Robert Macfarlane, Frances Hardinge and Miraphora Mina at The Guardian:

In the beginning was the map. Robert Louis Stevenson drew it in the summer of 1881 to entertain his 12-year-old stepson, Lloyd Osbourne, while on a rainy family holiday in Scotland. It depicts a rough-coasted island of woods, peaks, swamps and coves. A few place names are marked, which speak of adventure and disaster: Spyeglass Hill, Graves, Skeleton Island. The penmanship is deft, confident – at the island’s southern end is an intricate compass rose, and the sketch of a galleon at full sail. Figures signal the depth in fathoms of the surrounding sea, and there are warnings to mariners: “Strong tide here”, “Foul ground”. In the heart of the island is a blood-red cross, by which is scrawled the legend “Bulk of treasure here”.

Stevenson’s map was drawn to set a child dreaming, but it worked most powerfully on its grownup author, inspiring him to write his great pirate novel, Treasure Island.

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Adrian Nathan West at The Quarterly Conversation:

In the tempest-plagued teapot of English translation, Michael Hofmann’s dust-ups are notorious: he compared Stefan Zweig’s suicide note to an Oscar acceptance speech, eviscerated James Reidel’s translations of Thomas Bernhard’s poems, brushed off George Konrad’s A Feast in the Garden as “dire… export-quality horseshit.” Critics seem generally pleased with his translations, but then, critics like Toril Moi, Tim Parks, or Hofmann himself—that is to say, those willing and able to scrutinize the changes a text in translation undergoes, and the details of what is gained and lost alone the way—are rare, and the newspaper reviewer’s “cleverly translated,” “serviceably translated,” and suchlike don’t count for too much. Readers I know are not of one mind about his work: some are unqualified fans, particularly of Angina Days, his selected poetry of Günter Eich. What seems to grate on the less enthusiastic are his translations’ motley surfaces, the “occasional rhinestones or bits of jet,” as he has it in one interview, which mark them, not as the pellucid transmigration of the author’s inspiration from source language into target, but as a patent contrivance in the latter.

Hofmann’s translation of Berlin Alexanderplatz, long rumored to be in the works, has the feel of a literary event.

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Lucinda Smyth in Prospect:

“The trouble with life (the novelist will feel) is its amorphousness, its ridiculous fluidity,” writes Martin Amis in his memoir Experience. “Look at it: thinly plotted, largely themeless, sentimental and ineluctably trite. The dialogue is poor, or at least violently uneven. The twists are predictable or sensationalist. And it’s always the same beginning; and the same ending…”

Amis’s words show the extent to which Laurence Sterne was an unorthodox writer, even by contemporary standards. For Amis, writing fiction ought to be a reaction against the incomprehensibility of life, the writer slotting fictional episodes into a sleek, coherent narrative. Useful in this process, says Amis, is “the novelist’s addiction to seeing parallels and making connections.”

But what is striking about Sterne—who died 250 years ago—is how much of his work retains the “amorphousness” and “ridiculous fluidity” of life. His masterpiece, The Life and Opinions of Tristram Shandy, Gentleman does not “organise” its ideas into something coherent, let alone digestible. Rather, it is a free-flowing stream of philosophical musing, character sketches and bawdy jokes. There is no consistent storyline whatsoever.

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Sudip Bose at The American Scholar:

The origins of this masterpiece can arguably be traced to 1948, the year Stravinsky met Robert Craft, who was then a 25-year-old musician schooled in the works of the Second Viennese School. Stravinsky employed the young man as his secretary, but over time, the two artists became colleagues as well as friends, with Stravinsky assuming the role of father figure and Craft taking up residence in the composer’s household. For Craft, the 12-tone music of Arnold Schoenberg and Anton Webern was gospel, and he was eager to nudge Stravinsky toward serial techniques. “I say in all candor,” Craft would later write, not without a touch of hubris, “that I provided the path and that I do not believe Stravinsky would ever have taken the direction that he did without me.”

Stravinsky may have initially found 12-tone music cold, clinical, and abstract, but he also feared being judged an anachronism were he not to, at the very least, explore this terrain. Craft was no doubt a guiding light, and Stravinsky’s 1952 Cantata incorporated several serial elements. Subsequent pieces, such as the Canticum sacrum (1955) and Movements for Piano and Orchestra(1959), are full-blooded serial works, though Stravinsky was never one to adhere dogmatically to any method, and he adapted 12-tone techniques into his own distinctive idioms.

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Helen Macdonald in The Atlantic:

I can make a passable imitation of a raven’s low, guttural croak, and whenever I see a wild one flying overhead I have an irresistible urge to call up to it in the hope that it will answer back. Sometimes I do, and sometimes it does; it’s a moment of cross-species communication that never fails to thrill. Ravens are strangely magical birds. Partly that magic is made by us. They have been seen variously as gods, tricksters, protectors, messengers, and harbingers of death for thousands of years. But much of that magic emanates from the living birds themselves. Massive black corvids with ice-pick beaks, dark eyes, and shaggy-feathered necks, they have a distinctive presence and possess a fierce intelligence. Watching them for any length of time has the same effect as watching great apes: It’s hard not to start thinking of them as people. Nonhuman people, but people all the same.

The most celebrated ravens in the world live at the Tower of London, on the River Thames, an 11th-century walled enclosure of towers and buildings that houses the Crown Jewels and that over the ages has functioned as a royal palace, a zoo, a prison, and a place of execution. Today it is one of Britain’s most visited tourist attractions, and its ravens amble across its greens entirely unbothered by the crowds, walking with a gait that Charles Dickens—who kept ravens—described as resembling “a very particular gentleman with exceedingly tight boots on, trying to walk fast over loose pebbles.”

I met Christopher Skaife a few years ago while recording a radio program about Edgar Allan Poe’s “The Raven.” A jovial, bearded man, he’s one of the yeoman warders at the Tower of London. As such he is a member of an ancient and soldierly profession. For the past 13 years he has also been the site’s ravenmaster, which easily tops my list of favorite job titles (unicef’s “head of knowledge” comes in second). On Twitter, as @Ravenmaster1, he curates a much-loved feed packed with images of the birds in his care: raven beaks holding information leaflets, photos of the feathers on their broad backs, close-ups of their varied expressions, videos of their gentle interactions with him. A born storyteller with a gift for banter honed by years in the British army, Skaife has written a book that is far from a dry monograph about the species or a sentimental love letter to his birds.

More here.

From IAI News:

Homi Bhabha: Every serious writer should be taken at his word, and I want to start with the pith of Steven Pinker’s argument: “More than ever, the ideals of reason, science, humanism, and progress need a wholehearted defense”. A worthy cause that prompts the question: Who has put the Enlightenment in the dock? And who should be called to the witness box?  Steven’s wholehearted defense valiantly rounds up the usual suspects —fundamentalism, obscurantism, prejudice, irrationality—but the historical amalgam of Enlightenment ideas, ideals and values doesn’t set his prose racing. He hits his stride when he puts his finger on the pulse of the present—enlightenment, now!  

“Now” is more than a time signature that gives Steven’s title a sense of urgency; it is an important measure of our progress. Too often, those who take the long view, what historians call the longue durée, blow away the repetitive and rebarbative perils that have shadowed the modern age—slavery, imperialism, world wars, genocide, the holocaust, tyranny, inequality, poverty—which appear as mere glitches in the ascending graph of modern civility: aberrations in the forward march of enlightenment progress.

More here.

Mariana Mazzucato in Democracy:

The January 2010 edition of The Economist was devoted to the dangers of big government. A large picture of a monster adorned the magazine’s cover. The editorial opined: “The rich world has a clear choice: learn from the mistakes of the past, or else watch Leviathan grow into a true monster.” In a more recent issue, dedicated to future technological revolutions, the magazine was explicit that government should stick to setting the rules of the game: Invest in basic goods like education and infrastructure, but then get out of the way so that revolutionary businesses can do their thing.

This, of course, is hardly a novel view. Throughout the history of economic thought, government has long been seen as necessary but unproductive, a spender and regulator, rather than a value creator. But government’s ability to produce value has been seriously underestimated, an error that has in effect enabled others to have a stronger claim on their wealth creation role.

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Aaron Rothstein in The New Atlantis:

In his essay “How the Poor Die,” George Orwell recounts a story from 1929, when he experienced a bout of severe pneumonia and was treated in a Paris hospital, which he simply calls the Hôpital X. The essay is a frightening, dark, but humorous tale of medical care — or the lack thereof — at the time. A doctor, Orwell relates, typically dropped by later in the day with interns and medical students, and “there were many beds past which he walked day after day, sometimes followed by imploring cries.” But if a patient had an interesting illness or severe symptoms “with which the students wanted to familiarize themselves,” the doctor would stop and attend to the patient. The attention they paid Orwell because of his “exceptionally fine specimen of a bronchial rattle” was almost too much, with a whole group of students lining up to listen to his chest.

It was a very queer feeling — queer, I mean, because of their intense interest in learning their job, together with a seeming lack of any perception that the patients were human beings. It is strange to relate, but sometimes as some young student stepped forward to take his turn at manipulating you he would be actually tremulous with excitement, like a boy who has at last got his hands on some expensive piece of machinery…. You were primarily a specimen, a thing I did not resent but could never quite get used to.

Across from him, Orwell witnessed a patient undergoing a strange medical procedure: a match was lit inside a small glass, which was then “popped on to the man’s back or chest and the vacuum drew up a huge yellow blister…. It was something called cupping, a treatment which you can read about in old medical text-books but which till then I had vaguely thought of as one of those things they do to horses.” Orwell also describes a patient (“Numéro 57 — I think that was his number”) with cirrhosis of the liver due to alcoholism. This man’s liver was so enlarged that he was often used as an exhibit for lectures. Numéro 57 died in the middle of the night, although no one knew it until the morning. “This poor old wretch who had just flickered out like a candle-end was not even important enough to have anyone watching by his deathbed. He was merely a number, then a ‘subject’ for the students’ scalpels.” As soon as Orwell gained enough strength, he fled the hospital.

Thankfully, medical care has come a long way since Orwell’s time.

More here.

Colm Toibin in The New York Times:

When the novel “Washington Black” opens, it is 1830 and the young George Washington Black, who narrates his own story, is a slave on a Barbados sugar plantation called Faith, protected, or at least watched over, by an older woman, Big Kit. As a new master takes charge, the fear is palpable. The accounts of murders and punishments and random cruelties are chilling and unsparing. Big Kit can see no way out except death: “Death was a door. I think that is what she wished me to understand. She did not fear it. She was of an ancient faith rooted in the high river lands of Africa, and in that faith the dead were reborn, whole, back in their homelands, to walk again free.” The reader can almost see what is coming. Since Barbados was under British rule, slavery was abolished there in 1834. This, then, could be a novel about the last days of the cruelty, about what happens to a slave-owning family and to the slaves during the waning of the old dispensation.

The Canadian novelist Esi Edugyan has other ideas, however. She is determined that the fate of Washington Black will not be dictated by history, that the novel instead will give him permission to soar above his circumstances and live a life that has been shaped by his imagination, his intelligence and his rich sensibility. He is not a pawn in history so much as a great noticer in time, with astonishing skill at capturing the atmosphere in a room, matched by his talent with pencil and sketchbook. He is a born artist, and someone who attracts people to him. He is also a lost soul who moves through the novel as though in search of some distant, sorrowful notion of home.

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Katy Waldman in The New Yorker:

Sally Horner was a widow’s daughter, a brown-haired honor student, from Camden, New Jersey. In 1948, hoping to impress some popular girls, she nicked a notebook from a dime store and was accosted by a man, Frank La Salle, posing as an F.B.I. agent. La Salle, who told Horner his name was Frank Warren, informed the eleven-year-old that he was placing her under surveillance. Then he commanded her to take a bus with him to Atlantic City, and from there they embarked on a cross-country road trip. Like Humbert Humbert, the protagonist of the novel “Lolita,” by Vladimir Nabokov, La Salle concealed his predations by posing as his victim’s father. (In the book, Humbert actually becomes Dolores Haze’s stepfather.) After enduring twenty-one months of rape and abuse, Sally finally opened up to a neighbor, Ruth Janisch, and found the strength to telephone her family back in Camden; the F.B.I. recovered her from a trailer park in Southern California and arrested La Salle, who confessed and went to prison for the rest of his life. In 1952, two years after her rescue, Sally was killed in a car crash.

“The Real Lolita” is Sarah Weinman’s attempt to pull back the veil on the kidnapping that may have helped inspire Nabokov’s novel.

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Erica Klarreich in Quanta:

In a report posted online today, Peter Scholze of the University of Bonn and Jakob Stix of Goethe University Frankfurt describe what Stix calls a “serious, unfixable gap” within a mammoth series ofpapers by Shinichi Mochizuki, a mathematician at Kyoto University who is renowned for his brilliance. Posted online in 2012, Mochizuki’s papers supposedly prove the abc conjecture, one of the most far-reaching problems in number theory.

Despite multiple conferences dedicated to explicating Mochizuki’s proof, number theorists have struggled to come to grips with its underlying ideas. His series of papers, which total more than 500 pages, are written in an impenetrable style, and refer back to a further 500 pages or so of previous work by Mochizuki, creating what one mathematician, Brian Conrad of Stanford University, has called “a sense of infinite regress.”

Between 12 and 18 mathematicians who have studied the proof in depth believe it is correct, wrote Ivan Fesenko of the University of Nottingham in an email. But only mathematicians in “Mochizuki’s orbit” have vouched for the proof’s correctness, Conrad commented in a blog discussion last December. “There is nobody else out there who has been willing to say even off the record that they are confident the proof is complete.”

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Tom Winterbottom in Public Books:

It has been a year since Hurricane Maria devastated Puerto Rico, leaving a trail of destruction: ruined infrastructure, destroyed homes, and thousands of fatalities. Since that particular hurricane has largely faded from the news, the slow rebuild continues and defining questions loom over the process: Who is Puerto Rico for? Outside investors and tourists or Puerto Ricans? After a collective trauma like Hurricane Maria, who has the right to decide for Puerto Rico? The fight for its future is underway.

This fight began immediately after the hurricane. Electricity, hospitals, water, roads, and more: all would require rebuilding, a process that could take two paths. Given the desperation and distraction brought about by the disaster, the federal government, corporations, and investors sensed an opportunity: Puerto Rican society was at its most vulnerable, making it the perfect time to snap up bargains, privatize industry, and remake the island. A small elite of non-islanders, who own and control infrastructure and resources, would benefit from the profit-driven privatization and monetization of the island, which has been touted as the libertarian enclave of cryptowealth, a tax haven for certain private interests.

The other possibility, as the activist Naomi Klein writes in her new book, The Battle for Paradise: Puerto Rico Takes on the Disaster Capitalists (2018), is to look for positive, real change in the island’s future after decades of oppression.

More here.

Oksana Forostyna at Eurozine:

During the warm summer nights three years before Maidan, just as my Kyiv life began, I often stood where my grandma lived when her Kyiv life ended. Of all what drew to a close. Given everything that she told me, it seemed that those days were the happiest of her life: she was young and beautiful, she went on dates. ‘A few Jews were courting me’, she used to tell me proudly as if by way of feminine validation, as if to say, ‘Boy, I was hot!’ I’m not sure about the timeline. Maybe those happy years were directly after her father and brother came back from East Siberia in 1939; both had been arrested, tortured and imprisoned in a labour camp in 1937, but released two years later during the so called ‘Beria Amnesty’. She also witnessed the Great Famine (Holodomor) of 1932 and 1933, as well as the Babyn Yar massacre of 1941. I first learned of both tragedies from her, as they simply hadn’t featured in my Soviet school education. Those were the most terrifying years of Stalinist repression, yet she managed to find some joy in this city.

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Peter Schjeldahl at The New Yorker:

Downes’s own meticulously descriptive pictures of the woebegone subjects that he favors—industrial zones, Texas deserts, highway structures, the New Jersey Meadowlands—do that, too, with a deadpan restraint that has kept his fan base small but ardent throughout the half century of his career. I’m a member. We cherish Downes’s evidence that painting can be truer than photography to the ways that our eyes process the world: reaping patches of tone and color which our brains combine very rapidly, but not instantly, into seamless wholes. He renders everything in his specialty of long, low panoramas, often encompassing more than a hundred and eighty degrees, which he always paints—on-site, over many sessions—head on, without either perspectival organization or fish-eye distortion. His avoidance of charm in his subjects and suppression of expressiveness in his touch serve the dumbfounded wonderment you can feel when—perhaps rarely enough, in this frantic era—you stop somewhere, look around, forget yourself, and only see. Downes’s is a puritanical passion, burning cold rather than hot but no less fiercely for that.

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Jesse McCarthy at n+1:

RAINDROP. IF THE MARK of the poetic, of the living force of lyric in the world, is the ability to change the inflection and understanding of a single word, to instantly evoke and move speech into song, then what better example do we have than the poetics of Migos and their breakthrough album, Culture? “Like a wreath, culture is a word we place upon the brow of a victor,” William H. Gass once wrote. As the title attests, Migos crowned themselves, like Napoleon. Their trap trips off the tongue, three steps to get it poppin’, three more to get it started. Everything done in triplets. Quavo, Offset, Takeoff, their supergroup a triad. The message of the massive hit “Bad and Boujee” is simple and, thanks to its lullaby-rocking lilt, irresistible: the cosmopolitanism of the underclass is good enough for them. In this, everyone wins. The fetish of class and racial transgression is given a smooth membrane across which to exchange approving glances. Hence the appropriateness of Donald Glover’s role in assisting the song to the top of the charts. No figure better represents the amphibious role of blackness slipping back and forth across lines of class, taste, and career.

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Martin Enserink in Science:

Given the billions of dollars the world invests in science each year, it’s surprising how few researchers study science itself. But their number is growing rapidly, driven in part by the realization that science isn’t always the rigorous, objective search for knowledge it is supposed to be. Editors of medical journals, embarrassed by the quality of the papers they were publishing, began to turn the lens of science on their own profession decades ago, creating a new field now called “journalology.” More recently, psychologists have taken the lead, plagued by existential doubts after many results proved irreproducible. Other fields are following suit, and metaresearch, or research on research, is now blossoming as a scientific field of its own.

For some, studying how the sausage is made is a fascinating intellectual pursuit in itself. But other metaresearchers are driven by a desire to clean up science’s act. Their work has spawned many initiatives to make research more robust and efficient, from preregistering studies and establishing reporting standards to the recent push to make study data freely available for others to explore. Metaresearchers sometimes need a thick skin; not all scientists are grateful when their long-standing practices are questioned. And whether the reforms actually work has become a study object in itself.

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The Clothes Shrine

It was a whole new sweetness
In the early days to find
Light white muslin blouses
On a see-through nylon line
Drip-drying in the bathroom
Or a nylon slip in the shine
Of its own electricity-
As if St. Brigid once more
Had rigged up a ray of sun
Like the one she’d strung on air
To dry her own cloak on
(Hard-pressed Brigid, so
Unstoppably on the go)-
The damp and slump and unfair
Drag of the workday
Made light of and got through
As usual, brilliantly.

by Seamus Heaney
from Electric Light
Farrar, Straus and Giroux, 2001