October 2, 2019 Conspiracy Are We All Living in a Simulation? By Rich Cohen In his monthly column, Conspiracy, Rich Cohen gets to the bottom of it all. The best conspiracy theories make sense of what has always seemed senseless. They let you believe you are finally connecting the dots, finding the missing pieces, experiencing the world as it really is. The most powerful theories—the mind blowers—name something you’ve always known, even if you hadn’t known it consciously, or did not believe it could be named. There is no invention, just discovery. The best explain why you feel like you’re being watched, have lived all this before, knew what would happen before the film even started. That’s the case with what’s become my favorite conspiracy theory: the notion, argued by futurists and tech visionaries, that we live not in the real world but in a simulation, an intricately detailed game cooked up by a demigod, hacker, or AI mastermind, which, if true, explains the uncanny sense that this is not my real life, that these are not my real memories. Or, as my friend Mark, standing on Oak Street Beach at 2 A.M. with Chicago aglow behind us, said, “None of this shit’s real, man. We’re all just figments in a crazy dream.” This idea that this is not the real world is way older than Pink Floyd (“We’re just two lost souls / swimming in a fish bowl”) and way older than the defining movie, The Matrix. You hear it in the Hasidic wisdom of Isaac Bashevis Singer’s “Gimpel the Fool”: “No doubt the world is an entirely imaginary world, but it is only once removed from the true world.” You hear it in the writing of the nineteenth-century naturalist Philip Henry Gosse, whose book Omphalos argued that the fossils that proved the world is older than the six thousand years of Genesis had been put in the ground by God to test man’s faith. You hear it in the Buddhist folk tales, most famously the “butterfly dream” of Zhuangzi, in which the author is uncertain if he is a man who dreamed he was a butterfly, or a butterfly dreaming that he’s a man. It’s the uncanniness you experience not when you are drunk and not when are you are high, but when you are drunk and high, the insight you stumble across the way you stumble across certain bars only when it’s very late and you are very lost and absolutely need them to exist. It’s not that the stimulant creates the dream, but that it opens your eyes to the big truth you’ve been trained not to see. Read More
September 26, 2019 Poetry Rx Poetry Rx: The Fucking Reticence By Kaveh Akbar In our column Poetry Rx, readers write in with a specific emotion, and our resident poets—Sarah Kay, Kaveh Akbar, and Claire Schwartz—take turns prescribing the perfect poems to match. This month, Kaveh Akbar is on the line. © Ellis Rosen Dear Poets, I am at a point in my life where I have very little structure, where every day is full of small decisions and every move feels like a long shot. I am in the process of beating an addiction (I hope), but this means that I am fully sober, grounded, and often a very raw kind of awake for every long minute of the day, however brilliant, brutal, or just plain boring it is. Do you have a poem that could quiet my mind or offer me clarity? Thanks, Actively Awake Dear AA, I remember so clearly the early days of sobriety. I’d stare at my watch willing the time to pass faster, only to see, like in those old high school movies, the second hand seemingly move backward. When your whole life is predicated on feeding your addiction, and then you remove that addiction entirely, you’re suddenly faced with a lot of life. A lot of hours, minutes, seconds. It’s one of the reasons I got so into poetry; it was literally just a place to put myself. I could read a book of poems and not worry about what to do with my body or my mind for an hour, two hours. I could write a poem and somehow make four or six or eight hours just fly by. Read More
September 26, 2019 The Big Picture The Intelligence of Plants By Cody Delistraty What if plants are smarter than we think—a lot smarter? Miguel Rio Branco, Untitled, Tokyo, 2008 © Miguel Rio Branco A few years ago, Monica Gagliano, an associate professor in evolutionary ecology at the University of Western Australia, began dropping potted Mimosa pudicas. She used a sliding steel rail that guided them to six inches above a cushioned surface, then let them fall. The plant, which is leafy and green with pink-purple flower heads, is commonly known as a “shameplant” or a “touch-me-not” because its leaves fold inward when it’s disturbed. In theory, it would defend itself against any attack, indiscriminately perceiving any touch or drop as an offense and closing itself up. The first time Gagliano dropped the plants—fifty-six of them—from the measured height, they responded as expected. But after several more drops, fewer of them closed. She dropped each of them sixty times, in five-second intervals. Eventually, all of them stopped closing. She continued like this for twenty-eight days, but none of them ever closed up again. It was only when she bothered them differently—such as by grabbing them—that they reverted to their usual defense mechanism. Gagliano concluded, in a study published in a 2014 edition of Oecologia, that the shameplants had “remembered” that their being dropped from such a low height wasn’t actually a danger and realized they didn’t need to defend themselves. She believed that her experiment helped prove that “brains and neurons are a sophisticated solution but not a necessary requirement for learning.” The plants, she reasoned, were learning. The plants, she believed, were remembering. Bees, for instance, forget what they’ve learned after just a few days. These shameplants had remembered for nearly a month. Read More
September 18, 2019 Archive of Longing The Obsessive Fictions of László Krasznahorkai By Dustin Illingworth Read our Art of Fiction interview with László Krasznahorkai in the Summer 2018 issue The playful, pessimistic fictions of the Hungarian novelist László Krasznahorkai emit a recognizably entropic music. His novels—equal parts artful attenuation and digressive deluge—suggest a Beckettian impulse overwhelmed by obsessive proclivities. The epic length of a Krasznahorkai sentence slowly erodes its own reality, clause by scouring clause, until at last it releases the terrible darkness harbored at its core. Many of his literary signatures—compulsive monologue, apocalyptic egress, terminal gloom—are recognizably Late Modern. But the extravagant disintegration and sly mischief of the work make him difficult to mistake for anyone else. There are the sudden, demonic accelerations; the extraordinary leaps in intensity; the gorgeous derangements of consciousness; the muddy villages of Mitteleuropa; the abyssal laughter; the pervasive sense of a choleric god waiting patiently just offstage. Here is fiction that collapses into minute strangeness and explodes into vast cosmology. It is, as Michael Hofmann says of Malcolm Lowry’s Under the Volcano, “more world than product,” a planetary concretion of energy and motion, and subject to its own eventual heat death. Baron Wenckheim’s Homecoming is the latest Krasznahorkai novel to reach English readers, in a typically extraordinary translation from Ottilie Mulzet. It represents, as the author recently told The Paris Review in his Art of Fiction interview, the conclusion of a tetralogy: Read More
September 12, 2019 Re-Covered Re-Covered: Margaret Drabble’s 1977 Brexit Novel By Lucy Scholes Margaret Drabble is so well known that seeing her included in this column might confuse some readers. Writing in the New York Times only two years ago, when Drabble’s most recent novel, The Dark Flood Rises, was published, Cynthia Ozick described the then seventy-eight-year-old as “one of Britain’s most dazzling writers,” and the work in question—Drabble’s nineteenth novel—as “humane and masterly.” In her sort-of memoir, The Pattern in the Carpet, Drabble describes writing as a “chronic, incurable illness,” one she caught “by default when I was twenty-one”; her first novel, A Summer Bird-Cage, was published three years later when she was only twenty-four. And yet, though she herself is not forgotten, certain of her works have fallen out of print. Perhaps it’s inevitable that in a career as long as hers, some of what she’s written would, despite its brilliance, have slipped through the cracks. The Ice Age—Drabble’s eighth novel, originally published in 1977—is one such example. Having spent much of this summer reading Drabble’s perceptive, elegantly written work, I can say with confidence that this one stands out from the rest. First, it marked the moment when Drabble turned her attention from the small-scale worlds of a protagonist’s individual struggle to what Patrick Parrinder described as her later, “settled, capacious, Condition-of-England chronicles, prolonged ruminations on the way we live now.” Her earliest protagonists were young women, often of the same age and background as Drabble herself—she grew up in Sheffield, was educated at a Quaker school in York, took a double first at Cambridge, tried her hand at acting with the Royal Shakespeare Company, then moved to London and began writing while also looking after her young family (she had three children with her first husband, Clive Swift)—who find the values of their youth challenged when they come up against a more metropolitan world. In The Ice Age, however, there’s a shift in focus from the individual to the collective, and Drabble’s fiction takes on a strong sociological angle. Interviewed for this magazine in the fall of 1978, only a year after The Ice Age was published, she admits that “the whole idea” for it “came from reading newspapers.” Read More
September 9, 2019 Happily The Currency of Tears By Sabrina Orah Mark Sabrina Orah Mark’s monthly column, Happily, focuses on fairy tales and motherhood. One day in nursery school, when I was five I think, I cried. My teacher, in her floral apron with gigantic pockets, handed me a paper cup. She handed me a paper cup, and told me to collect my tears as they slid down my face and drink them. “And when you drink your tears,” she said, “think about your ancestors who were slaves in Egypt.” It must’ve been close to Passover. She didn’t intend to be cruel. Her face was covered with freckles the same rust color as the flowers on her apron. The other kids wanted to taste the tears, too. The teacher told me to pass the cup around. And I did. And from the little paper cup the children drank. I wish I could remember what I was crying over. In 2014, a story appeared about a Yemeni woman who cries stones. She produces as many as a hundred stones a day, and she cries most of the stones in the afternoon and evening. She is one of twenty children, and she does not cry stones while she is sleeping. None of her sisters or brothers cry stones. Her name is Sadia, which means “happy” in Arabic. The tears look like tiny pebbles, and they collect under her lower eyelids. It is not impossible that the girl’s tears are the same pebbles Hansel and Gretel use to make a path home. Local doctors cannot offer a scientific explanation, but some villagers agree she is under a magic spell. Read More