by Rafaël Newman

Last month, after a three-year hiatus imposed by the pandemic, I was again able to participate in a once regular study-abroad junket, assisting a professor at the Swiss university where I serve as adjunct. The professor, to whom I happen to be married, was leading a group of 22 students on so-called Academic Travel, our university’s bi-annual USP: a ten-day sojourn in a country relevant to the topic of a course conducted otherwise in regular classes on the university’s campus in Lugano. The last time I went along on one of these trips, in 2019, the topic was commemoration of the Holocaust, and our destination was Poland, including the Auschwitz memorial site and the Jewish Cemetery in Łódź. This time, during the 2022 fall semester, the course was entitled “Writing and Re-Writing the Classics”; the primary texts were by Homer and Aeschylus and their respective modern interpreters; and we were bound for Greece.
Academic Travel traditionally follows midterms, so by the time we arrived in Athens the students had already read and discussed the Odyssey, in a new translation by Emily Wilson, as well as Circe (2018), Madeline Miller’s Stoppard-esque, “novelized” revision from the POV of a minor character. The syllabus called for them to turn now to the Oresteia, Aeschylus’s three-play account of the curse on the house of Atreus and our only extant tragic trilogy. On return to regular classes in Lugano in November, the class would then begin reading and discussing House of Names (2017), Colm Tóibín’s polyphonic re-writing of the tragedy, and consider the Irish author’s reframing of the ancient myth with a modern sensibility, his contemporary take on the psychological and, indeed, legal matters at stake in Aeschylus’s drama. Read more »

Climate change and covid are revealing an ongoing inability for our society to make wise decisions in the face of calamity, which may be leading us to a collapse of our civilization. Perhaps if we accept (or just believe) that we’re nearing the end, we can shift our priorities enough to usher in a more peaceful and equitable denouement.






Now there is a 
“Mankind was first taught to stammer the proposition of equality” – “Everyone is equal to everyone else” – “In a religious context, and only later was it made into morality,” Nietzsche wrote. Elsewhere, he called “human equality,” or “moral equality,” a specifically “Christian concept, no less crazy [than the soul],” moral equality “has passed even more deeply into the tissue of modernity…[it] furnishes the prototype of all theories of equal rights.”

Port Sunlight was a model village constricted in the Wirral, in the Liverpool area, by the Lever brothers, and especially under the inspiration of William Lever, later lord Leverhulme. Their fortune was based on the manufacture of soap, and the village was built next to the factory in the Victorian/Edwardian era, for the employees and their families. It’s certainly a remarkable place, with different houses designed by various architects, parks, allotments, everything an Edwardian working class person might want. An enlightened employer, Lever was still a paternalist: he claimed his village was a an exercise in profit sharing, because “It would not do you much good if you send it down your throats in the form of bottles of whisky, bags of sweets, or fat geese at Christmas. On the other hand, if you leave the money with me, I shall use it to provide for you everything that makes life pleasant – nice houses, comfortable homes, and healthy recreation.” Overseers had the right to visit any house at any time to check for ‘cleanliness’ and that the rules about who could live in which house were observed (men and women could only share accommodation if they were in the same family). Still, by the stands of the day it was quite progressive – schools, art gallery, recreation of all sorts for the employees were important. 
In 1930, the German anthropologist Berthold Laufer published a monograph on the phenomenon of people eating dirt.
My grandmother’s bird of choice is the rooster. She was raised in rural Kentucky and now lives in rural Wisconsin. She collects all sorts of roosters (and, by extension, some hens): wall art, printed dish towels, ceramic statues as small as a pinky and as large as a lamp, coin bowls and blankets and something nostalgic in each one.