essence is a long and circuitous one no one has time to explain outside poetry’s density.

Another year as ring/grown in the tree/that stands still and/obliviously circles/with the earth

How something can grow old, outward, show burns and scars and droughts only after you cut it open. The tree that stands still but bends and spins mindlessly along.

I find Ausländer’s 1976 poetry and prose collection Im Aschenregen die Spur Deines Namens a headache and a heartache. The volume’s title (Aschenregen means literally a rain of ashes but sounds beautiful) makes me think there’s poetry in everything, that I could and should write poetry, and that I’ll never write poetry. It makes the translator in me quit and then try: “A Trace of Your Name in the Fallout.”

***

On his or her birthday, HiLobrow irregularly pays tribute to one of our high-, low-, no-, or hilobrow heroes. Also born this date: Martha Graham, Phil Silvers, Richard Feynman, and Denver Pyle.

READ MORE about members of the Hardboiled (1894-1903) Generation.

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Tea With Chris: Purpled

Tea With Chris is a roundup of recommended links, posted every Thursday. Here are a few of our favourite things from the Internet this week:

Chris: I tried to find an mp3 of this new Adiah track (see also: last year’s “Drumz,” summer in a low-fidelity Youtube clip) and all I got was Sarah McLachlan.

The Comics Journal published a number of tributes to Maurice Sendak, both textual and visual. I love Michael DeForge’s illustration:

As I discovered last weekend at the Toronto Comic Arts Festival, DeForge is also working on an all-Prince comics zine, to be printed in purple ink on lavender paper. He’s made a companion Tumblr called Purplish, one song a day by Mr. Rogers Nelson or his Minneapolis courtiers.

Carl:It’s kind of amazing that “culture shock” was ever not a commonplace idea, but it turns out that it was developed from a casual term to an actual theory only in the 1950s – by a man who might have gotten the idea from his upbringing in a breakaway Finnish-Canadian communal cult (give or take a little free love) in British Columbia.

“Mumblecore” has to be the stupidest genre label that’s stuck in the past decade (except maybe “mommy porn”). Nevertheless I am exciting about going to see Joe Swanberg present some of his movies in person in Toronto this weekend.

Old-school mumblecore? John Ashbery reading in NYC in 1952, when he was not yet 25. But actually, scratch that: Turns out the younger Ashbery hadn’t yet developed the gently murmuring tone he reads in today. There’s definitely a “listen up!” in his tone. A “whaddya think of that?”


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COVER-UP AHEAD



COVER-UP AHEAD

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Marriage Equality Gets a Nod from Obama

Jay Michaelson calls Obama's announcement an "inspiring religious pronouncement":

First, because it came one day after one of the nastiest, meanest anti-gay votes in recent memory, North Carolina's "no families but mine" Amendment 1. It offers a studied contrast between humanity and dogmatism, inclusion and nastiness. Religious and non-religious people alike can now see two very different ways of approaching how we ought to live with one another, one welcoming and the other cruel, one open to the experience of others and the other with its hands over its ears, one focused on compassion and the other focused on exclusion. Who Would Jesus Discriminate against, anyway?

Second, Obama's statement is a model of religious reasoning. Jesus said in the Sermon of the Mount, "By your fruits, you shall know them" (Matthew 7:16). This, not some obscure lines in Leviticus or Corinthians, is the real religious message regarding gays and lesbians, and it is the way Obama made up his mind on this issue. Over time, he said, he has come to understand the truth of same-sex couples, that they are as capable of commitment, love, and sanctity as opposite-sex couples, and that it is an injustice to deny the benefits of marriage to gay people. (Read the rest at Huffington Post)

EJ Graff reflects back on a wedding she attended at the beginning of marriage equality in MA: 

In 2004, I sat in a Unitarian pew while my friends Hillary and Julie Goodridge said their vows. I was absolutely fine with all the lead-up—they'd been together as long as I had been with my beloved partner, and I'd known them before that. Then came the phrase "By the power vested in me by the commonwealth of Massachusetts"—and I was sobbing harder than I knew was possible. So were the hardbitten LGBT activists around me, even those who weren't especially happy about the pursuit of marriage. As we all managed to sit up and dry our eyes, a little embarrassed at how raw the emotion was, one of the latter said, "I guess being ready for something intellectually isn't the same as being ready emotionally." 

There's something very deep about having your government declare you a stranger to its laws, defining your love as outside all respectable recognition. For my president to stand up and say that I should belong fully to my nation, that my wife and I should be considered as fully married as my brother and his wife—well, it reopens and washes out some very deeply incised sense of exclusion, a scar inflicted when, at age 15, I first panicked at the realization that I might be queer. (Read the rest at the American Prospect)

 

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Beyond Flowers and Cards: How to Really Appreciate Teachers

In honor of Teacher Appreciation Week, Beacon Broadside is running a series of posts on educators and education.

Today's post is by William Ayers and Rick Ayers. William Ayers is is Distinguished Professor of Education and Senior University Scholar at the University of Illinois at Chicago (retired). He is the founder of the Small Schools Workshop and the Center for Youth and Society. Rick Ayers is a Professor in Teacher Education at the University of San Francisco. He has worked as a Master Teacher for KQED Education Department, on the Teacher Advisory Board for Youth Speaks, and as a core team member of the Berkeley High School Diversity Project. 

They have co-written two books: Teaching the Taboo and Zero Tolerance: Resisting the Drive for Punishment, A Handbook for Parents, Students, Educators and Citizens. Separately, they have written numerous books on education, including Bill's Teaching Toward Freedom: Moral Commitment and Ethical Action in the Classroom and A Kind and Just Parent: The Children of Juvenile Court, and Rick's Great Books for High School Kids: A Teachers' Guide to Books That Can Change Teens' Lives (co-written with Amy Crawford) and Studs Terkel’s Working, a Teaching Guide.

32553269Teaching involves engaging real students every day, nurturing and challenging the vast range of people who actually appear before us, solving problems, making connections, putting in 70 hour weeks and spending our own money on supplies; and it means listening to every two-bit politician, the bought media, and big money misrepresent what we do and attack us shamelessly every day.

Want to appreciate teachers?

Don't allow education to be defined as an endless Social Darwinist competition: nation against nations, state against state, school against school, classroom against classroom, and child against child. Education, like love, is one of the fundamentals--give it away generously and lose nothing--and school is where we work out the meaning and the texture of democracy-coming together to explore the creation of community, pursuing the hard and challenging questions, and imagining new ways to be in balance with the earth and in harmony with one another. Good teaching deals with the real--honor teachers for that.

Reframe the debate: We are insistently encouraged to think of education as a product like a car or a refrigerator, a box of bolts or a screwdriver-something bought and sold in the marketplace like any other commodity. The controlling metaphor for the schoolhouse is a business run by a CEO, with teachers as workers and students as the raw material bumping along the assembly line while information is incrementally stuffed into their little up-turned heads; it's rather easy to think within this model that "downsizing" the least productive units, "outsourcing" and privatizing a space that was once public is a natural event; that teaching toward a simple standardized metric, and relentlessly applying state-administered (but privately-developed and quite profitable) tests to determine the "outcomes," is a rational proxy for learning; that centrally controlled "standards" for curriculum and teaching are commonsensical; that "zero tolerance" for student misbehavior as a stand-in for child development or justice is sane; and that "accountability," that is, a range of sanctions on students, teachers, and schools-but never on law-makers, foundations, corporations, or high officials-is logical and level-headed. This is in fact what a range of wealthy "reformers," noisy politicians, and their chattering pundits in the bought media call "school reform."

Oppose the "reform" policies that will add up to the end of education in and for democracy: resist replacing the public schools with some sort of privately-controlled administration, sorting the winners relentlessly from the losers-test, test, TEST! (and then punish), and destroying teachers' ability to speak with any sustained and unified voice. The operative image for these moves has by now become quite familiar: education is an individual consumer good, not a public trust or a social good, and certainly not a fundamental human right. Management, inputs and outcomes, efficiency, cost controls, profit and loss-the dominant language of this kind of reform doesn't leave much room for doubt, or much space to breathe.

Note that good working conditions are good teaching conditions, and that good teaching conditions are good learning conditions, and that teachers independent and collective voice is essential in determining these conditions.

Fight for smaller class size, limited standardized tests, enhanced arts programs at all levels and in every area, equitable financing, and a strong teachers contract that encourages collegiality and collaboration.

Throw in a note or a flower if you like.

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Shocking Blocking (30)

Robert Altman’s 1973 adaptation of Raymond Chandler’s The Long Goodbye was criticized, at the time, as an unfocused, ironic put-down of classic private-eye movies. In fact, it is a long goodbye to the Sixties (1964–73), the last era during which intellectuals believed that social control is exercised through anything so palpable as class domination. Like other paranoid progressives, Altman was disturbed and fascinated by the notion that what passes for life is an invisible prison, that real life (as 1968 Situationist graffiti had put it) is elsewhere. Altman’s avatar of Philip Marlowe (Elliott Gould) is neither cool, calm, nor collected; in the scene shown here, he wanders the aisles of a supermarket at night muttering to himself. The garish ranks of cat- and dog-food cans are late capitalism’s prison bars. Marlowe is more imprisoned, in this scene, than he is when he actually goes to jail. Although the antidote to such Baudelairean spleen is volupté, i.e., the freedom that we experience at the beach (which, according to the Situationist metaphor, is to be found beneath the street’s paving stones, if only we’d tear them up to form barricades), Altman’s Marlowe is forever prevented from enjoying California’s sea, sky, or sun. He is a creature of the night and the city, a scuttling cockroach (think of all those shots in which he peers out from a dark room); in this, Altman is entirely faithful to classic private-eye movies.

***

An occasional series analyzing some of the author’s favorite moments in the positioning or movement of actors in a movie.

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RADIO: HUMPHREY DAVIES & THE LOVEJOY BOOKENDS

[Humphrey Davies]

Next Wednesday, May 16th, award-winning translator Humphrey Davies (The Yacoubian Building, Naguib Mahfouz, Elias Khoury) will be the special guest on my weekly radio show. Davies is going to share some of his favorite sounds from Cairo and the Middle East — everything from spellbinding Quranic recitation to a surprisingly convincing defense of Nancy Arjam. We’ll also discuss his process of literary translations from Arabic to English. We recorded this episode at Humphrey’s apartment in downtown Cairo last month, and I have to say, you are in for a treat! Eloquent insight from a man who has made Cairo his home for more than 35 years.

And of course, last night’s radio show is now streaming. Lots of new beats on here, bookended by the summery harmonies of the Love Joys.

As always, you can subscribe to the Mudd Up! podcast for downloadable versions, issued about a week after FM broadcast: . Also useful: WFMU’s free iPhone app. We also have a version for Android (search for “WFMU” in the marketplace).

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Duran Duran’s “Rio” album came out May 10,…



Duran Duran’s “Rio” album came out May 10, 1982. Here’s a live performance of “Make Me Smile” from that era.

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Shu Lea Cheang on Brandon

Shu Lea Cheang, Brandon, Bigdoll interface,
collaboration with Jordy Jones and Cherise Fong, 1998

In 1998, the Guggenheim Museum launched its first web-based art commission, Shu Lea Cheang's Brandon. Over the course of a year, the collaborative, dynamic piece would look at the complexity of gender, sexuality, and identity through the life and death of Brandon Teena/Teena Brandon, a Nebraska youth who was raped and murdered after his biological sex as a woman came to light in 1993.

Oft-cited in new media art history as one of the first widely recognized pieces of net art, the Brandon site has been offline for the last year or so; the Guggenheim plans to restore the work in the very near future.

Cheang now resides and works in Paris. I spoke to her about Brandon, 14 years after its launch: 


YH: How did you first come to conceptualize Brandon? What were the circumstances for its commission?

SLC: Brandon was conceived at a time that I moved from actual space to cyber/virtual, claiming myself a cyber-nomad. It was around the mid-90s, and there was high hope for a super-highway, for a virtual world where race/gender does not matter any more. (I think it was the ad copy of MCI communications?). Meanwhile, two articles came out at Village Voice, one about Brandon Teena's rape/murder case by Donna Minkowitz and the other Julian Dibbell's A Rape in Cyberspace. I had been experimenting with boundary crossing between the actual (state/nation) and virtual (anonymous/avatars), which needed to take up a durational performative format.

By 1995, I wrote out a proposal which was to be a one-year web narrative project following my feature film Fresh Kill (1994). At the time, I guess it was unusual to conceive a durational web work, to be unfolded by episodes, by staged virtual performance 'events' supported by actual space installation. At the time, David Ross was the director of the Whitney Museum. He had the vision to expand the museum into cyberspace. Curator John Hanhardt (who has exhibited three of my major works: color schemes (a solo show in 1990), Those Fluttering Objects of Desire (1993, Whitney Biennial), and Fresh Kill (1995, Whitney Biennial)) took up the curation of Brandon. By 1998, Hanhardt had moved to the Guggenheim Museum and took Brandon with him. At the Guggenheim, Matthew Drutt, Associate Curator for Research, helped realize the curatorial admist the Guggenheim's venture into the virtual museum with Asymptote Architects.

Brandon, Roadtrip interface,
collaboration with Jordy Jones, Susan Stryker, and Cherise Fong

Brandon, Panopticon interface,
collaboration with Auriea Harvey and Beth Stryker

How were you thinking of interfaces? Did your work in film and other medium inform how you work in digital form?

The interfaces in Brandon—bigdoll, roadtrip, mooplay, panopticon, and Theatrum Anatomicum—are each a launch pad, a collaborative platform. Each interface is programmed as a mainframe, a structural construct while the contents and the inhabitants can move in and out in flux. While the programming language is definitive, the narrative shifts and progresses with more add-ons and plug-ins.

Yes, I do come from a video installation and film production background. In films, my narrative is parallel, non-linear. In installations, I also have multi-streams narratives proposed by the collaborators. I leapt into netspace (digital is a recent term), bypassing the CD-ROM format, where I see the streams converge with open circuit possibilities.

Brandon, Interface / Intervention 

Brandon, Mooplay interface, 
collaboration with Francesca Da Remini, Lawrence Chua, Pat Cadigan, and Linda Tauscher

Materially, did you have to consider the technology platforms on which Brandon would be run? Where did the images that appear onsite come from (were they all culled from the internet? / of digital or physical origin)?

Yes. Surely. Please also remember Brandon is a multi-artist, multi-site, multi-institution collaboration. Each interface is a design/programmation with others, mostly working with, i.e. Javascript and Java applet. Today, many of these programming languages have been updated, i.e., AV streaming. Many images are works by various designers (i.e., Jordy Jones, Auriea Harvey). There were also actual court documents from the Brandon Teena trial.

Brandon, Theatrum Anatomicum interface,
collaboration with Waag Society: Mieke Gerritzen, Janine Huizenga, Yariv Alterfin, and Roos Eisma

Installation view, Theatrum Anatomicum, 1998

Installation view, Guggenheim Soho, 1998

There are several interfaces and the architecture of the site itself is discoverable by interaction. I had the sense that I was finding fragments of an identity. What were you thinking when you created those interactions, different interfaces, and pop-up windows? Was the piece envisioned primarily as web-based? How did you modify the piece for the video wall installation? Did any of your conceptual tenets adjust for its physical mode?

Brandon is like a puzzle? I guess. It was deliberately designed with no easy/clear marked icons to help you navigate through the site. One's ability to investigate, negotiate with the mouse(over) brings different experience of the work. Within a one year stretch, which includes installation, live chat format, actual/virtual performance, no one (including myself) can claim to have viewed the entirety of this work. Pop-up windows on the roadtrip interface, cells of panopticon interface, are allen expansion of the space, spaces to be occupied by various narratives and inhabitants. Surely, non-linear and non-conformative.

Yes, the work was conceived for the web space. However, there remains the necessity at the time to have a real space for public interaction. The exhibition at the Guggenheim Soho's multi-screenwall is a direct translation of the website with kiosks for mouse interaction. I was also able to create installations that 'bridges' actual/virtual with the Theatrum Anatomicum installations set up at Waag Society in Amsterdam from 1998 to 1999. The opportunity to work with the Institute on Arts and Civic Dialogue in collaboration with Harvard Law School allowed for the realization of actual/virtual court rooms scenes in "Would the Jurors Please Stand Up? Crime and Punishment as Net Spectacle." I guess I would have done it if there were no real space offered. But with the real spaces, they offer great chances to merge the actual/virtual public.

What was the response to the piece when it appeared? When did it go offline and were there specific reasons it went offline? How does not being able to see a piece impact its existence?

There was great enthusiasm about this work, for its grand scale, its unprecedented approach to web art. It has been used a lot by media art students and there were several Ph.D. dissertations based on this work.

The Brandon website started out with a sponsored server which was terminated. Then, it was moved to an in-house Guggenheim server managed by its IT department. Around 2005, there was a great reconstruction effort with some funds for digital preservation. It was also brought back in two media art exhibitions, one with Rhizome at the New Museum and the other in The Art Formerly Known As New Media at Banff Canada. In this past year, the website was offline (I don't know for what reason, exactly) and created much confusion for media art studies — I constantly received complaints about it.

Recently, there are efforts to restore this work online by the Guggenheim's collection and curatorial departments.  A rather long story, indeed.

For more on Brandon in Rhizome, see an 1998 interview between the artist and Alex Galloway and the piece's entry in the ArtBase

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Gang of Four’s “Songs of the Free” album came…



Gang of Four’s “Songs of the Free” album came out May 10, 1982. Here’s a TV performance of “Call Me Up” from that era.

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Nomadbrow (3)

Erik Davis, author of Techgnosis, Nomad Codes, [Led Zeppelin IV], and Visionary State, is a friend of HiLobrow. He is also a contributor: His 2010 “Pop Arcana” column for us on the Cute Cthulhu meme remains one of our most popular posts. We’re thrilled to publish ten of Davis’s essays which first appeared elsewhere; this is the third installment in the Nomadbrow series.

***

Robert Duncan’s H.D. Book
Modernism and magic

In 1959, Norman Holmes Pearson, a friend of the poet H.D.’s as well as her literary executor, asked Robert Duncan to write up something for the older author on the occasion of her birthday. Duncan, who considered H.D. (born Hilda Doolittle, 1886–1961) to be a spiritual and poetic initiatrix of sorts, agreed. Over the next five years, his tribute blossomed, or metastasized, into The H.D. Book, a hefty and digressive meditation on modernism, literature, and esoterica whose twenty-odd chapters appeared individually in a menagerie of mostly obscure literary journals. Given Duncan’s love of the serial form, it is perhaps appropriate that this sequence of pieces was never compiled during the poet’s lifetime. As such, The H.D. Book became something of a holy grail for serious Duncan readers — photocopies were gathered together and passed around, and a transcribed PDF of the collected pieces eventually made its way onto the Internet.

Duncan substantially revised The H.D. Book after its various chapters were published, and it is this version, clocking in at 696 pages, that the University of California Press has now released — the first installment in a projected six-volume collected writings (two collections of poetry and plays are slated to appear later this year). But The H.D. Book could never quite be definitive. As the editors, Michael Boughn and Victor Coleman (who were also responsible for the samizdat PDF), explain, the manuscripts are afflicted with what we might call today a lack of version control, and some of the writings never made it past the notebook phase. But that, too, is appropriate, as there is no “finalizing” Duncan. Like the unruly Hermes who sometimes ruled over his verse, Duncan was a bit of a puer aeternus, seeking transports and conjunctions and, for all his catastrophic undertows, refusing ultimate accounts.

Robert Duncan

That said, The H.D. Book is profoundly coherent: a strikingly original and provocative articulation of an American literary vision that is engaged simultaneously with Romantic enchantment, modernist formalism, and an arguably postmodern concern with citational networks, self-displacement, and the shadow play of a language always larger than us. The six chapters in book 1 are relatively conventional essays, and they root themselves in Duncan’s early life story, which was curious and deeply formative. Duncan’s adoptive family were members of a Theosophical splinter group, and he grew up in an atmosphere of veiled esoterica that, like the fairy tales his mother read him, permanently marked his imagination — Duncan’s account of his “Atlantis dream” in chapter 5 is as good a biographical avenue into his abiding occult concerns as you could hope to find. When he was still a boy, Duncan moved to Bakersfield, California, where his parents stopped consulting astrological charts and started keeping up with the Joneses. But Duncan remained hooked on the esoteric language of image. One day, a high school English teacher read H.D.’s limpid and arresting poem “Heat” out loud in class. The young Duncan was floored: He had discovered an inspired affinity, a kinship that would carry him through his discovery of his own poetic vocation a few years later at UC Berkeley.

In book 2, Duncan unravels the forms of memoir and the critical essay into the more elliptical and intimate arrangements of what he calls the “daybook.” Alternately brilliant, digressive, numinous, and cranky, these chapters resemble cognitive collages that reflect Duncan’s writing process, which involved scribbling notes and quotations onto scraps of paper that he arranged and copied into notebooks before typing them up and further revising. Many entries are no more than a paragraph or two, and some pack an almost Nietzschean punch, restless and incandescent. The dominant rhythm is recurrence, with the writing (and rewriting) forming a palimpsest that diagrams movements of soul as well as patterns of literary process. Chapter 8, dated “March 21, Tuesday, 1961,” begins with an early-morning fragment of dream that Duncan then tracks through a labyrinth that includes Baudelaire, the game of charades, Jehovah’s backside, the alchemy of Freudian analysis, shit and cunts, the play of verse/versus/version/aversion, and the marginalia of Jack Spicer.

Joey the Mechanical Boy — self-portrait

Such is the pinball Wunderkammer of Duncan’s exotic and resonating mind — an associational intensity that in part explains his attraction to the occult, which is all about “universal sympathies, correspondences, communications.” The sixth daybook, for example, while ostensibly yet another discussion of Imagism and H.D.’s fiction, really becomes a kind of Calderesque mobile, gracefully organizing a set of recurrent concerns: sex, tantra, troubadours, manic depression, fairy tales, Blake, and Bruno Bettelheim’s popular account of Joey the “Mechanical Boy.” The chapter’s penultimate paragraph, which figures H.D.’s own storytelling as a weave, also reflects on Duncan’s own craft:

In the shuttle flying under the swift sense of the work, the “incident here and there” gathers so many instances from themselves into a moving significance, unfolding or discovering a design, that we see now the art was to set things into movement, was not only the weaving of a work of art but as if each knot that bound the whole into the quiet of a unity were also the pebble that dropped into that quiet as a pool broke up, was knot but also slipping-of-the-knot, to set up an activity thruout in the work of time and space within time and space.

Given this play of almost hallucinogenic associations, Boughn and Coleman are right to insist that The H.D. Book is not literary theory, whose rationalist agenda Duncan rejected. But it is nonetheless full of literary argument. Written during the nadir of H.D.’s reputation, Duncan’s text sets out to restore a poet unfairly thrust out of the anthologies, while also recovering the esoteric dimensions of modernism itself. Duncan’s account of Imagism, for example, not only invokes the literary traditions that inspired Pound and H.D. but opens the caverns of the imagination: Henry Corbin’s mundus imaginalis, crowded with the figures and phantasms that have long beguiled occultists, and without whom the latter-day angels of Rilke and Stevens and H.D. would be, literally, unimaginable.

Mina Loy

Duncan’s rescue operation makes him particularly attuned to the exclusionary practices of boys’ clubs everywhere, whether in poetry or society at large. Way ahead of his time, Duncan pays close attention to authors like Mary Butts, Mina Loy, Marianne Moore, Laura Riding, Edith Sitwell, Gertrude Stein, and Virginia Woolf, showing how even the more celebrated women writers of the time were forced to work in the shadows. “Men live uneasily with or under the threat of genius in women,” he notes, articulating a truth that is perhaps most freshly glimpsed from the perspective of a gay man whose biography is full of inspiring women and whose poetry is marked by a tangled quest for a mother-muse. Duncan saw the boycott of women’s voices (and of the spirit of romance) continuing in his times, and he regularly takes swipes at various peers he perceived as masculinist — indeed, one of the most insistent leitmotifs of this text is Randall Jarrell’s galling characterization of H.D.’s later poetry as “silly.” And yet Duncan’s attention should not be mistaken for feminism or “solidarity”; if it is a politics, it is a politics of the imagination at once anarchist and visionary.

Duncan cautiously praises the much-mocked Madame Blavatsky, recognizing her enormous Theosophical books — declared to be revealed wisdom but actually “midden heaps” of quotations and unacknowledged borrowings — as textual collages avant la lettre: “From what has been disregarded or fallen into disregard, genres are mixed, exchanges are made, mutations begun from scraps.” This could, in part, describe The H.D. Book as well, a diffuse and heterogeneous matrix whose heaps of obscure references can, as with Blavatsky’s books, become tiresome and overwhelming. (The editors provide a helpful bibliography, though they wisely refused the understandable urge to add notes.) One can appreciate why Peter O’Leary, in his great Gnostic Contagion, accuses Duncan of hysteria, and why, in a recent study of occultism in modern poetry, the poet Devin Johnston reads Duncan’s refusal of closure as a symptom of intense narcissism. For all its brilliance, The H.D. Book can be an indulgent, manic, and repetitive text.

And a profoundly rewarding one as well, not just for its literary insights. The H.D. Book is as much a work of esoterica moderne as it is a literary essay; for those attuned to such currents, or seeking them, it veritably gleams. As Boughn and Coleman note in their introduction, the master word for this sprawling work is occult — literally, the “unseen.” Whether it’s Freud, or women poets, or sex magic, or dreams, Duncan is calling out the shadows. It’s incorrect to call Duncan a practicing magician or mystic, of course. “I do not believe,” he says, “for I am a poet: I imagine as I make it up.” That said, the occult is more than a source of poetic material for the writer — it’s a mode of poetic creation itself, another opening to those original presences, “gods,” let’s call them, who only later descend into poetic tropes and what the orders of language. Achieving a veridical “insistence of figure in an expanding ground of many relations,” Duncan’s enormous daybook crackles with a timeless and disarming wisdom, but in a timely manner appropriate to our era of samples, links, and networks — an era still unsure about how to read those uncanny figures that animate both visionary literature and the literature of vision.

***

READ Erik Davis’s “Pop Arcana” series for HiLobrow.

CURATED SERIES at HILOBROW: PINAKOTHEK by Luc Sante | INTO THE VOID by Charlie Jane Anders | WE REABSORB & ENLIVEN by Matthew Battles | BRAINIAC by Joshua Glenn | BLDGBLOG by Geoff Manaugh | WINDS OF MAGIC by James Parker | ROBOTS + MONSTERS by Joe Alterio | FEEDBACK by Joshua Glenn | 4CP FTW by John Hilgart | FANCHILD by Adam McGovern | BOOKFUTURISM by James Bridle | 4CP FRIDAY by guest curators

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Mad Men, Girls and Englishmen

by Carl Wilson

Out of proportion to all sanity, my personal version of the Internet (overpopulated with pop-culture overanalyzers) has been preoccupied the past several days with the (reportedly $250,ooo) appearance of the actual Beatles recording of “Tomorrow Never Knows” on Mad Men, its plot function, its true role in the music of 1966 and what a “quasi-hip … inventive, highly competitive trend-chaser” like Don Draper really would have made of it.

Obviously not a world-shaking discussion, but maybe one with a bit more relevance than at first glance. Draper’s character was quasi-hip (screwing around with a bohemian Greenwich Village girl, checking out Antonioni pictures, reading Frank O’Hara, though always a little befuddled by them) in the late 50s and early 60s. It was useful to his profession and it satisfied some of his own restlessness and curiosity. But then things accelerated. In Sunday’s episode, he thought he already knew what the Beatles were about, because he’d had a handle on them a year or two earlier as a particularly inventive teen-pop band. That’s not an unreasonable expectation most of the time – two decades later, if you had a pretty good idea what Thriller was, you weren’t deeply clueless if you didn’t pay close attention to the differences in Bad. But in the mid-sixties, the centre of generational gravity was sliding much faster, and the quasi-hip Draper of his mid-30s becomes unfairly, upsettingly much older – the “Mr. Jones” Draper of 40.

Thanks for the screen captures to Tom & Lorenzo.

As the show slips from the “forgotten Sixties” in which it began to the familiar later Sixties of a million TV specials, it hazards losing its subtlety and surprise. (This season has compensated by broadening its set pieces, and I’ve personally enjoyed that, but the risks are all visible.) But perhaps not if it keeps its attention on another allegorical level – when it comes to that kind of generational-shift velocity, I think the equivalent is the period we’re in right now. It’s one of those times when looking away for a year is like missing half a decade.

For one thing the “millennial” “echo boom” is the largest demographic group since the Baby Boom, by far. So it’s got that parallel momentum. But of course its salient cultural mover and marker is not music nearly so much as technology – “When did music get so important?” Draper asks, just as I often find myself asking, “When did music get so much less important?” – because the young adults coming of age now are the first really to grow up with the Internet. As a relative Don to their collective Megan (his much younger, hipper wife), I haven’t quite yet encountered my “Tomorrow Never Knows” watershed of bafflement, although I do suspect that the broader significance of Tumblr will always elude me. But I see it nearing.

Indeed, I think it’s one of the things going on with the comparable way-too-much-talked-aboutness of Lena Dunham’s Girls – that beyond the legit (but also sexist-double-standard) complaints about its white, wealthy, urban privilege, there’s also a disconnect between many observers and the part of the culture that it’s coming from.

In the way that someone of Draper’s generation was dumbfounded and annoyed by the boomer kids’ blithe shrugging off of dutifulness and pragmatism, I think some of Girls critics are having trouble distinguishing between the privileged part of its aesthetic and the part that’s really about being post-privacy and about navigating a life in which you are always already over-exposed. Or about being aware how fast things are going and having an undignified kind of haste about getting ahead of that curve. It reads as narcissism, in both cases. And youth is always narcissistic (although it is also often generous).

That’s why Girls compels me, even though I don’t find most of its jokes as funny as some viewers appear to. (It works better for me as a skewed drama than a comedy.) And it’s what I hope Mad Men could use its time exploring rather than running down the clock with swingin’ Sixties cliches – the other side of the Sixties myth: the pain of adjusting, the melancholy of being left behind, the Zen of giving up on being cool, the possible benefits of getting very confused, the rehearsal for mortality that is falling out of touch. That’s an understatement worth making.


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Reception for the Art on the Marquee Spring Artists, Wednesday…



Reception for the Art on the Marquee Spring Artists, Wednesday May 16th, 6:30-8 pm at the Boston Convention and Exhibition Center, 415 Summer Street, Boston.

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Julie D’Aubigny was a 17th-century bisexual French opera…



Julie D’Aubigny was a 17th-century bisexual French opera singer and fencing master who killed or wounded at least ten men in life-or-death duels, performed nightly shows on the biggest and most highly-respected opera stage in the world, and once took the Holy Orders just so that she could sneak into a convent and bang a nun. If nothing in that sentence at least marginally interests you, I have no idea why you’re visiting this website. (via Badass of the Week: Julie D’Aubigny, La Maupin) (thank you, Rachel!)

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Tuesday Musics: “Ban Marriage,” The Hidden Cameras, 2003

by Carl Wilson

Dedicated to Barack Obama and the state of North Carolina: You know, there are much more radical stances than the one you’ve been finding so difficult.

And as I looked him in the eye, I heard my best friend cry
That we aren’t fools to fall in love, but let coupledom die.

(All: Sorry for the belatedness. It’s not really Tuesday.)

 


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Frieze New York: The Art Outside the Tent

Joshua Callaghan’s Two Dollar Umbrella (2011)

As far as art fairs go, Frieze New York was better than most: the booths were spacious, the tent well lit, and the amenities for visitors excellent. The quality of the work on view, too, was a vast improvement over the first round of fairs this past March; many of the participating galleries brought impressive pieces by both emerging and established artists.

Supplementing the art lining gallery booths inside were a host of works presented outdoors, organized by appointed curators: Frieze Projects, a series of site-specific commissions curated by Cecelia Alemani, and the Sculpture Park curated by Bard CCS director Tom Eccles—technically separate, though physically intermingling with the Frieze Projects commissions.

The Sculpture Park was largely composed of the sorts of dull, oversized abstraction typical of corporate plazas and civic commissions—inoffensive, vaguely industrial, often colourful (Katja Strunz, Gabriel Kuri) or shiny (Tomas Saraceno, Jeppe Hein.) In short: perfectly positioned to move swiftly from the fairgrounds at Randall’s Island to the backyard of some collector’s summer home. Indeed, each work was labelled not only with the artist’s name, title, and date, but also the gallery representing it—all of them participants in the fair—making it essentially an extension of select gallery booths.  

Others read merely as oversized gimmicks. For Subodh Gupta’s Et Tu Duchamp? (2009–2010), the artist translated Duchamp’s famous moustachioed reproduction of the Mona Lisa, L.H.O.O.Q., into three dimensions, casting it as a large-scale bronze. The title of Gupta’s work suggests that his intent was to replicate Duchamp’s gesture of comically appropriating a canonical work—in the twenty-first century, Duchamp is as recognizable as Da Vinci—but Et Tu Duchamp? is less a subversive violation of a masterpiece than a self-aggrandizing, one-note gag. Likewise, Joshua Callaghan’s Two Dollar Umbrella (2011) presents the titular object amplified to monumental proportions; with its loose spokes pointing skyward like Laocoön’s outstretched arm, Callaghan’s pathetic umbrella has its own odd pathos—given the overcast skies during much of the fair’s run, discarded umbrellas littering the city’s street were a common sight—but elevating an everyday inconvenience to the status of mythic tragedy is neither new nor compelling.

 

Louis Bourgeois, Untitled (2004)

Works that engaged the setting more directly fared somewhat better: Louis Bourgeois’s untitled metallic cocoons (2004) dangled from trees, catching the light perfectly. Likewise, Susan Philipsz’s sound installation We All Go Together (2009) takes the form of an unexpected dialogue between speakers in adjacent trees playing a multi-part recording of an Appalachian folk song. Obscured by the branches and leaves, it was difficult to tell, at first, where the voices were coming from, provoking a momentary, but welcome, sense of disorientation. Philipsz is well-known for sound-based projects that utilize public space, making her an ideal choice for this kind of site; her Turner Prize-winning work Lowlands (2009), for instance, was installed under three Glasgow bridges, playing recordings of different versions of the sixteenth-century Scottish lament “Lowlands Away.” Philipsz’s work is specifically about asking those who encounter it to consider their environments, activating mundane spaces through the introduction of unfamiliar, perhaps even incongruous, elements—but in a far subtler way than the visual cacophony of the large-scale sculptural projects. We’ll All Go Together slowed the dizzying pace of the art fair setting, rewarding those who stopped to listen.  

Frieze Projects commissions are presented under the auspices of the fair’s nonprofit wing, but such a distinction comes across as a mere technicality, particularly since many of the artists selected are represented by participating galleries, whose booths announce the commissioned projects. Incorporating works by artists such as John Ahearn and Tim Rollins & K.O.S. — associated with socially-engaged, community-driven art practices— seems like an attempt on the part of organizers to defend the fair against accusations of elitism, as if seeing the names of such artists on the roster of Frieze Projects participants will counteract the branded BMWs chauffeuring VIPs, the Soho House outpost, and the ethically dubious practice of undercutting union contractors. This distinction between the nonprofit Frieze Projects and the plainly for-profit operations of the fair seemed particularly slippery given that Ahearn’s project—a recreation of his 1979 exhibition “South Bronx Hall of Fame” at the now-closed alternative art space Fashion Moda, for which he created sculptural “casts” of the faces of neighborhood residents for free, displaying them in the gallery’s storefront window as a means of both engaging and representing a segment of the public largely excluded from the art world—invited Frieze collectors to commission their own portraits for the not-insignificant fee of $3000 each.  

Joel Kyack’s Most Games Are Lost, Not Won (2012)

At the very least, several other projects commissioned for the fair acknowledged its resemblance to a kind of amusement park, most notably Los Angeles-based artist Joel Kyack’s Most Games Are Lost, Not Won (2012), a somewhat perverse take on carnival kitsch, modelled after county fair games. Yet taken as a whole, Frieze’s public projects do not transform the fair into an idyllic “fantasy world,” as Alemani states, but rather a reminder of how out of touch it is with the social and cultural realities of the city, whose “existing local communities” and “unique landscape—both social and geographic” the fair purports to engage. 

This is perhaps best exemplified by Christoph Büchel’s contribution to the Sculpture Park, several examples of his new series 1% which were placed, unmarked, around the fair’s grounds. Comprising six shopping carts, each filled with all of the belongings of a homeless New Yorker, purchased by Büchel for $300 to $500 apiece, the carts are being sold by Büchel’s gallery Hauser & Wirth, with prices ranging from $30,000 to $50,000; the “1%” in question refers to the fact that the amount Büchel paid for each cart represents 1% of its new value, once inscribed as a work of art. Though there is, I suppose, an argument to be made for the project as a critique of art-market capitalism, in which the authorial touch of the artist can transform objects that are otherwise considered not only worthless, but also downright squalid by most, into things of monetary and cultural value; it might function better if the artist himself—and his gallery—didn’t profit so heavily from it. Whatever Büchel’s aims for the project might have been, it struck me as exploitative.

 There is an alarming tendency among art fairs to conflate projects that are open to the public with democratic approaches, talks and panel discussions with critical discourse, and the display of art with exhibitions. But placing projects outside does not an accessible platform make. At best, these are only gestures toward inclusivity; at worse, insidious attempts at marketing commercially available artwork by participating galleries under the guise of curated programming. 

 

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With the Night Mail (8)


HiLobrow is pleased to present the seventh installment of our serialization of Rudyard Kipling’s With the Night Mail (and his follow-up story, “As Easy as A.B.C.”). New installments will appear each Wednesday for 12 weeks.

With the Night Mail follows the exploits of an intercontinental mail dirigible battling the perfect storm. Between London and Quebec we learn that a planet-wide Aerial Board of Control (A.B.C.) now enforces a technocratic system of command and control not only in the skies but in world affairs, too. A follow-up story, “As Easy As A.B.C.,” recounts what happens when agitators in Chicago demand a return of democracy: The A.B.C. sends zeppelins armed with sound weapons to subdue not the agitators, but a mob who would destroy them! With the Night Mail is set in 2000, and it first appeared in 1905; 2012 marks the centennial of the first publication of “As Easy As A.B.C.”

In June, HiLoBooks will publish a beautiful new edition of With the Night Mail (and “As Easy as A.B.C.”), checked against the 1909 first published edition (Doubleday), with an Introduction by science fiction author Matthew De Abaitua, and an Afterword by science fiction author Bruce Sterling. SUPPLIES ARE LIMITED! CLICK HERE TO ORDER YOUR COPY.

In June, HiLoBooks will publish a beautiful new edition of With the Night Mail (and “As Easy as A.B.C.”), checked against the 1909 first published edition (Doubleday), with an Introduction by science fiction author Matthew De Abaitua, and an Afterword by science fiction author Bruce Sterling.

SUBSCRIBE to HiLobrow’s serialized fiction via RSS.

LAST WEEK: “(ADVERTISING SECTION — SAFETY WEAR FOR AERONAUTS). High Level Flickers: Pure para kit with cellulose seat and shoulder-pads, weighted to balance. Unequalled for all drop-work. Our trebly resilient heavy kit is the ne plus ultra of comfort and safety. Gas-buoyed, waterproof, hail-proof, non-conducting Flickers with pipe and nozzle fitting all types of generator. Graduated tap on left hip.”

THIS WEEK: We begin serializing “As Easy as A.B.C.”.

ALL EXCERPTS: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12

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“As Easy as A.B.C.”

“[The A.B.C.], that semi-elected, semi-nominated body of a few score persons of both sexes, controls this planet. ‘Transportation is Civilization,’ our motto runs. Theoretically, we do what we please so long as we do not interfere with the traffic and all it implies. Practically, the A. B. C. confirms or annuls all international arrangements and, to judge from its last report, finds our tolerant, humorous, lazy little planet only too ready to shift the whole burden of private administration on its shoulders.”—With the Night Mail

Isn’t it almost time that our Planet took some interest in the proceedings of the Aerial Board of Control? One knows that easy communications nowadays, and lack of privacy in the past, have killed all curiosity among mankind, but as the Board’s Official Reporter I am bound to tell my tale.

At 9.30 A.M., August 26, A.D. 2065, the Board, sitting in London, was informed by De Forest that the District of Northern Illinois had riotously cut itself out of all systems and would remain disconnected till the Board should take over and administer it direct.

Every Northern Illinois freight and passenger tower was, he reported, out of action; all District main, local, and guiding lights had been extinguished; all General Communications were dumb, and through traffic had been diverted. No reason had been given, but he gathered unofficially from the Mayor of Chicago that the District complained of ‘crowd-making and invasion of privacy.’

As a matter of fact, it is of no importance whether Northern Illinois stay in or out of planetary circuit; as a matter of policy, any complaint of invasion of privacy needs immediate investigation, lest worse follow.

By 9.45 A.M. De Forest, Dragomiroff (Russia), Takahira (Japan), and Pirolo (Italy) were empowered to visit Illinois and ‘to take such steps as might be necessary for the resumption of traffic and all that that implies.’ By 10 A.M. the Hall was empty, and the four Members and I were aboard what Pirolo insisted on calling ‘my leetle godchild’—that is to say, the new Victor Pirolo. Our Planet prefers to know Victor Pirolo as a gentle, grey-haired enthusiast who spends his time near Foggia, inventing or creating new breeds of Spanish-Italian olive-trees; but there is another side to his nature—the manufacture of quaint inventions, of which the Victor Pirolo is perhaps, not the least surprising. She and a few score sister-craft of the same type embody his latest ideas. But she is not comfortable. An A.B.C. boat does not take the air with the level-keeled lift of a liner, but shoots up rocket-fashion like the ‘aeroplane’ of our ancestors, and makes her height at top-speed from the first. That is why I found myself sitting suddenly on the large lap of Eustace Arnott, who commands the A.B.C. Fleet. One knows vaguely that there is such a thing as a Fleet somewhere on the Planet, and that, theoretically, it exists for the purposes of what used to be known as ‘war.’ Only a week before, while visiting a glacier sanatorium behind Gothaven, I had seen some squadrons making false auroras far to the north while they manoeuvred round the Pole; but, naturally, it had never occurred to me that the things could be used in earnest.

Said Arnott to De Forest as I staggered to a seat on the chart-room divan: ‘We’re tremendously grateful to ’em in Illinois. We’ve never had a chance of exercising all the Fleet together. I’ve turned in a General Call, and I expect we’ll have at least two hundred keels aloft this evening.’

‘Well aloft?’ De Forest asked.

‘Of course, sir. Out of sight till they’re called for.’

Arnott laughed as he lolled over the transparent chart-table where the map of the summer-blue Atlantic slid along, degree by degree, in exact answer to our progress. Our dial already showed 320 m.p.h. and we were two thousand feet above the uppermost traffic lines.

‘Now, where is this Illinois District of yours?’ said Dragomiroff. ‘One travels so much, one sees so little. Oh, I remember! It is in North America.’

De Forest, whose business it is to know the out districts, told us that it lay at the foot of Lake Michigan, on a road to nowhere in particular, was about half an hour’s run from end to end, and, except in one corner, as flat as the sea. Like most flat countries nowadays, it was heavily guarded against invasion of privacy by forced timber—fifty-foot spruce and tamarack, grown in five years. The population was close on two millions, largely migratory between Florida and California, with a backbone of small farms (they call a thousand acres a farm in Illinois) whose owners come into Chicago for amusements and society during the winter. They were, he said noticeably kind, quiet folk, but a little exacting, as all flat countries must be, in their notions of privacy. There had, for instance, been no printed news-sheet in Illinois for twenty-seven years. Chicago argued that engines for printed news sooner or later developed into engines for invasion of privacy, which in turn might bring the old terror of Crowds and blackmail back to the Planet. So news-sheets were not.

‘And that’s Illinois,’ De Forest concluded. ‘You see, in the Old Days, she was in the fore-front of what they used to call “progress,” and Chicago—’

‘Chicago?’ said Takahira. ‘That’s the little place where there is Salati’s Statue of the Nigger in Flames. A fine bit of old work.’

‘When did you see it?’ asked De Forest quickly. ‘They only unveil it once a year.’

‘I know. At Thanksgiving. It was then,’ said Takahira, with a shudder. ‘And they sang “MacDonough’s Song,” too.’

‘Whew!’ De Forest whistled. ‘I did not know that! I wish you’d told me before. “MacDonough’s Song” may have had its uses when it was composed, but it was an infernal legacy for any man to leave behind.’

‘It’s protective instinct, my dear fellows,’ said Pirolo, rolling a cigarette. ‘The Planet, she has had her dose of popular government. She suffers from inherited agoraphobia. She has no—ah—use for crowds.’

Dragomiroff leaned forward to give him a light. ‘Certainly,’ said the white-bearded Russian, ‘the Planet has taken all precautions against crowds for the past hundred years. What is our total population today? Six hundred million, we hope; five hundred, we think; but—but if next year’s census shows more than four hundred and fifty, I myself will eat all the extra little babies. We have cut the birth-rate out—right out! For a long time we have said to Almighty God, “Thank You, Sir, but we do not much like Your game of life, so we will not play.”‘

‘Anyhow,’ said Arnott defiantly, ‘men live a century apiece on the average now.’

‘Oh, that is quite well! I am rich—you are rich—we are all rich and happy because we are so few and we live so long. Only I think Almighty God He will remember what the Planet was like in the time of Crowds and the Plague. Perhaps He will send us nerves. Eh, Pirolo?’

The Italian blinked into space. ‘Perhaps,’ he said, ‘He has sent them already. Anyhow, you cannot argue with the Planet. She does not forget the Old Days, and—what can you do?’

‘For sure we can’t remake the world.’ De Forest glanced at the map flowing smoothly across the table from west to east. ‘We ought to be over our ground by nine to-night. There won’t be much sleep afterwards.’

On which hint we dispersed, and I slept till Takahira waked me for dinner. Our ancestors thought nine hours’ sleep ample for their little lives. We, living thirty years longer, feel ourselves defrauded with less than eleven out of the twenty-four.

By ten o’clock we were over Lake Michigan. The west shore was lightless, except for a dull ground-glare at Chicago, and a single traffic-directing light—its leading beam pointing north—at Waukegan on our starboard bow. None of the Lake villages gave any sign of life; and inland, westward, so far as we could see, blackness lay unbroken on the level earth. We swooped down and skimmed low across the dark, throwing calls county by county. Now and again we picked up the faint glimmer of a house-light, or heard the rasp and rend of a cultivator being played across the fields, but Northern Illinois as a whole was one inky, apparently uninhabited, waste of high, forced woods. Only our illuminated map, with its little pointer switching from county to county, as we wheeled and twisted, gave us any idea of our position. Our calls, urgent, pleading, coaxing or commanding, through the General Communicator brought no answer. Illinois strictly maintained her own privacy in the timber which she grew for that purpose.

‘Oh, this is absurd!’ said De Forest. ‘We’re like an owl trying to work a wheat-field. Is this Bureau Creek? Let’s land, Arnott, and get hold of some one.’

We brushed over a belt of forced woodland—fifteen-year-old maple sixty feet high—grounded on a private meadow-dock, none too big, where we moored to our own grapnels, and hurried out through the warm dark night towards a light in a verandah. As we neared the garden gate I could have sworn we had stepped knee-deep in quicksand, for we could scarcely drag our feet against the prickling currents that clogged them. After five paces we stopped, wiping our foreheads, as hopelessly stuck on dry smooth turf as so many cows in a bog.

‘Pest!’ cried Pirolo angrily. We are ground-circuited. And it is my own system of ground-circuits too! I know the pull.’

‘Good evening,’ said a girl’s voice from the verandah. ‘Oh, I’m sorry! We’ve locked up. Wait a minute.’

We heard the click of a switch, and almost fell forward as the currents round our knees were withdrawn.

The girl laughed, and laid aside her knitting. An old-fashioned Controller stood at her elbow, which she reversed from time to time, and we could hear the snort and clank of the obedient cultivator half a mile away, behind the guardian woods.

‘Come in and sit down,’ she said. ‘I’m only playing a plough. Dad’s gone to Chicago to—Ah! Then it was your call I heard just now!’

She had caught sight of Arnott’s Board uniform, leaped to the switch, and turned it full on.

We were checked, gasping, waist-deep in current this time, three yards from the verandah.

‘We only want to know what’s the matter with Illinois,’ said De Forest placidly.

‘Then hadn’t you better go to Chicago and find out?’ she answered. ‘There’s nothing wrong here. We own ourselves.’

‘How can we go anywhere if you won’t loose us?’ De Forest went on, while Arnott scowled. Admirals of Fleets are still quite human when their dignity is touched.

‘Stop a minute—you don’t know how funny you look!’ She put her hands on her hips and laughed mercilessly.

‘Don’t worry about that,’ said Arnott, and whistled. A voice answered from the Victor Pirolo in the meadow.

‘Only a single-fuse ground-circuit!’ Arnott called. ‘Sort it out gently, please.’

We heard the ping of a breaking lamp; a fuse blew out somewhere in the verandah roof, frightening a nest full of birds. The groud-circuit was open. We stooped and rubbed our tingling ankles.

‘How rude—how very rude of you!’ the maiden cried.

‘Sorry, but we haven’t time to look funny,’ said Arnott. ‘We’ve got to go to Chicago; and if I were you, young lady, I’d go into the cellars for the next two hours, and take mother with me.’

Off he strode, with us at his heels, muttering indignantly, till the humour of the thing struck and doubled him up with laughter at the foot of the gangway ladder.

***

NEXT WEEK: “The beams of light leaped down again, and danced, solemnly and awfully, a stilt-dance, sweeping thirty or forty miles left and right at each stiff-legged kick, while the darkness delivered itself—there is no scale to measure against that utterance—of the tune to which they kept time. Certain notes—one learnt to expect them with terror—cut through one’s marrow, but, after three minutes, thought and emotion passed in indescribable agony.”

Stay tuned!

NOTE: First published in various Sunday papers in the United States on 25 February and 12 March 1912 and in the London Magazine of March and April the same year with illustrations by F. Gardner. Collected in A Diversity of Creatures (1917); it is accompanied by “MacDonough’s Song”, the last verse of which is included in the text of the story in all printings. The full text of twenty-nine lines appeared in A Diversity of Creatures in 1917. More notes about the story here and here.

***

RADIUM AGE SCIENCE FICTION: “Radium Age” is HiLobrow’s name for the 1904–33 era, which saw the discovery of radioactivity, the revelation that matter itself is constantly in movement — a fitting metaphor for the first decades of the 20th century, during which old scientific, religious, political, and social certainties were shattered. This era also saw the publication of genre-shattering writing by Edgar Rice Burroughs, Sax Rohmer, E.E. “Doc” Smith, Jack London, Rudyard Kipling, Arthur Conan Doyle, Aldous Huxley, Olaf Stapledon, Karel Čapek, H.P. Lovecraft, Charlotte Perkins Gilman, Yevgeny Zamyatin, E.M. Forster, Philip Wylie, and other pioneers of post-Verne/Wells, pre-Golden Age “science fiction.” More info here.

HILOBOOKS: The mission of HiLoBooks is to serialize novels on HiLobrow; and also, as of 2012, operating as an imprint of Richard Nash’s Cursor, to reissue Radium Age science fiction in beautiful new print editions. In May 2012, we will publish Jack London’s The Scarlet Plague; in June, Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”); in July, Arthur Conan Doyle’s The Poison Belt; in September, H. Rider Haggard’s When the World Shook; in October, Edward Shanks’ The People of the Ruins; and in November, William Hope Hodgson’s The Night Land. For more information, visit the HiLoBooks homepage.

READ: You are reading Rudyard Kipling’s With the Night Mail and “As Easy As A.B.C.” Also read our serialization of: Jack London’s The Scarlet Plague | H. Rider Haggard’s When The World Shook

READ: HiLobrow’s previous serialized novels, both original works: James Parker’s The Ballad of Cocky The Fox (“a proof-of-concept that serialization can work on the Internet” — The Atlantic) and Karinne Keithley Syers’s Linda Linda Linda. We also publish original stories and comics.

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Justin Bond

I first saw Kiki Durayne perform a simultaneously humorous and tormented rendition of “Total Eclipse of The Heart” almost twenty years ago. The performance has stuck with me. There is something brilliant about a drag persona who, rather than being the youngest, most beautiful girl in the room, is an aging, drunken vamp — all raw emotion on the outside. There is a dash of Norma Desmond in JUSTIN VIVIAN BOND’s (born 1963) Kiki. Director Victoria Leacock helmed a music video of Kiki singing this song with the ever-faithful Herb accompanying on piano:

This was just the start of Bond’s long and wonderful career: V’s talents are many. The transgender Bond has gone on to bring many riches to audiences, including a starring role in John Cameron Mitchell’s Shortbus, and the album Dendrophile, about which V says: “A dendrophile’s a person who gets an erotic charge out of nature. I am one! This is a record for the tree-hugger community. I do Bambi Lake’s ‘The Golden Age of Hustlers’ on it, and also a duet of the Carpenters’ ‘Superstar’ with Beth Orton.” Bond has recently published a memoir, Tango: My Childhood Backwards and in High Heels, whose Ginger Rogers-referencing subtitle is, in this case, an understatement.

***

On his or her birthday, HiLobrow irregularly pays tribute to one of our high-, low-, no-, or hilobrow heroes. Also born this date: Ghostface Killah and William Moulton Marston.

READ MORE about men and women born on the cusp between the Original Generation X (1954-63) and Reconstructionist (1964-73) Generations.

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From Basel to Hong Kong, Don’t Miss These Dreamy Exhibitions and Events

Katja Novitskova and Timur Si-Qin, Installation view at the Center for Curatorial Studies: Bard College, Annandale-on-Hudson, NY

I'm going to imagine a time in which post-internet megabucks are really rolling in, and I'm equipped with a private Rhizome Vistajet. If that time happened to be this week, I’d be sure to hit up these exhibitions and events, ranging from Katja Novitskova and Timur Si-Qin's upstate New York exhibition to Robin Peckham's new art fair excursions in Hong Kong. Check out the upcoming exhibitions listed below, with a couple outstanding shows not to be missed. 

“Bcc 9: Das Ei ohne Schale.” at Oslo10, Basel, Switzerland
Opening Thursday, May 10th at 7PM.

Is Bcc the new BYOB? Oslo10, a new exhibition space in Kunstfreilager/Dreispitz, just outside of Basel, Switzerland, will host the ninth edition of Bcc. Originated by Aurélia Defrance, Julie Grosche and Aude Pariset, who have also curated this edition, the exhibition format mandates that all artists submit their work digitally, rather than physically. Artists in this round include Harm van den Dorpel, Calla Henkel and Max Pitegoff, Stephen Lichty, Sara Ludy, Mélodie Mousset.

Kate Steciw, “Live Laugh Love” at The Green Room, London
Opening Friday May 11th at 6:00pm, runs through June 17

Surprisingly, this is Kate Steciw’s (much belated) first exhibition in Europe. Green Room programmer Ché Zara Blomfield seems to be aggressively bringing the work of American “internet-related” artists to London, her last exhibition mounting the work of Artie Vierkant, and previously showing Petra Cortright.

Rhizome Benefit – New York, NY
May 9th at 7pm, VIP Cocktails with a silent auction and DJ set by Venus X, 9PM, Afterparty with LE1F and Extreme Animals

Alright, this is a shoo-in, but come party with us! Support Rhizome, drink some drinks, and enjoy tunes by ultra-hot DJ Venus X, LE1F, and everyone’s favorite band, Extreme Animals. What’s not to like?

LUX / ICA Biennial of Moving Images 
May 24 – 27th

Organized by LUX Moving Image and the Institute of Contemoprary Art, London, the Biennial of Moving Images includes programming by eleven curators and artists:  Thomas Beard & Ed Halter (who are clearly wonderful curators, but can we please choose someone else to curate film biennials?!), Elena Filipovic, Michelle Cotton, Martha Kirszenbaum, Shanay Jhaveri, Mark Webber, Ben Rivers and Rosa Barba. The ambitious program also includes various panel discussions, live performance commissions; an Artists’ School run by Ian White; a Curating Course led by George Clark; a Live Journal edited by Isla Leaver-Yap; and a dedicated reader including newly commissioned essays and artists’ projects.

Lance Wakeling “A Tour of the AC-1 Transatlantic Submarine Cable” at Supplement, London
Event Friday May 11th

If anyone actually believes that the internet is truly a medium emancipated from material means, they should check out Lance Wakeling’s endlessly interesting project, “A Tour of the AC-1 Transatlantic Submarine Cable.” For this project, Wakeling visited the four landing points of a telecommunications cable known as Atlantic Crossing 1, passing through Fire Island, New York; Sennen Cove, England; Castricum, the Netherlands; and Sylt, Germany. The project will be presented as a video with performance remnants at Supplement in London.

Motion, curated by Ceci Moss and Tim Steer at Seventeen, London
Opening May 17th, 6pm

Rhizome’s own Ceci Moss has co-curated what looks like a star-studded exhibition with artist and Seventeen main man Tim Steer. The exhibition combines work ranging from Artie Vierkant to Merce Cunningham, and includes personal favorites Harm van den Dorpel, Oliver Laric, Sean Raspet, and Kari Altmann.

Nadim Abbas and Jon Rafman at Saamlung’s booth within ARTHK12
May 17th – 20th, Hong Kong International Art Fair, Art Futures Booth No. AF24
Hong Kong Convention and Exhibition Center

Critic, curator and gallerist Robin Peckham seems to be killing it in Hong Kong. Saamlung, his downtown central gallery, recently launched the exhibition “Untouchables,” featuring the work of Jo-ey Tang and Travess Smalley, among others (the exhibition closes May 10th), and will mount the work of Jon Rafman and Nadim Abbas at ARTHK12.

Katja Novitskova and Timur Si-Qin, Curated by Agatha Wara, at CCS Bard’s thesis exhibition at the Hessel Museum of Art, Red Hook, NY
Open through May 27th

Si-Qin is gainfully paired with curator and artist Katja Novitskova in Agatha Wara’s Bard CCS thesis exhibition, balancing current dude-heavy conversations related to natural selection, desire, and corporate branding.

Calla Henkel and Max Pitegoff, “Notes on American Performance” at T293, Naples 
Open through May 25th 

One of my favorite aspects of this exhibition is that Henkel and Pitegoff employed their lovers to hang their work. A “labor of love,” if there ever was one.

“E-Vapor-8,” Curated by Francesca Gavin at 319 Scholes
Open through May 18th 

319 Scholes is really on a roll, after mounting writer and curator (and Rhizome Poetry Editor) Brian Droitcour’s “Big Reality,” and now London-based writer, editor, and curator Francesca Gavin’s rave-tastic “E-Vapor-8.”

 

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Teaching Students–and the Rest of Us–How to Be Appreciative

In honor of Teacher Appreciation Week, Beacon Broadside is running a series of posts on educators and education.

Award-winning educator Linda F. Nathan founded the Boston Arts Academy in 1998. She consults and speaks on educational issues nationally and internationally, and teaches a graduate course at Harvard on building democratic schools. Nathan is the author of The Hardest Questions Aren't on the Test: Lessons from an Innovative Urban School.

0615Senior year is by far the most demanding at Boston Arts Academy. Students must truly demonstrate one of our shared values: passion with balance. Their final senior Humanities paper and group project is due. Opening nights for their final arts exhibitions and performances are just around the corner. Many must still scramble to pay for senior dues, prom, and yearbook.

These demands can feel like too much, and adolescents often forget to react to stress with grace. How many adults know how to do this? So today, in our assembly, I reminded our seniors about the importance of showing teachers their appreciation.

If each senior writes one note to one teacher, I would feel I had done my job. I want students to recognize the brilliance and selflessness of so many of their teachers. Sadly, the general public could benefit from this education as well.

I recalled in assembly how each of my staff has done something terrific with kids and with one another as colleagues. In my “Celebrating Another Year Together” presentation each year, I name remarkable things that our faculty has accomplished. I remind us of the various ways teachers took on extra responsibilities, implemented a new curriculum, succeeded with a particular project or simply were present daily for students. If I could, I would reimburse every teacher for the thousands of dollars they have collectively spent on student supplies, taking students to lunch, driving students home, etc...

And finally, if I could, I would put a huge stop sign at the door to prevent high-stakes testing from taking over the curriculum. I would let teachers know that I hold them accountable for high standards, that I trust them to do an excellent job, and that I will not tie their evaluations to test scores.

Alas, it is the letter and my own writing that I know I can deliver. The rest is up to the students I encourage, and to a behavior of appreciation that the community can model for them.

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“Social Media Marketing Masterclass [In 3 Easy Steps]” by Jesse Darling

Lesson One:

IT DOESN'T MATTER IF YOU DON'T KNOW WHAT YOU'RE DOING,
SO LONG AS IT'S WORKING.

 

██████              01 December at 17:31

heh. your videos, blog and online presence are like a window on some sort of amazing, magical, brighter-than-life parallel universe – full of beautiful people, glamour, enchanted bric-a-brac and generally cool stuff.

rock on. and good luck in  ██████ :)

______________________________________

Jesse Darling          01 December at 09:40

██████ If only you could see the mice, the mould, the incessant rain, the  ██████ & the bank balance. Still, it’s  ██████; it’s home. ;) So thank you.

███████████████████████

xx JD

______________________________________

Lesson Two:

GIVE YOUR CUSTOMERS WHAT THEY WANT,
EVEN IF YOU DON'T UNDERSTAND WHAT THEY'RE ASKING FOR.

 

██████              26 December, 2011

Dear Jesse,

I have some questions to ask you because of your physical nuance— the awareness you have— the sensitivity— the life— yet still the ability to move. This must require constant cleaning, writing, talking, expressing— I think you are in a sense an evolution of ██████ — please do not take this as an insult — I could only insult myself if simplifying— but what I see in your manner of expressing with words is an ability to communicate subtleties in a way that does not appear to be so. ██████.

Something very clear about you— and which fains from he word artist or philosopher, though you are an artist— you are also knowing of— existing outside of— █████████ — and these are ██████ tendencies — not of the preceding university ‘objective’ era, but something cunning to ‘information’ and its know not, as well as ‘art’ and its know not—

Anyway, questions pending.

██████

______________________________________

Jesse Darling          26 December 2011

██████. Hit me up.

______________________________________

Lesson Three:

HATERS GONNA HATE.
NEVER STOP BELIEVING.

██████              15 February at 01:18

If one is an artist does that mean that life has to be constantly challenging and painful and tragic? Does it have to be constantly entertaining (and therefore dramatic and full of conflict) for the “audience”?

If so, I guess that makes lasting love pretty much impossible.

I’m too old and tired for all that. I just want to love ██████ and for her to love me. ████████████████████████ I still love forever and ███████████████████████ I was at work).

I’m good at that. Making things simple. Just a simple contented little life. But quite beautiful nonetheless.

Does the artist sacrifice the chance of that for the audience?

______________________________________

Reply:

 

 

 

 

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animated gif



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The People of the Ruins By Edward Shanks new books coming soon…



The People of the Ruins By Edward Shanks


new books coming soon from Hilowbrow books

Illustration - Michael Lewy
Cover Design - Tony Leone

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The Night Land  - William Hope Hodgson new books coming soon…



The Night Land  - William Hope Hodgson 
new books coming soon from Hilowbrow books

Illustration - Michael Lewy
Cover Design - Tony Leone

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28 Seeds: Endgame

If there are going to be any songs for World War III, we’d better start writing them now…

-Tom Lehrer, So Long Mom

This week is the final run for 28 Seeds, the pre-post-apocalyptic steampunk musical. You followed Edrie as a HiLobrow artist-in-residence. You voted Walter Sickert best artist in Boston. You Kickstarter’ed The Army of Broken Toys‘ most bawdy and topical cabaret yet. A multifaceted look at information bombardment, apocalyptic metaphors, and endgame good times, 28 Seeds mashes up striptease and space flight in a black comedy that will get you out of your seat and into the party. Like it’s 1999? No, like it’s 2012!

From the website:

It’s an apocalyptic, sci-fi, steampunk collaboration between experimental theater company Liars & Believers and the steamCRUNK band Walter Sickert & the ARmy of BRoken TOys. 28 Seeds tells the story of how greed and ignorance destroyed the world. This is HP Lovecraft meets rock music and 1000 channels of cable TV; it’s government conspiracy, burlesque, ray guns, and tentacles; it blends a live rock show, science fiction, dance, theatre, video and sound into an immersive performance experience.

There’s no time like the present for the end of the world.

***

Final shows this Thursday at 7:30pm, and Friday and Saturday at 8pm. Boston Center for the Arts Plaza Theatre, 539 Tremont Street in the South End.

Be sure to use code ERB for 50% off: order tickets here.

28 Seeds
Music and Lyrics by Walter Sickert

Book and additional music and lyrics by Meff

Story by Walter Sickert

Developed in collaboration with Liars & Believers
28 Seeds playlist on YouTube

***

Photography by Hans Wendland.

HiLobrow’s Artist-in-residence archive.

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Rhythm of Life’s “Uncle Sam” single came out…



Rhythm of Life’s “Uncle Sam” single came out May 8, 1982.

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Soft Cell’s “Torch” single came out May 8,…



Soft Cell’s “Torch” single came out May 8, 1982. Here’s a TV performance from that era.

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Busty hostess steals limelight in Mexico presidential debate

** Originally published at World Now: MEXICO CITY -- It was, in a manner of speaking, the biggest moment of Sunday night's presidential debate in Mexico. To mark the debate's start, a stunning, undeniably well-endowed model took the floor, smiling silently and carrying a box with four pieces of paper in it that candidates drew to see who went first. The candidates managed a straight face,...
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UB40’s “Love Is All Is Alright” single came…



UB40’s “Love Is All Is Alright” single came out May 8, 1982. Here’s a live performance from that year.

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Adam Ant’s “Goody Two Shoes” single came out…



Adam Ant’s “Goody Two Shoes” single came out May 8, 1982. Here’s the original promo video. What an amazing song.

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Mega City Soundtrack

[Image: A map of fictional mega cities, via 2000AD].

A short review in the most recent Wire discusses a new album by Geoff Barrow and Ben Salisbury: a speculative urban soundtrack to Mega City One, a "post-apocalyptic sprawl covering the eastern seaboard of the United States" from Judge Dredd. "Portishead's Geoff Barrow and BBC soundtrack composer Ben Salisbury's instrumental interpretation" of the city, The Wire writes, "evoke[s] the gunmetal grey of life in Mega City One, its multilevel labyrinth of self-contained blocks, zipstrips and boomways reflecting darkly in the album's tarnished metallic textures and gridlike structures."

The retro-Alan Howarthian synthesizers, a "rigorously imagined sound map" of the city, can be streamed in full via Bandcamp.

For those of you in London, meanwhile, Barrow and Salisbury will perform excerpts from the "weirdly addictive"—or is it "hackneyed"?—album at Orbital Comics on 16 May.
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THE SCARLET PLAGUE

NOW AVAILABLE!

As of today HiLoBooks’ gorgeous paperback edition of Jack London’s apocalyptic science fiction novel The Scarlet Plague is available for sale. $12.95 — cheap!

ORDER FROM AMAZON! ($11.01 plus shipping; available for Prime)

If you’re extra-eager to help out the cause, send $14.00 per copy via PayPal to: jglenn@hilobrow.com. S&H included.

Want to SUBSCRIBE to the ENTIRE SERIES of six titles? Send $50.00 via PayPal to: jglenn@hilobrow.com. S&H included.

And if you’re in Boston, buy a copy from PAZZO BOOKS or SEEK BOOKS in West Roxbury. Heck, visit them both!

Introduction by Matthew Battles, cofounder of HiLobrow and HiLoBooks and author of Library: An Unquiet History, the forthcoming history of the written word Letter by Letter, and the new science fiction collection The Sovereignties of Invention. Battles is currently a fellow at Harvard’s metaLAB (Berkman Center for Internet and Society).

Supplies are limited! Act now! You’ll want to collect every installment in this unique series!

Serialized here at HiLobrow from January through April of this year, The Scarlet Plague tells the story of a gruesome pandemic which kills nearly every living soul on the planet, in the year 2013. 2012 marks the centennial of the book’s first publication.

“I knew Jack London was all about romanticizing nature and the frontier and primitive peoples and, you know, the wild,” writes Kurt Andersen in his 2012 blurb for HiLoBooks. “But this showed me a whole new realm of London’s ambivalence about civilization: The Scarlet Plague is not just among the first modern post-apocalyptic fictions — starting right about now, a global contagion wipes out nearly all 8 billion earthlings — but maybe the most Edenic and winsome one ever.”

Thanks for the boost, Boing Boing! Please help us spread the word — here is the Amazon URL: http://amzn.to/HiLoScarlet

For more info on the Radium Age science fiction book series, visit the HiLoBooks homepage.

Hitting the shelves next month: HiLoBooks’ gorgeous paperback edition of Rudyard Kipling’s utopian science fiction novel With the Night Mail (and “As Easy as A.B.C.”), currently being serialized at HiLobrow.

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The Poison Belt (4)

HiLobrow is pleased to present the fourth installment of our serialization of Arthur Conan Doyle’s The Poison Belt. New installments will appear each Tuesday for 12 weeks.

If you alone had discovered that the Earth was about to be engulfed in a belt of poisonous “ether” from outer space, what would you do? Professor Challenger, a controversial scientist whose intellectual sprezzatura may remind you of Arthur Conan Doyle’s more famous fictional detective character, assembles the adventurers with whom he’d once romped through a South American jungle (in The Lost World, published in 1912) and locks them in his wife’s dressing room. Less a thriller than a brainteaser set against a catastrophic backdrop, in this 1913 sequel Challenger & Co. inquire into the method of the mind, and the relationship of intuition to reason, even as the world ends.

“To anyone who has had the delightful experience of traveling in The Lost World with Professor Challenger the bare announcement that that brilliant and eccentric personage plays a most important part in this new tale will quite suffice. For who, having once met the Professor, would not desire to continue the acquaintance?” — New York Times (1913).

“It’s impossible to read The Poison Belt, written in 1913, and not see in its exterminating vision a shadow of the coming war that would, only slightly less effectively, destroy Conan Doyle’s world.” — Gordon Dahlquist (2012 blurb for HiLoBooks)

In July, HiLoBooks will publish a beautiful new edition of The Poison Belt, with an introduction by Radium Age science fiction scholar (and HiLobrow editor) Joshua Glenn. Afterword by Gordon Dahlquist, author of The Glass Books of the Dream Eaters, The Dark Volume, and the forthcoming The Chemickal Marriage.

ORDER YOUR COPY NOW!

ALL EXCERPTS: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12

LAST WEEK: “‘She entered and, seeing the room empty, imagined that I had withdrawn to the study. As I had expected, she approached and leaned over the table to replace the vase. I had a vision of a cotton stocking and an elastic-sided boot. Protruding my head, I sank my teeth into the calf of her leg. The experiment was successful beyond belief.’”

***

Then, even as I said the word, my mind flashed back over the whole morning’s experiences, past Lord John with his buffalo, past my own hysterical tears, past the outrageous conduct of Professor Summerlee, to the queer happenings in London, the row in the park, the driving of the chauffeur, the quarrel at the oxygen warehouse. Everything fitted suddenly into its place.

“Of course,” I cried again. “It is poison. We are all poisoned.”

“Exactly,” said Challenger, rubbing his hands, “we are all poisoned. Our planet has swum into the poison belt of ether, and is now flying deeper into it at the rate of some millions of miles a minute. Our young friend has expressed the cause of all our troubles and perplexities in a single word, ‘Poison.’”

We looked at each other in amazed silence. No comment seemed to meet the situation.

“There is a mental inhibition by which such symptoms can be checked and controlled,” said Challenger. “I cannot expect to find it developed in all of you to the same point which it has reached in me, for I suppose that the strength of our different mental processes bears some proportion to each other. But no doubt it is appreciable even in our young friend here. After the little outburst of high spirits which so alarmed my domestic I sat down and reasoned with myself. I put it to myself that I had never before felt impelled to bite any of my household. The impulse had then been an abnormal one. In an instant I perceived the truth. My pulse upon examination was ten beats above the usual, and my reflexes were increased. I called upon my higher and saner self, the real G. E. C., seated serene and impregnable behind all mere molecular disturbance. I summoned him, I say, to watch the foolish mental tricks which the poison would play. I found that I was indeed the master. I could recognize and control a disordered mind. It was a remarkable exhibition of the victory of mind over matter, for it was a victory over that particular form of matter which is most intimately connected with mind. I might almost say that mind was at fault and that personality controlled it. Thus, when my wife came downstairs and I was impelled to slip behind the door and alarm her by some wild cry as she entered, I was able to stifle the impulse and to greet her with dignity and restraint. An overpowering desire to quack like a duck was met and mastered in the same fashion. Later, when I descended to order the car and found Austin bending over it absorbed in repairs, I controlled my open hand even after I had lifted it and refrained from giving him an experience which would possibly have caused him to follow in the steps of the housekeeper. On the contrary, I touched him on the shoulder and ordered the car to be at the door in time to meet your train. At the present instant I am most forcibly tempted to take Professor Summerlee by that silly old beard of his and to shake his head violently backwards and forwards. And yet, as you see, I am perfectly restrained. Let me commend my example to you.”

“I’ll look out for that buffalo,” said Lord John.

“And I for the football match.”

“It may be that you are right, Challenger,” said Summerlee in a chastened voice. “I am willing to admit that my turn of mind is critical rather than constructive and that I am not a ready convert to any new theory, especially when it happens to be so unusual and fantastic as this one. However, as I cast my mind back over the events of the morning, and as I reconsider the fatuous conduct of my companions, I find it easy to believe that some poison of an exciting kind was responsible for their symptoms.”

Challenger slapped his colleague good-humouredly upon the shoulder. “We progress,” said he. “Decidedly we progress.”

“And pray, sir,” asked Summerlee humbly, “what is your opinion as to the present outlook?”

“With your permission I will say a few words upon that subject.” He seated himself upon his desk, his short, stumpy legs swinging in front of him. “We are assisting at a tremendous and awful function. It is, in my opinion, the end of the world.”

The end of the world! Our eyes turned to the great bow-window and we looked out at the summer beauty of the country-side, the long slopes of heather, the great country-houses, the cozy farms, the pleasure-seekers upon the links.

The end of the world! One had often heard the words, but the idea that they could ever have an immediate practical significance, that it should not be at some vague date, but now, to-day, that was a tremendous, a staggering thought. We were all struck solemn and waited in silence for Challenger to continue. His overpowering presence and appearance lent such force to the solemnity of his words that for a moment all the crudities and absurdities of the man vanished, and he loomed before us as something majestic and beyond the range of ordinary humanity. Then to me, at least, there came back the cheering recollection of how twice since we had entered the room he had roared with laughter. Surely, I thought, there are limits to mental detachment. The crisis cannot be so great or so pressing after all.

“You will conceive a bunch of grapes,” said he, “which are covered by some infinitesimal but noxious bacillus. The gardener passes it through a disinfecting medium. It may be that he desires his grapes to be cleaner. It may be that he needs space to breed some fresh bacillus less noxious than the last. He dips it into the poison and they are gone. Our Gardener is, in my opinion, about to dip the solar system, and the human bacillus, the little mortal vibrio which twisted and wriggled upon the outer rind of the earth, will in an instant be sterilized out of existence.”

Again there was silence. It was broken by the high trill of the telephone-bell.

“There is one of our bacilli squeaking for help,” said he with a grim smile. “They are beginning to realize that their continued existence is not really one of the necessities of the Universe.”

He was gone from the room for a minute or two. I remember that none of us spoke in his absence. The situation seemed beyond all words or comments.

“The medical officer of health for Brighton,” said he when he returned. “The symptoms are for some reason developing more rapidly upon the sea level. Our seven hundred feet of elevation give us an advantage. Folk seem to have learned that I am the first authority upon the question. No doubt it comes from my letter in the Times. That was the mayor of a provincial town with whom I talked when we first arrived. You may have heard me upon the telephone. He seemed to put an entirely inflated value upon his own life. I helped him to readjust his ideas.”

Summerlee had risen and was standing by the window. His thin, bony hands were trembling with his emotion.

“Challenger,” said he earnestly, “this thing is too serious for mere futile argument. Do not suppose that I desire to irritate you by any question I may ask. But I put it to you whether there may not be some fallacy in your information or in your reasoning. There is the sun shining as brightly as ever in the blue sky. There are the heather and the flowers and the birds. There are the folk enjoying themselves upon the golf-links and the laborers yonder cutting the corn. You tell us that they and we may be upon the very brink of destruction—that this sunlit day may be that day of doom which the human race has so long awaited. So far as we know, you found this tremendous judgment upon what? Upon some abnormal lines in a spectrum—upon rumours from Sumatra—upon some curious personal excitement which we have discerned in each other. This latter symptom is not so marked but that you and we could, by a deliberate effort, control it. You need not stand on ceremony with us, Challenger. We have all faced death together before now. Speak out, and let us know exactly where we stand, and what, in your opinion, are our prospects for our future.”

It was a brave, good speech, a speech from that stanch and strong spirit which lay behind all the acidities and angularities of the old zoologist. Lord John rose and shook him by the hand.

“My sentiment to a tick,” said he. “Now, Challenger, it’s up to you to tell us where we are. We ain’t nervous folk, as you know well; but when it comes to makin’ a week-end visit and finding you’ve run full butt into the Day of Judgment, it wants a bit of explainin’. What’s the danger, and how much of it is there, and what are we goin’ to do to meet it?”

He stood, tall and strong, in the sunshine at the window, with his brown hand upon the shoulder of Summerlee. I was lying back in an armchair, an extinguished cigarette between my lips, in that sort of half-dazed state in which impressions become exceedingly distinct. It may have been a new phase of the poisoning, but the delirious promptings had all passed away and were succeeded by an exceedingly languid and, at the same time, perceptive state of mind. I was a spectator. It did not seem to be any personal concern of mine. But here were three strong men at a great crisis, and it was fascinating to observe them. Challenger bent his heavy brows and stroked his beard before he answered. One could see that he was very carefully weighing his words.

“What was the last news when you left London?” he asked.

“I was at the Gazette office about ten,” said I. “There was a Reuter just come in from Singapore to the effect that the sickness seemed to be universal in Sumatra and that the lighthouses had not been lit in consequence.”

“Events have been moving somewhat rapidly since then,” said Challenger, picking up his pile of telegrams. “I am in close touch both with the authorities and with the press, so that news is converging upon me from all parts. There is, in fact, a general and very insistent demand that I should come to London; but I see no good end to be served. From the accounts the poisonous effect begins with mental excitement; the rioting in Paris this morning is said to have been very violent, and the Welsh colliers are in a state of uproar. So far as the evidence to hand can be trusted, this stimulative stage, which varies much in races and in individuals, is succeeded by a certain exaltation and mental lucidity—I seem to discern some signs of it in our young friend here—which, after an appreciable interval, turns to coma, deepening rapidly into death. I fancy, so far as my toxicology carries me, that there are some vegetable nerve poisons——”

“Datura,” suggested Summerlee.

“Excellent!” cried Challenger. “It would make for scientific precision if we named our toxic agent. Let it be daturon. To you, my dear Summerlee, belongs the honour—posthumous, alas, but none the less unique—of having given a name to the universal destroyer, the great Gardener’s disinfectant. The symptoms of daturon, then, may be taken to be such as I indicate. That it will involve the whole world and that no life can possibly remain behind seems to me to be certain, since ether is a universal medium. Up to now it has been capricious in the places which it has attacked, but the difference is only a matter of a few hours, and it is like an advancing tide which covers one strip of sand and then another, running hither and thither in irregular streams, until at last it has submerged it all. There are laws at work in connection with the action and distribution of daturon which would have been of deep interest had the time at our disposal permitted us to study them. So far as I can trace them”—here he glanced over his telegrams—”the less developed races have been the first to respond to its influence. There are deplorable accounts from Africa, and the Australian aborigines appear to have been already exterminated. The Northern races have as yet shown greater resisting power than the Southern. This, you see, is dated from Marseilles at nine-forty-five this morning. I give it to you verbatim:—

“‘All night delirious excitement throughout Provence. Tumult of vine growers at Nîmes. Socialistic upheaval at Toulon. Sudden illness attended by coma attacked population this morning. Peste foudroyant. Great numbers of dead in the streets. Paralysis of business and universal chaos.’

“An hour later came the following, from the same source:—

“‘We are threatened with utter extermination. Cathedrals and churches full to overflowing. The dead outnumber the living. It is inconceivable and horrible. Decease seems to be painless, but swift and inevitable.’

“There is a similar telegram from Paris, where the development is not yet as acute. India and Persia appear to be utterly wiped out. The Slavonic population of Austria is down, while the Teutonic has hardly been affected. Speaking generally, the dwellers upon the plains and upon the seashore seem, so far as my limited information goes, to have felt the effects more rapidly than those inland or on the heights. Even a little elevation makes a considerable difference, and perhaps if there be a survivor of the human race, he will again be found upon the summit of some Ararat. Even our own little hill may presently prove to be a temporary island amid a sea of disaster. But at the present rate of advance a few short hours will submerge us all.”

Lord John Roxton wiped his brow.

“What beats me,” said he, “is how you could sit there laughin’ with that stack of telegrams under your hand. I’ve seen death as often as most folk, but universal death—it’s awful!”

“As to the laughter,” said Challenger, “you will bear in mind that, like yourselves, I have not been exempt from the stimulating cerebral effects of the etheric poison. But as to the horror with which universal death appears to inspire you, I would put it to you that it is somewhat exaggerated. If you were sent to sea alone in an open boat to some unknown destination, your heart might well sink within you. The isolation, the uncertainty, would oppress you. But if your voyage were made in a goodly ship, which bore within it all your relations and your friends, you would feel that, however uncertain your destination might still remain, you would at least have one common and simultaneous experience which would hold you to the end in the same close communion. A lonely death may be terrible, but a universal one, as painless as this would appear to be, is not, in my judgment, a matter for apprehension. Indeed, I could sympathize with the person who took the view that the horror lay in the idea of surviving when all that is learned, famous, and exalted had passed away.”

“What, then, do you propose to do?” asked Summerlee, who had for once nodded his assent to the reasoning of his brother scientist.

“To take our lunch,” said Challenger as the boom of a gong sounded through the house. “We have a cook whose omelettes are only excelled by her cutlets. We can but trust that no cosmic disturbance has dulled her excellent abilities. My Scharzberger of ’96 must also be rescued, so far as our earnest and united efforts can do it, from what would be a deplorable waste of a great vintage.” He levered his great bulk off the desk, upon which he had sat while he announced the doom of the planet. “Come,” said he. “If there is little time left, there is the more need that we should spend it in sober and reasonable enjoyment.”

***

NEXT WEEK: “We will not turn them on until our symptoms become unbearable. Then we shall dole the gas out as it is urgently needed. It may give us some hours, possibly even some days, on which we may look out upon a blasted world. Our own fate is delayed to that extent, and we will have the very singular experience, we five, of being, in all probability, the absolute rear guard of the human race upon its march into the unknown. Perhaps you will be kind enough now to give me a hand with the cylinders. It seems to me that the atmosphere already grows somewhat more oppressive.”

Stay tuned!

***

RADIUM AGE SCIENCE FICTION: “Radium Age” is HiLobrow’s name for the 1904–33 era, which saw the discovery of radioactivity, the revelation that matter itself is constantly in movement — a fitting metaphor for the first decades of the 20th century, during which old scientific, religious, political, and social certainties were shattered. This era also saw the publication of genre-shattering writing by Edgar Rice Burroughs, Sax Rohmer, E.E. “Doc” Smith, Jack London, Rudyard Kipling, Arthur Conan Doyle, Aldous Huxley, Olaf Stapledon, Karel Čapek, H.P. Lovecraft, Charlotte Perkins Gilman, Yevgeny Zamyatin, E.M. Forster, Philip Wylie, and other pioneers of post-Verne/Wells, pre-Golden Age “science fiction.” More info here.

HILOBOOKS: The mission of HiLoBooks is to serialize novels on HiLobrow; and also, as of 2012, operating as an imprint of Richard Nash’s Cursor, to reissue Radium Age science fiction in beautiful new print editions. In May 2012, we will publish Jack London’s The Scarlet Plague; in June, Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”); in July, Arthur Conan Doyle’s The Poison Belt; in September, H. Rider Haggard’s When the World Shook; in October, Edward Shanks’ The People of the Ruins; and in November, William Hope Hodgson’s The Night Land. For more information, visit the HiLoBooks homepage.

READ: Jack London’s The Scarlet Plague, serialized between January and April 2012; and Rudyard Kipling’s With the Night Mail (and “As Easy as A.B.C.”), serialized between March and June 2012.

READ: HiLobrow’s previous serialized novels, both original works: James Parker’s The Ballad of Cocky The Fox (“a proof-of-concept that serialization can work on the Internet” — The Atlantic) and Karinne Keithley Syers’s Linda Linda Linda. We also publish original stories and comics.

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Edmund Wilson

In the Spring of 1962, writer and journalist EDMUND WILSON (1895-1972)’s eight-hundred plus page Patriotic Gore: Studies In The Literature of the American Civil War burst like canister shot upon the Centennial landscape. Unexpectedly prefaced by a free-ranging jeremiad against Cold War pieties that seemed to repudiate parts of his earlier intellectual history epic, To The Finland Station (1940), Wilson begins with Harriet Beecher Stowe’s brilliant 1852 novel Uncle Tom’s Cabin and continues through dozens of authors whose qualities posterity had mislaid. Among them: Illinoisan Francis Grierson, author of the Lincolnian historical fiction, Valley of the Shadows (1909); Ulysses S. Grant (his memoirs being a favorite of Gertrude Stein); Frederick Law Olmsted, author of three superb Southern travelogues before achieving greater renown as a landscape architect; abolitionist, Emily Dickinson correspondent, and black Army regiment commander Thomas Wentworth Higginson; South Carolina diarist Mary Chestnut; Louisiana novelists George Washington Cable and Kate Chopin; the list goes on, with Wilson offering surprise, challenge, and wry humor in abundance. Still, concerns remain. His understanding of Reconstruction-era politics was shaky. He undervalues Herman Melville’s poetry and seems unaware of The Confidence Man’s (1857) wracked prescience. While Wilson’s empathy for Alexander Stephens — frail Georgia Congressman and anti-secessionist turned Confederate Vice President and inexhaustible states’ rights ideologue — nods from one “impossibilist” to another, how could he ignore the likewise irrepressible Frederick Douglass? Perhaps in describing Oliver Wendell Holmes Jr., Wilson found his own virtue and error, an “unshakeable self-confidence, his carapace of impenetrable indifference to current pressures and public opinion.”

***

On his or her birthday, HiLobrow irregularly pays tribute to one of our high-, low-, no-, or hilobrow heroes. Also born this date: Gary Snyder and Roberto Rossellini.

READ MORE about members of the Hardboiled Generation (1894-1903).

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Tristan Jones

The tales of adventurer, peg-legged seafarer, and advocate for the disabled TRISTAN JONES (1929-95) fill 18 books, most of which should be categorized as autobiographical fantasy. The astonishing part of his story is not that he lied so often and so brazenly, but that as much of what he claimed to have dared and accomplished in his life is actually true. He did, indeed, travel 345,000 miles under sail in small boats — 180,000 of those miles solo. He was the first to sail a foreign boat on Lake Titicaca, the highest lake in the world. He was the first to take a vessel across the width of South America, to sail in the Mato Grosso, and (after he had lost a leg to gangrene) to cross Europe in an oceangoing trimaran, from the North to the Black Sea. While these maritime records alone would qualify him as one of the great seadogs of modern times, when you figure in the raucous, epic quality of his prose, its magical Welsh lilt combined with an irascible lyricism reminiscent of wayfarers of a bygone era, Jones nearly lives up to his own promise: that he “would set a record that will not be broken until man finds water amongst the stars.” A longtime fan, I gave my daughter the middle name of Tristan, never suspecting that his lies permeated every aspect of his personal history — including his first name, which appears to have been Arthur. Or that rather than merely embellishing his tales of incredible voyages he plagiarized more than his share from sailors who came before him, or simply made them up out of a slurry of ocean spray and the fumes of dark rum. Ice, his account of being trapped in the frigid Arctic during his attempt to sail farther north than anyone else, is a pure fabrication, right down to Nelson, the one-eyed, three-legged dog who was Jones’ constant companion. Contrary to what he claimed, Jones most likely wasn’t born at sea, wasn’t in the Royal Navy during World War II, was never on a vessel blown up by guerrillas, was never tortured in Buenos Aires, wasn’t attacked by Arabs or rescued by Ethiopians. He probably wasn’t even Welsh. Instead, my daughter’s namesake appears to have been the wiry, tall-tale-spinning old salt with the wooden leg at the end of the bar, always the first to start a fight and the last to stagger out the door, who, somehow, shook off the hangover the next day to churn out enchanting, crystalline prose worthy of the Arctic ice he never saw in this lifetime, but imagined as vividly as he cursed his doubters, spurned defeat, and embraced his seagoing, flawed, unfailingly interesting life.

***

On his or her birthday, HiLobrow irregularly pays tribute to one of our high-, low-, no-, or hilobrow heroes. Also born this date: Gary Snyder and Roberto Rossellini.

READ MORE about members of the Postmodernist (1924-33) Generation.

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Gym wisdom

One of the guys at the gym has Clarke Peters-level gravitas. So for purposes of this post, I’m gonna just call him Lester.

Lester’s a trainer. And although I am not officially being trained by him, he sometimes trains me anyway.

One day I was doing squats. I really want to be able to squat my bodyweight, so I keep trying to go heavier. But in my striving, I can get a little careless. Lester showed me a couple of ways to improve my form — finding a fixed point to look up at, lifting my toes.

“It’s not just the weight,” he told me. “It’s the technique.”

Another day, a dude came in whom I hadn’t seen before. He gave a very enthusiastic pep talk.

To himself.

“Make it BURN!” Dude said, watching himself in the mirror as he did a few fast dumbbell curls.

While Dude continued his motivational speech, infrequently punctuated by further reps, I was doing a compound exercise: front/lateral raises. Lester admonished me to keep my elbows in close during the front raises. “Oh thanks!” I said, panting a little. “I always find it harder to do the compound exercises.”

Lester barely glanced at Dude as he spoke. “Yeah,” he said, “but you doin em.”

 

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The first paragraph of Illywhacker, by Peter Carey

My name is Herbert Badgery.  I am a hundred and thirty-nine years old and something of a celebrity.  They come and look at me and wonder how I do it.  There are weeks when I wonder the same, whole stretches of terrible time.  It is hard to believe you can feel so bad and still not die.

Matt Emerton told me to read this, and, as is so often the case, his advice was good.


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artspotting: Silvia Bächli via We Find Wildness



artspotting:

Silvia Bächli via We Find Wildness

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Little Boxes #91: Pollination

(Beedrill by Jane Mai, 2012)


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Water vs. World

[Image: Illustration by Jack Cook, Woods Hole Oceanographic Institution; courtesy of the USGS].

In Charles Fishman's compelling exploration of water on Earth, The Big Thirst, there is a shocking statement that, despite the apparent inexhaustibility of the oceans, "the total water on the surface of Earth (the oceans, the ice caps, the atmospheric water) makes up 0.025 percent of the mass of the planet—25/10,000ths of the stuff of Earth. If the Earth were the size of a Honda Odyssey minivan," he clarifies, "the amount of water on the planet would be in a single, half-liter bottle of Poland Spring in one of the van's thirteen cup holders."

This is rather remarkably communicated by an illustration from the USGS, reproduced above, showing "the size of a sphere that would contain all of Earth's water in comparison to the size of the Earth." That's not a lot of water.

Only vaguely related, meanwhile, there is an additional description in Fishman's book worth repeating here.

[Image: The Orion nebula, photographed by Hubble].

In something called the Orion Molecular Cloud, truly vast amounts of water are being produced. How much? Incredibly, Fishman explains, "the cloud is making sixty Earth waters every twenty-four hours"—or, in simpler terms, "there is enough water being formed sufficient to fill all of Earth's oceans every twenty-four minutes." This is occurring, however, in an area "420 times the size of our solar system."

Anyway, Fishman's book is pretty fascinating, in particular his chapter, called "Dolphins in the Desert," on the water reuse and filtration infrastructure installed over the past 10-15 years in Las Vegas.

(Via @USGS).
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Angela Carter

I test used bookstores by seeing what they’ve got by ANGELA CARTER (1940-92); it’s disappointing when I can only find recent US editions of Wise Children (1991) or Nights at the Circus (1984). They’re fine novels, but Carter’s legacy is much more than a magical realist pass at theatrical Victoriana. If we were in an Ideal Used Bookstore, I’d stack a few other Carter titles into your arms, including British editions of The Passion of New Eve (1977) and The Infernal Desire Machines of Doctor Hoffman (1972), surrealist works that rewrite feminist and post-structuralist theory as delicious, comic, playful, appalling, delightful pornography. You must also read Carter’s non-fiction, including Shaking a Leg (1997), for her late sixties fashion reports and early advocacy of Los Bros Hernandez. You haven’t read 1967′s The Magic Toyshop? It is a perfect novel, a slim gothic gem. The short story collection Fireworks (1974) is distinctly personal work from Carter’s time in Japan after her first marriage ended; she comes into her mature voice here, and half the stories are outright masterpieces. And with fairy tale re-tellings ubiquitous on TV and film this year, it’s hard to recall how radical and unlikely Carter’s sinister story collection The Bloody Chamber was in 1979. Her books abrade the British literary canon, and — like Medusa’s blood — they’ve spawned a lineage of strange monsters.

***

On his or her birthday, HiLobrow irregularly pays tribute to one of our high-, low-, no-, or hilobrow heroes. Also born this date: Traci Lords and Darren McGavin.

READ MORE about members of the Anti-Anti-Utopian (1934-43) Generation.

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