Posts Tagged ‘nature’
August 24, 2016 | by Vanessa Davis
August 4, 2016 | by Kent Russell
The corpse flower’s indifferent, cosmic energy.
As I strolled through the midmorning dumpster efflorescence of the west Bronx, I thought to myself, Summertime in the city is a contact high. It has less to do with sun and heat; it’s the sweet-sour reek of parboiling garbage that signals the height of the season is here. I breathed in summer as I skipped past wide, still puddles left by Friday’s A.M. showers.
North of Fordham’s campus, I joined a long line of people buying tickets at the entrance to the New York Botanical Garden. I’d been waiting for days, watching the YouTube live stream, assiduously refreshing the NYBG Twitter feed when, finally, it happened—on Thursday night, the Garden’s nine-year-old corpse flower, its Amorphophallus titanum, started blooming. It was the first specimen of this famously gorgeous-yet-also-rank-as-hell flower to bloom in the Garden since July 7, 1939. That day, in a “tribute to the salubrious climate of the Bronx,” the Amorphophallus titanum was proclaimed official borough flower, a distinction it held until 2000. Read More »
July 7, 2016 | by Dan Piepenbring
- I hear you’re moving to Buffalo to pursue a more affordable, creative, authentic life in the smoldering remains of the Rust Belt. That’s neat. But what are you buying into, really? In cities like Pittsburgh and Troy, David A. Banks argues, “a ‘cool’ lifestyle is still the bait, only its terms have shifted toward more regional flavors. Cities that no longer produce physical goods can instead produce their own image as a kind of marketed product. If once they smelted steel or manufactured textiles, now they trade on the unique cultural history that is the legacy of those lost industries. The relatively cheap standard of living in places like Buffalo or Pittsburgh offer a more ‘authentic’ urban experience in terms of sampling gritty make-do entrepreneurial creativity, while also letting new residents dismiss those in more expensive cities as unimaginative dupes taken in by luxury branding … To attract new residents, cities must understand how their character can be conveyed through a smartphone.”
- In 2010, the brokenhearted and salty-cheeked could find solace only in Croatia, where a melancholy place called the Museum of Broken Relationships held the keepsakes of sundered romance. Now the Museum is coming to Los Angeles: “More than 100 exhibits range from everyday artifacts (a spare key never given to its intended recipient, a mirror that didn’t go with an ex’s decorating scheme) to signifiers of deeply troubled unions (a pair of silicone breast implants a woman got at her boyfriend’s urging). Some radiate sorrow, like the blue chiffon blouse a wife wore the day her husband told her he was moving out. All objects are submitted anonymously and come with stories explaining their significance.”
- T-shirt idea: “I majored in English because my university didn’t offer comp lit.” Jeanne-Marie Jackson argues that there’s a critical (in every sense of the word) difference between the two disciplines: “The reason that comparative literature as a discipline, and comparatists as an ad hoc community, somehow escape the intellectual trap of confusing redundant, self-congratulatory polemic with genuinely advancing thought is that, in having to build its own comparative apparatus, the discipline is forced to balance breadth against depth. It can’t escape either geographical reach or philosophical literacy. This is, at its outer reaches, a recipe for something like multicultural dignity, the kind that is achieved rather than avowed, at least in one’s reading and writing.”
- Thorsten Schütte’s documentary Eat That Question: Frank Zappa in His Own Words looks at one of the few genuine iconoclasts in rock music: the man who hated both the squares and the hippies, the man who preferred to chain-smoke as he cranked out musique concrète. “Schütte’s film is a fluid mosaic of concert footage, TV appearances, and interview clips, much of them never seen before: Zappa on the Steve Allen Show in 1963 ‘playing’ the bicycle; hunched over staff paper notating music in his Laurel Canyon studio in the seventies; stalking through airports with a Mephistophelian leer; leading staggeringly well rehearsed bands … Zappa’s antidrug stance made him an oddity in the rock world, defying the idea, foisted on him by journalists and TV commentators, that someone of such profligate imagination must be on drugs. ‘They write about me like I’m a maniac,’ he says at one point. ‘I’m not … I’m forty years old, I’ve got four kids, a house, and a mortgage.’ ”
- Public service announcement: be around trees. I say this not as some kind of granola-crunching hiker-guru type but as someone with a body of hard data to back it up. A new study by Marc Berman, a University of Chicago psychology professor, “compares two large data sets from the city of Toronto, both gathered on a block-by-block level; the first measures the distribution of green space … and the second measures health, as assessed by a detailed survey of ninety-four thousand respondents. After controlling for income, education, and age, Berman and his colleagues showed that an additional ten trees on a given block corresponded to a one-per-cent increase in how healthy nearby residents felt. ‘To get an equivalent increase with money, you’d have to give each household in that neighborhood ten thousand dollars—or make people seven years younger.’ ”
May 19, 2016 | by Edward White
Frank Buckland wanted to save—and eat—as many animals as possible.
This is the first entry in Edward White’s The Lives of Others, a monthly series about unusual, largely forgotten figures from history. He has previously written for the Daily on Carl Van Vechten and rugby.
Every now and then, even Charles Darwin was dumbfounded by the mysteries of the natural world. On those occasions, he reached out for enlightenment to a repertory cast of scientific correspondents, one of whom was Francis Trevelyan Buckland, a raffish, tousle-haired star of the natural-history craze that befell Britain in the mid-nineteenth century. The two made for unlikely pen pals: if Darwin was the dour, sincere prophet who transformed humanity’s appreciation of its place in the universe, Buckland was a professional eccentric, as much showman as scientist. Although he did groundbreaking work in pisciculture (the breeding of fish), Buckland was perhaps best known as a lecturer, beguiling huge audiences with his left-field takes on botany, zoology, and human anatomy. As a general rule, the weirder the subject, the more likely Buckland was to have something to say about it: the fighting behavior of newts, the cannibalistic propensities of rats, the best method for killing a boa constrictor, gigantism, walking fish, flea circuses, conjoined twins (he was a good friend of Chang and Eng Bunker, the original Siamese twins), the uses of human hair as manure, and pagan burial rites. Tellingly, it was Buckland to whom Darwin turned to verify a claim that a dog and a lion had successfully bred in rural Russia. Read More »
February 4, 2016 | by Ben Mauk
Notes on art and apocalypse.
How will the end come? Did it already come? Did we miss it? That we can ask this last question shows just how far our current mood of millenarianism has traveled from its antecedents in the distant and not-so-distant past. As late as Eliot, poets and prognosticators assured us that we would recognize “how the world ends.” Most visions of apocalypse were spectacular, sublime. The possibility that we have instead whimpered our way into some kind of boiling-frog scenario—marked by slow but irreversible global warming, mass human displacement, and a gradually perceptible slide toward famine, disease, war, and extinction—is a radical departure from the convulsive display we’d long been promised.
The first properly apocalyptic writings in the monotheistic tradition are the books of Joel and Zechariah, two of the twelve minor prophets in the Tanakh, or Jewish canon. Joel, whose account may date to the reign of King Josiah, around 800 B.C., and who may therefore be the oldest prophet, begins by describing a coming locust infestation, which he claims will be coincident with famine and widespread misery. The lament transforms into a hallucinogenic description of locusts as God’s army (“the increasing locust, the nibbling locust, the finishing locust, and the shearing locust”), of a fire that consumes the world, and of a day of thick darkness “like the dawn spread over the mountains.” The more famous book of Daniel follows approximately in this mold, albeit with new messianic trappings. Read More »
January 5, 2016 | by Max Nelson
John Clare, Christopher Smart, and the poetry of the asylum.
In an agrarian or preindustrial Britain, a brilliant young man bristles at his assigned vocation. After reading insatiably for years, he starts publishing odd, distinctive poems that cause a local stir. Urged to settle down, he instead experiments with more startling writing and shows more worrying behavior. His wife and family, understandably troubled but also driven by some unsavory motives, arrange for him to be sent to a madhouse, where confinement turns out to be much more to his harm than to his good. As his mental and physical health declines, his poetry starts to develop more radical formal arrangements. It also takes on a new tone: a strange, arresting combination of de-sexed innocence, bitter wisdom, childlike whimsy, and intensity of focus. Well after his death, as literary critics start pillaging the past for works of inadvertent modernism, his surviving poetry becomes a source of inspiration for a new generation of writers by whose books he’d have been equally fascinated and baffled.
This account corresponds roughly to the lives of both John Clare (1793–1864) and Christopher Smart (1722–’71), though it ignores much of what set the two poets apart. An archetypical urban poet, the son of a bailiff, Smart spent years on Grub Street writing satires, poems, attacks on his contemporaries, and flurries of hackwork, much of it under pseudonyms. Years earlier, when he started his career as a brilliant (if eccentric) divinity student at Pembroke College, he’d already received a thorough grounding in the classics. Clare, an agricultural laborer who lived and worked in Britain’s East Midlands during a period of rapid industrialization, grew up to a family of poor tenement farmers and went to school only sporadically. No less intelligent and formally imaginative than Smart’s, his poetry was as closely informed by Helpston’s birds, flowers, and folk songs—he might have been one of Europe’s earliest ethnomusicologists—as his predecessor’s was by the gospels, the classics, and the Grub Street press. Read More »