A still from Otolith I.
Daniel Mendelsohn’s essay on Sappho has been haunting me since I read last week’s New Yorker. First there’s the history of her poems. We all know these survive today in a few fragments, but to think there were once as many as ten thousand lines—and that these were in wide circulation for a millennium—can make your chair tilt under you a little. Then there are the fragments themselves, a handful quoted by Mendelsohn in his own translation. Maybe it’s the weather, but I’ve found myself going back to his version of Sappho’s most famous surviving poem, the one that begins “He seems to me an equal of the gods— / whoever gets to sit across from you,” as if I’ve never seen a poem like that before. —Lorin Stein
The Otolith Group, founded in 2002, produces films and writings around sound, Afrofuturism, and the archive. I’ve been curious about the group for some time; since it’s based in London and exhibits mainly in Europe, I’ve had only glancing experiences with its work. But this week their first film, Otolith I, is available at Carroll / Fletcher Onscreen, an “online cinema” for experimental films. The Otolith Group’s name comes from a part of the inner ear sensitive to gravity and tilt, and Otolith I could be a kind of manifesto: narrated by a woman in 2103, it explains that prolonged time spent in the “microgravity” of space has deformed the otoliths of those born on the International Space Station. This new kind of human cannot survive on Earth and must rely on archival footage in order to understand life on the planet. Our narrator examines footage of the Soviet cosmonaut Valentina Tereshkova and of the Iraq war protests in New York in 2003. The former sets up the cosmos as a “zone of peace”; the latter describes a society crippled by collective blindness. “My comprehension erodes under the attrition of American war-speak. Did you know that ‘regime change’ means ‘invasion,’ that ‘preemptive defense’ means ‘attacking a country that is not attacking you,’ that ‘shock and awe’ means ‘military onslaught’?” —Nicole Rudick