Let us take an average experience of chess. You master the moves, start to play frequently, buy a book or two, learn some ground-rules, some openings, develop a little 'vocabulary', a bit of 'pattern recognition' ... After a while you notice that you have stopped improving. Your progress, so far, has felt like a slow ascent along rising ground; then you pause, look up, and see a cliff face almost beyond the dimensions of the globe, whose crest is merely a false summit, itself the first of many.Â
Quickly you relapse into the kind of player who knows one opening to a depth of three moves, who flounders into the middle game hoping for errors more egregious than his own. That is the amateur game: an uninterrupted exchange of howlers. You aren't any good. And the man who always beats you in the pub of the cafe isn't any good. And the man who always beats him in the clubhouse isn't any good. And the man who always beats the man who always beats the man who always beats him may just be starting to get somewhere.
â Martin Amis, âChess: Kasparov v. Karpovâ (1986)
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One afternoon I mistook a bloody nose for a headwound, and I didnât have to wonder anymore how Iâd behave if I ever got hit. We were walking out on a sweep north of Tay Ninh City, toward the Cambodian border, and a mortar round came in about thirty yards away. I had no sense of distances then, even after six or seven weeks in Vietnam I still thought of that kind of information as a journalistsâ detail that could be picked up later, not something a survivor might have to know. When we fell down on the ground the kid in front of me put his boot in my face. I didnât feel the boot, it got lost in the tremendous concussion I made hitting the ground, but I felt a sharp pain in a line over my eyes. The kid turned around and started going into something insane right away, âAw Iâm sorry, shit Iâm sorry, oh no man Iâm sorry.â Some hot stinking metal had been put into my mouth, I thought I tasted brains there sizzling on the end of my tongue, and the kid was fumbling for his canteen and looking really scared, pale, near tears, his voice shaking, âShit Iâm just a fucking oaf, Iâm a fucking clod, youâre okay, youâre really okay,â and somewhere in there I got the feeling that it was him, somehow heâd just killed me. I donât think I said anything, but I made a sound that I can remember now, a shrill blubbering pitched to carry more terror than Iâd ever known existed, like the sounds theyâve recorded off of plants being burned, like an old woman going under for the last time. My hands went flying everywhere all over my head, I had to find it and touch it. There seemed to be no blood coming from the top, none from the forehead, none running out of my eyes, my eyes! In a moment of half-relief the pain became specific, I thought that just my nose had been blown off, or in, or apart, and the kid was still going into it for himself, âOh man, Iâm really fucking sorry.â
Twenty yards in front of us men were running around totally out of their minds. One man was dead (they told me later it was only because heâd been walking forward with his flak jacket open, another real detail to get down and never fuck with again), one was on his hands and knees vomiting some evil pink substance, and one, quite near us, was propped up against a tree facing away from the direction of the round, making himself look at the incredible thing that had just happened to his leg, screwed around about once at some point below his knee like a goofy scarecrow leg. He looked away and then back again, looking at it for a few seconds longer each time, then he settled in for about a minute, shaking his head and smiling, until his face became serious and he passed out.
By then Iâd found my nose and realized what had happened, all that had happened, not even broken, my glasses werenât even broken. I took the kidâs canteen and soaked my sweat scarf, washing the blood off where it had caked on my lip and chin. He had stopped apologizing, and there was no pity on his face anymore. When I handed his canteen back to him, he was laughing at me.
I never told that story to anyone, and I never went back to that outfit again either.
There was a time, about fifteen years ago, when Richard Tull was so worried by alcohol, so worried that he might be an alcoholic, that he became almost as interested in alcoholism as he was interested in alcohol, which was plenty interested. And, when he read, his eyes would mutiny. He was of course transfixed by any incidence of the word alcohol, and all its cognates and synonyms and homonyms; and innocent words, innocently used, came to rivet him: words like stout and punch and sack and hock and mild and bitter; âhigh spirits,â âsmall beer,â âin the drink.â He knew he had gone about as far as he could go with this when one day he veered in on the word it. He was thinking, he realized, of gin-and-it, or gin-and-Italian vermouth. So even it, not to mention Italy, was all fucked up for him. Alcohol, naturally, retained its suzerainty. And any word that looked anything like it. Anabolic. Laconic. Interpol. Uncool. School. Any word that had an l and a c in it, or a c and an h, or an o, or an a. Richard was less interested in alcohol now, largely because he was an alcoholic...
What is the sea to Walcott? In the more than six decades covered by âThe Poetry of Derek Walcottâ ... it can be anything, like matter itself. For the teen-age poet, making his dĂŠbut in the pamphlet 25 Poems, the sea is âthe rounded / Breasts of the milky bays.â In his twenties, Walcott watches as âthe green wave spreads on the printless beachâ and hears âthe sound of water gnawing at bright stone.â In his thirties, the water becomes âoceanâs surpliced choirs / entering its nave, to a censer / of swung mist,â or else âthis sheer light, this clear / infinite, boring, paradisal sea.â The years pass and the images accumulate: âpages of the sea / are a book left open by an absent masterâ; âthe pleats of the shallows are neatly creased / and decorous and processional.â The proliferation continues until the very last pages of the book, when Walcott, who is now an ailing man in his eighties, gives thanks for the balm of âthe seaâs recitation reentering my head.â
--Adam Kirsch, "Derek Walcott's Seascapes,"Â The New Yorker
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My copy of Walker Percy's The Moviegoer says on the cover that he's a "breathtakingly brilliant writer" and it took me awhile to figure out why. Possibly I wouldn't have figured it out without the blurb there telling me I should be on the lookout. Thank god for blurbs.
So I started out with this passage, where Binx Bollingâour drifting protagonist, a 30-year-old New Orleans stockbrokerâexplains why he could never hack it as a scientist, no matter what his aunt says:
My aunt is convinced I have a "flair for research." This is not true. If I had a flair for research, I would be doing research. Actually I'm not very smart. My grades were average. My mother and my aunt think I am smart because I am quiet and absent-mindedâand because my father and grandfather were smart. They think I was meant to do research because I am not fit to do anything elseâI am a genius whom ordinary professions can't satisfy. I tried research one summer. I got interested in the role of the acid-base balance in the formation of renal calculi; really, it's quite an interesting problem. I had a hunch you might get pigs to form oxalate stones by manipulating the pH of the blood, and maybe even to dissolve them. A friend of mine, a boy from Pittsburgh named Harry Stern, and I read up the literature and presented the problem to Minor. He was enthusiastic, gave us everything we wanted and turned us loose for the summer. But then a peculiar thing happened. I became extraordinarily affected by the summer afternoons in the laboratory. The August sunlight came streaming in the great dusty fanlights and lay in yellow bars across the room. The old building ticked and creaked in the heat. Outside we could hear the cries of summer students playing touch football. In the course of an afternoon the yellow sunlight moved across old group pictures of the biology faculty. I became bewitched by the presence of the building; for minutes at a stretch I sat on the floor and watched the motes rise and fall in the sunlight. I called Harry's attention to the presence but he shrugged and went on with his work. He was absolutely unaffected by the singularities of time and place. His abode was anywhere. It was all the same to him whether he catheterized a pig at four o'clock in the afternoon in New Orleans or at midnight in Transylvania. He was actually like one of those scientists in the movies who don't care about anything but the problem in their headsânow here is a fellow who does have a "flair for research" and will be heard from. Yet I do not envy him. I would not change places with him if he discovered the cause and cure of cancer. For he is no more aware of the mystery that surrounds him than a fish is aware of the water it swims in. He could do research for a thousand years and never have an inkling of it. By the middle of August I could not see what difference it made whether the pigs got kidney stones or not (they didn't, incidentally), compared to the mystery of those summer afternoons. I asked Harry if he would excuse me. He was glad enough to, since I was not much use to him sitting on the floor. I moved down to the Quarter where I spent the rest of the vacation in the quest of the spirit of summer and in the company of an attractive and confused girl from Bennington who fancied herself a poet.
This was maybe the first big clue to Percy's style. In clumsier hands the portrait of a man too engrossed in the beauty of a quiet summer afternoon to focus on science could easily be hackneyed. But, remarkably, it's notâpartly because the writing is vivid enough to be convincing ("The old building ticked and creaked in the heat"), partly because the self-deprecation is bland and pointed and funny ("My mother and aunt think I am smart because I am quiet and absent-minded") and partly because the tone is so carefully modulated.
The tone. That's possibly the main draw here. The whole book's written in a bright, almost happy voice that can bend into dark foreboding but never errs on the side of slapstick or sarcasm.Â
Then there are the bits where Bolling creates his own terms for experiencing the world:
Nothing had changed. There we sat, I in the same seat I think, and afterwards came out into the smell of privet. Camphor berries popped underfoot on the same section of broken pavement.
A successful repetition.
What is a repetition? A repetition is the re-enactment of past experience toward the end of isolating the time segment which has lapsed in order that it, the lapsed time, can be savored of itself and without the usual adulteration of events that clog time like peanuts in brittle. Last week, for example, I experienced an accidental repetition. I picked up a German-language weekly in the library. In it I noticed an advertisement for Nivea Crème, showing a woman with a grainy face turned up to the sun. Then I remembered that twenty years ago I saw the same advertisement in a magazine on my father's desk, the same woman, the same grainy face, the same Nivea Crème. The events of the intervening twenty years were neutralized, the thirty million deaths, the countless torturings, uprootings and wanderings to and fro. Nothing of consequence could have happened because Nivea Crème was exactly as it was before. There remained only time itself, like a yard of smooth peanut brittle.
Or this quietly devastating portrait of the gulf in understanding between his mother and father:
My mother⌠had a way of summing up his doings in a phrase that took the heart out of him. He dreamed, I know, of a place of quiet breathing and a deep sleep under the stars and next to the sweet earth. She agreed. "Honey, I'm all for it. I think we all ought to get back to nature and I'd be right with you, Honey, if it wasn't for the chiggers. I'm chigger bait." She made him out to be another Edgar Kennedy (who was making shorts then) thrashing around in the bushes with his newfangled camping equipment. To her it was better to make a joke of it than be defeated by these chilly dawns. But after that nothing more was said about getting back to nature.
Or on why a person like Bolling so highly attuned to his surroundings can't easily travel to other cities:
Chicago. Misery misery son of a bitch of all miseries. Not in a thousand years could I explain it to Uncle Jules, but it is no small thing for me to make a trip, travel hundreds of miles across the country by night to a strange place and come out where there is a different smell in the air and people have a different way of sticking themselves into the world. It is a small thing to him but not to me. It is nothing to him to close his eyes in New Orleans and wake up in San Francisco and think the same thoughts on Telegraph Hill that he thought on Carondelet Street. Me, it is my fortune misfortune to know how the spirit-presence of a strange place can enrich a man or rob a man but never leave him alone, how, if a man travels lightly to a hundred strange cities and cares nothing for the risk he takes, he may find himself No one and Nowhere. Great day in the morning. What will it mean to go moseying down Michigan Avenue in the neighborhood of five million strangers, each shooting out his own personal ray? How can I deal with five million personal rays?
There are lots of novels that try to make the extraordinary or fantastical or bizarre seem just a tad more familiar. Like, say, science fiction or E.M. Forster's A Passage to India or anything that George Pelecanos writes on street gangs and police investigations. The Moviegoer is in the polar opposite category, taking an everyday walk down an everyday street in an everyday city and turning it into something utterly strange.
Every age has its own outlook. It is specially good at seeing certain truths and specially liable to make certain mistakes. We all, therefore, need the books that will correct the characteristic mistakes of our own period. And that means the old books. All contemporary writers share to some extent the contemporary outlook â even those, like myself, who seem most opposed to it. Nothing strikes me more when I read the controversies of past ages than the fact that both sides were usually assuming without question a good deal which we should now absolutely deny. They thought that they were as completely opposed as two sides could be, but in fact they were all the time secretly united â united with each other and against earlier and later ages â by a great mass of common assumptions. We may be sure that the characteristic blindness of the twentieth century â the blindness about which posterity will ask, "But how could they have thought that?" â lies where we have never suspected it, and concerns something about which there is untroubled agreement between Hitler and President Roosevelt or between Mr. H. G. Wells and Karl Barth. None of us can fully escape this blindness, but we shall certainly increase it, and weaken our guard against it, if we read only modern books. Where they are true they will give us truths which we half knew already. Where they are false they will aggravate the error with which we are already dangerously ill. The only palliative is to keep the clean sea breeze of the centuries blowing through our minds, and this can be done only by reading old books. Not, of course, that there is any magic about the past. People were no cleverer then than they are now; they made as many mistakes as we. But not the same mistakes. They will not flatter us in the errors we are already committing; and their own errors, being now open and palpable, will not endanger us. Two heads are better than one, not because either is infallible, but because they are unlikely to go wrong in the same direction. To be sure, the books of the future would be just as good a corrective as the books of the past, but unfortunately we cannot get at them.
--from C.S. Lewis's introduction to St. Athanasiusâ De Incarnatione Verbi Dei
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Soon ants were spiraling up the tongues of my sneakers, onto my sock. I tried to shake them off, but nothing I did disturbed them. Before long, I was sweeping them off my own calves. I kept instinctively taking a step back from some distressing concentration of ants, only to remember that I was standing in the center of an exponentially larger concentration of ants. There was nowhere to go. The ants were horrifying â as in, they inspired horror. Eventually, I scribbled in my notebook: âHoly [expletive] I canât concentrate on what anyoneâs saying. Ants all over me. Phantom itches. Scratching hands, ankles, now my left eye.â Then I got in my car and left.
The Hungarian-born philosopher Aurel Kolnai gave the horrifying qualities of bugs some serious thought. Kolnai ultimately decided that what upsets us is âtheir pullulating squirming, their cohesion into a homogeneous teeming massâ and their âinterminable, directionless sprouting and breeding.â That is, itâs the quantity of crazy ants thatâs so destabilizing. As the American psychologist James Hillman argued, an endless swarm of bugs flattens your perception of yourself as precious and meaningful. It instantly reduces your individual consciousness to a âmerely numerical or statistical level.â
--Jon Mooallem, "Thereâs a Reason They Call Them âCrazy Antsâ" The New York Times (2013)
He was seeing beyond the surfaces of the land to its hidden truths. Some nights he sat up late on his front porch with a glass of Jack and listened to the trucks heading south on 220, carrying crates of live chickens to the slaughterhousesâalways under cover of darkness, like a vast and shameful traffickingâchickens pumped full of hormones that left them too big to walkâand he thought how these same chickens might return from their destination as pieces of meat to the floodlit Bojanglesâ up the hill from his house, and that meat would be drowned in the bubbling fryers by employees whose hatred of the job would leak into the cooked food, and that food would be served up and eaten by customers who would grow obese and end up in the hospital in Greensboro with diabetes or heart failure, a burden to the public, and later Dean would see them riding around the Mayodan Wal-Mart in electric carts because they were too heavy to walk the aisles of a Supercenter, just like hormone-fed chickens.
-- Tabu Ley Rochereau, "Nzale,"Â The Voice of Lightness, 1961-1977Â (2007)
I don't think a single U.S. outlet has reported the fact that Tabu Ley Rochereau died this weekend. Sad news. Never mind all the "king of rumba" encomiums. He was one of the great singers (and bandleaders) of the last century, full stop.
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Book review: My Beloved Brontosaurus, Brian Switek
Like anyone who, as a kid, had dinosaur books and dinosaur sheets and dinosaur pajamas and dinosaur toys and dinosaur dreams, I can get a bit defensive on the subject of modern-day dinosaur science. Anytime paleontologists announce that, hey, T. Rex was actually just a scavenger or, wow, dinosaurs had fur and feathers â that doesn't sit well. This isn't how I imagined dinosaurs growing up. This isn't cool. This isn't right.
But Brian Switek's My Beloved Brontosaurus has convinced me it's time to let go of that knee-jerk dino-nostalgia. We're currently in a golden age of dinosaur science. We're learning things about dinosaurs we never thought it'd be possible to learn: The way dinosaurs communicated, the way they had sex, why they became Earth's dominant life form for hundreds of millions of years. And some of the things scientists are finding will upset our fond childhood memories of dinosaurs. But that's okay, says Switek, an engaging dino-fanatic with boundless curiosity who confesses to the exact same pangs of nostalgia. The journey is worth it.
The mere fact that there were ever dinosaurs at all is shocking, when you really ponder it. They lived on Earth for an unfathomably long period: Humans are actually closer in time to Tyrannosaurus rex (which lived about 65 million years ago) than T. Rex was to Apatosaurus (about 85 million years between them). And dinosaurs assumed a staggering number of diverse forms. Some of them grew so large they pressed the limits of biology. Evolution went wild.
And we still have only a very crude understanding of that diversity. Fossils are relatively few and hard to interpret. That confusion occasionally spills over into pop culture: Most dino-enthusiasts know that the popular Brontosaurus species turned out to be a fake, based on an incorrectly assembled skeleton. But there are plenty of similar stories.
For example: Scientists once thought that tiny Oviraptor was a sneaky egg thief, after finding a skeleton of one in Mongolia on top of what appeared to be large Protoceratops eggs. But that's a rather thin clue, and subsequent evidence suggests that those might have actually been Oviraptor eggsâthe species was framed! The mother was protecting her own, refusing to leave in a deadly sandstorm. Yet the name, which literally means "egg seizer," stuck.
Or: Scientists used to suspect that Deinonychus hunted in packs â the way they did in Jurassic Park. (Michael Crichton mislabeled the charismatic creatures Velociraptors after reading an outdated scientific text.) But this was largely based on a some fossil evidence that suggested a pack of them had taken down a Tentosaurus. In fact, the Deinonychus may have most frequently killed each other in competition for food.
Or: Scientists used to think there were two distinct species of horned, frilled dinosaurs: Triceratops and Torosaurus. The latter had holes in its frill and a less-distinct nose horn. But now some scientists think Torosaurus might just be a fully mature Triceratops â its bone structure simply changed as it grew older. Some of the creatures we think of as distinct species may, in fact, be the same species at different phases of their lives.
Occasionally, our cognitive biases get in the way of our ability to interpret dinosaur fossils. For a long time, scientists thought Pachycephelosaurus used the hard dome on top of its head to butt rival males. Why did they think this? Well, big-horned rams do this. But why should dinosaurs be similar to the animals we happen to be familiar with? And if Pachycephelosaurus was head-butting each other all the time, shouldn't there be signs of trauma? Flaws emerged in the story, and paleontologists began to revise the picture as new evidence poured in. The domes may have been used to identify each other, and only occasionally used for defense.
There's lots of that in the book. Paleontology is hard detective work, sussing out theories from extremely limited clues. Often scientists have to be extremely creative. They'll build 3-D models to try and figure out how two spiky stegosaurs could possibly have sex without impaling each other (we still don't know). They'll search through coprolite (fossilized dinosaur shit) for evidence of parasites. They'll pore over skull trauma to find evidence that T. Rex fought by biting each other in the face.
Even the final snuffing out of the dinosaurs remains a mystery. For a long time, paleontologists assumed that climate change and outsized volcanic eruptions had killed off the dinosaurs once and for all. Some scientists even offered additional theoriesâa horde of caterpillars destroyed the vegetation, or maybe the dinosaurs eventually ate each other. Perhaps they just weren't up to evolutionary snuff.
Then evidence emerged of a massive meteor hitting the Earth at the end of the Cretaceous. Breakthrough! But even now the case isn't closed. Exactly how did the meteor kill off all the dinosaurs all over the world? What was the precise mechanism? Dinosaurs in North America would have been "flash fried" by the fierce impact, but what about those in Asia?
Paleontologists don't just speculate, of course. They search for evidence. (The clues of a meteor impact came from an examination of deposits of iridium in geological layers.) But imagination has to play a large role here. And the way we've imagined dinosaurs has changed dramatically over time, driven by fresh evidence, new fossil finds, our own biases, and our shifting ability to conceive of a world so drastically unlike our own.
It's hard to imagine that the dinosaurs I knew and loved as kids will stay the same as scientists keep digging. (I counted at least eight places in this book that suggest that Jurassic Park was wildly wrong on key details â for one, a T. Rex could likely never hear humans screaming, as the bones in its ear couldn't pick up the frequency.) And I never thought I'd say this, but that's fine by me.
Dinosaurs must have had sex. ... One of the earliest considerations of passionate dinosaur encounters was put forward a century ago. In 1906, the American Museum of Natural History paleontologist Henry Fairfield Osborn used affectionate occasions between fearsome Tyrannosaurus rex to explain the dinosaur's oft-ridiculed arms. A pair of Tyrannosaurus specimens collected by fossil hunter Barnum Brown unmistakably showed that this dinosaur had short, but heavily muscled, forelimbs. Osborn couldn't imagine that such small arms played any role in grappling with big game like Edmontonsaurus or Triceratops, but perhaps the arm of Tyrannosaurus was "a grasping organ in copulation." Just imagine two immense predators, one atop the other and holding onto his mate with those beefy, miniaturized appendages. Sadly, Osborn didn't commission a drawing of the behavior from the skilled illustrators he often tapped to restore prehistoric creatures.
Osborn didn't give any serious consideration to dinosaur sex, though. Nor did many other paleontologists of his generation. Dinosaur copulation was seen as a silly subject and beyond the reach of investigation. Plus, it seemed to make dignified researchers feel rather squicky. Sex, in natural history, is a perfectly acceptable subject when considering flashy courting behavior or when boiled down into quantitative surveys of gene pools, but the sordid details of sex itself have often made researchers feel awkward. Not long after Osborn briefly mused about Tyrannosaurus sex, George Murray Levick--a naturalist with the 1910-13 Scott Antarctic Expedition--was shocked and disgusted by the "sexual depravity" of Adelie penguins (which, you'll recall, we now know are living dinosaurs). He was especially horrified by a young male penguin that tried to mate with a dead female. Levick wrote notes in Greek so that only classically educated scientists like himself would be able to read what he observed, and when he prepared a monograph on the penguins, the passages on sexual behavior were considered so sensational and disgusting that the section was cut and only circulated among a small cadre of scientists. (It wasn't until 2012 that Levick's observations--which were unique for their time--were rediscovered and made publicly available.) Sexual behavior, even among living species, was a taboo subject, and speculating in unseemly detail about the mating habits of dinosaurs would surely highlight a scientist as a pervert. Whatever dinosaurs did on hot Jurassic nights was kept behind the shroud of prehistory, and it seems that this was just as well for early-twentieth-century paleontologists.
--Brian Switek, My Beloved Brontosaurus (2013)
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