John Opie, Mary Wollstonecraft, ca. 1797, oil on canvas, 30 1/4 x 25 1/4″. Public domain, via Wikimedia Commons.

A young Englishwoman named Mary Wollstonecraft lived by her wits and her pen. At thirty-four, Mary did not expect to marry, but she soon met an American adventurer named Gilbert Imlay and believed she’d found her soul mate. In love, they moved to Paris where they had a daughter, named Fanny.

But Gilbert began to travel more and more, and soon it became apparent he had a wandering eye as well. Heartbroken over this desertion, Mary drank laudanum. She survived, but within a matter of months was despondent again and jumped from a bridge into the Thames.

Miraculously she was rescued and nursed back to health by William Godwin, like Mary a political radical, to whom she quickly developed a strong attachment. Later married and happy, they read Goethe’s The Sorrows of Young Werther aloud together the night before she went into labor. Tragically, Mary died a few days after giving birth to a second daughter, also named Mary, who would be raised, along with Fanny, by William Godwin, who would remarry.

His new wife had a young child of her own, Claire, and the three girls grew up as sisters; they became known as Les Goddesses. When Mary was seventeen, a famous poet named Percy Bysshe Shelley came courting: he first paid favors to Fanny but quickly fell for Mary and the two eloped to the Continent, taking Claire with them.

Fanny, crestfallen, stayed behind and, like her mother, drank laudanum. The real story concerning the lives of these extraordinary women is filled with many paradoxes, and without a doubt it is more fantastic than any fiction. Read More

In the following excerpt from Jean Giono’s Occupation Journal, the prolific and fiercely imaginative novelist documents his life in Provence during the Nazi occupation of France. He writes of the weather, his family, the desire to flee, the rumors he hears from the surrounding villages, and his struggles to create “incontestably beautiful work” in the midst of crisis.

Paul Cézanne, Landscape in Provence, 1895–1900, pencil and watercolor on paper, 12″ x 19″. Public domain, via Wikimedia Commons.

Sunday, June 4, 1944

Ten o’clock in the morning, the alert sounds. Immediately followed by violent rumbling at the far end of town, then silence. We’re listening. The most beautiful possible weather. Sun, powder blue sky, a little cool, light wind. Since the other day when ten bombs fell a hundred meters from Margotte, the hens have laid only small eggs, hardly bigger than quail eggs; they have no yolks. Imagine the panic there must be in Marseille now. All is quiet for the moment.

*

Tuesday, June 6, 1944

Charles returns from town with news. First, the Germans are said to have arrived. He didn’t see a single one, but someone told him that they had commandeered a villa on Boulevard Saint-Lazare. Then, the landing has supposedly begun. Where, when, how, no one knows. There’s no trace of it, no indication, but it has begun, no doubt about it. A collective hallucination? Anyone declaring in the empty city today that the Germans haven’t arrived and the landing hasn’t taken place would be torn to pieces.

Cool weather, clouds, overcast sky, crosswinds, still no rain.

Yesterday Mme. X. arrived. For at least three months she’s left me in perfect peace. “If I don’t come anymore,” she said, “it’s because I’m afraid of becoming attached to you.” She makes stupid faces. I answer dryly, “There’s no danger of that.” She protests. I move on and consider how to drive her away.

Began working on Deux cavaliers again.

Serious money worries. Still nothing from Paris, no letters. Wrote to Dambournet, L’Argus du Livre, to propose selling three manuscripts to him, Batailles dans la montagne, Le Poids du ciel, Les Vraies richesses.

A difficult period to get through morally. What I would need is to succeed at some incontestably beautiful work. What I’m writing doesn’t satisfy me. Not enough real work even though I stay shut up in my office the whole day. Irritated by difficulties that I can’t seem to overcome. I’ve hardly written more than a few pages for weeks. And even those aren’t as good as the ones I was writing three months ago. Read More

C Levå, Marinmotiv, oil. Collection of the Maritime Museum in Stockholm. Public domain, via Wikimedia Commons.

Certain landlocked cities have lighthouses. On such rivers as the Rhine, the Seine, and the Saint Lawrence, lighthouses gave warning of dangerous areas. In London, the Trinity Buoy Wharf light is still in existence. This hexagonal, pale-brown brick structure is located in an area known as Container City. I remember my father telling me about these buildings when I was a child. To my ears, accustomed to the Spanish language, the word container, which I never completely understood, sounded warlike; I imagined gigantic metal constructions, improbably conical or spherical in shape. It never occurred to me that they would be like shoeboxes.

When I visited that shoebox city, the shipping containers, adapted to function as housing, reminded me of the futuristic cities of nineties movies and TV series. The lighthouse on the wharf looked out of place among the container architecture, yet, like all of its kind, it was experimental in origin. For a time the building was used to train lighthouse keepers, and later to trial the lanterns and lenses that would then be transferred to other lights. It was there that the scientist (and bookbinder) Michael Faraday worked on the fixtures for the South Foreland lighthouse in Kent. A tiny museum at the foot of the lighthouse offers a display of Faraday’s instruments and personal effects.

Today the Trinity Buoy Wharf light has no lantern. It doesn’t illume, but it can be heard because it now has a bell.

The lanterns of lighthouses are the bells of churches. As with light, sound waves can also announce and convene. And in this lighthouse there’s a bell that chimes ceaselessly. A bell that will sound for a millennium. It’s made up of many other bells that chime according to an algorithm designed by Jem Finer. Apparently one day, in almost a thousand years’ time, the music of the bells will come into a harmonic alignment, in a process that can be likened to the planets moving into alignment in the heavens. Read More

CDC rendering of SARS-CoV-2

The disease that has put the entire world on pause is easily communicable, capable of stowing silently away in certain hosts and killing others, and, to the human eye, entirely invisible. In media parlance it’s become our  “invisible enemy”: a nightmarish, oneiric force that can’t be seen, heard, or touched. But with the use of modeling software, scientists and illustrators have begun to visualize coronavirus, turning it into something that can be seen, understood, and, hopefully, eventually vanquished by science. Many of us imagine the virus as a sphere radiating red spikes—but why? Certain elements of these visualizations are based on the way coronavirus appears under a microscope, and others are choices that were made, an exercise of artistic license.

On January 21, CDC illustrators Alissa Eckert and Dan Higgins were asked to illustrate the novel coronavirus for use in press briefings and other media materials. Eckert came up with what she called a “beauty shot” of the virus molecule (referred to in the scientific community as a “virion”), a round globule with the crown-like array of spiked proteins that give the virus its name. Eckert and Higgins experimented with a number of color schemes until they settled on red and gray with orange and yellow accents. “It just really stood out,” Eckert told the New York Times. Since then, the illustration has saturated news outlets around the world.

“Their illustration kind of looks handsome,” said Dr. Timothy Mastro, former deputy director for science in HIV/AIDS prevention at the CDC. “It has a certain symmetry to it, an appealing design … [a virus like] Ebola’s just this twisted-up piece of spaghetti, not nearly as attractive.” Mastro recalls having seen artistic renderings of the HIV molecule on posters at the conferences he attended and on the covers of journals. The image, a sphere studded with spiked proteins, similar to the CDC rendering of coronavirus, gave a certain “character” to the disease he was researching. But in the lab, Mastro concerned himself exclusively with images of the actual virus taken by means of a process called X-ray crystallography. The process, in which the crystalline structure of the virion causes a beam of X-rays to diffract in many directions, allows researchers to construct an image of the molecule. The result is a ghostly black-and-white tracing of the invisible.

Mastro showed me the basis for all the colorful renderings I’d seen online: an electron micrograph of the virus, obtained by bombarding virions with a finely focused electron beam. The molecules looked like the cartoon amoebas you’d expect to see in a fifties film reel about germs. But they were the virus qua virus, with its spikes and spherical body. Mastro explained that the spiked proteins connect to receptors on the outside of healthy cells so the virus can overtake the cell body and use it to replicate itself. A variation of these proteins, produced over years of replication, enabled the coronavirus to evolve from a harmless common cold into something capable of devastating the upper respiratory system. I asked Mastro why so many of the illustrations of the coronavirus look different from the CDC version, and one another, given that everyone was working off the same micrograph. “Artistic license,” he said. Read More

Jon McGregor. Photo: Jo Wheeler.

I have been thinking lately of a verdict given to the adult world by a young girl in Rebecca West’s The Fountain Overflows. “Mary had once said … that the adjectives which really suited grown-ups were ‘lily-livered’ and ‘chicken-hearted.’ ” At the risk of making a disputable comment, I wonder if, compared to the West characters from a century ago, we may be more than ever afflicted by this disease of lily-livered-ness and chickenheartedness, at least in our literary taste. Oftentimes a reviewer feels the urge to warn the readers that such and such a book is “not for the fainthearted”—as though it’s literature’s job to put a cautious finger on the readers’ pulses. Woe to those sacrificed maidens in Greek tragedies and lopped-off heads in Shakespeare plays that fail to bear a sign: TRIGGER WARNING.

The Greeks and Shakespeare, of course, are still being read, perhaps for the reason that it’s easy to forget that they wrote about real people who once lived. Thank goodness we have books like Jon McGregor’s Even the Dogs, a reminder that true literature does not avert its eyes from anything difficult.

The novel is narrated by a group of characters, some named, others unseen but to themselves. Together they are known—because society must offer a label for them—as drug addicts, alcoholics, and homeless people. It may be easy to compare the group “we” to the chorus in a Greek tragedy, but the novel does not allow the readers to find a retreat in the realm of myths, fairy tales, or fantasies. We are, of course, familiar with the gritty and gory images, which are often seen these days on screen—with perfect makeup and the right music so well done that the audience can keep an aesthetic and psychological distance. But McGregor’s novel, with its uncompromising gaze at unadorned details of life and death, eliminates that safe distance between the characters and the readers. Who can say he or she is guaranteed to be free from the characters’ fates? A reader who waves a white flag of lily-livered-ness and chickenheartedness even before opening the book, perhaps. Read More