February 14, 2014 Sleep Aid How Mechanical Rubber Goods Are Made By M. H. Tauss It’s late, and you’re still awake. Allow us to help with Sleep Aid, a new series devoted to curing insomnia with the dullest, most soporific prose available in the public domain. Tonight’s prescription: “How Mechanical Rubber Goods Are Made,” first published in the Scientific American Supplement on February 13, 1892. Christian Krohg, Sleeping Mother with Child, 1883. While the manufacture of rubber goods is in no sense a secret industry, the majority of buyers and users of such goods have never stepped inside of a rubber mill, and many have very crude ideas as to how the goods are made up. In ordinary garden hose, for instance, the process is as follows: The inner tubing is made of a strip of rubber fifty feet in length, which is laid on a long zinc-covered table and its edges drawn together over a hose pole. The cover, which is of what is called “friction,” that is cloth with rubber forced through its meshes, comes to the hose maker in strips, cut on the bias, which are wound around the outside of the tube and adhere tightly to it. The hose pole is then put in something like a fifty foot lathe, and while the pole revolves slowly, it is tightly wrapped with strips of cloth, in order that it may not get out of shape while undergoing the process of vulcanizing. When a number of these hose poles have been covered in this way they are laid in a pan set on trucks and are then run into a long boiler, shut in, and live steam is turned on. When the goods are cured steam is blown off, the vulcanizer opened and the cloths are removed. The hose is then slipped off the pole by forcing air from a compressor between the rubber and the hose pole. This, of course, is what is known as hose that has a seam in it. For seamless hose the tube is made in a tubing machine and slipped upon the hose pole by reversing the process that is used in removing hose by air compression. In other words, a knot is tied in one end of the fifty foot tube and the other end is placed against the hose pole and being carefully inflated with air it is slipped on without the least trouble. For various kinds of hose the processes vary, and there are machines for winding with wire and intricate processes for the heavy grades of suction hose, etc. For steam hose, brewers’, and acid hose, special resisting compounds are used, that as a rule are the secrets of the various manufacturers. Cotton hose is woven through machines expressly designed for that purpose, and afterward has a half-cured rubber tube drawn through it. One end is then securely stopped up and the other end forced on a cone through which steam is introduced to the inside of the hose, forcing the rubber against the cotton cover, finishing the cure and fixing it firmly in its place. Read More
February 13, 2014 From the Archive “Snow Is a Hat Worn By Mountains” By Dan Piepenbring Some might suggest that for a literary blog to feature three snow-related posts in a day is excessive. Well, tough. The weather has always been a great common denominator. And to our credit, we’ve refrained from calling this “Winter Storm Pax” or “the snowpocalypse.” We have standards. Here, then, are seven poems from our archives fit for a snowy night. I won’t claim they’ll warm or comfort you—they’re poems, not pap—but they’re terrific reads, and they will be of some help. Next time you share an elevator with a distant colleague, you’ll use the weather as a conversational crutch, as one does; but instead of saying, “Man, it’s cold out!” you’ll say, “Snow is a hat worn by mountains.” You’ll make a lasting impression. Note, too, that the majority of these poems were published in the spring or summer: a reminder that what’s unendurable now will be desirable in a few months’ time. Debora Greger, “To the Snow” (from The Paris Review No. 154, Spring 2000) Snow, let go. It’s late, You are cornmush. You are cold. Let me cover you with this white sheet. No one will know. Agha Shahid Ali, “Snow on the Desert” (from No. 107, Summer 1988) the sliding doors of the fog were opened, and the snow, which had fallen all night, now sun-dazzled, blinded us, the earth whitened out, as if by cocaine, the desert’s plants, its mineral-hard colors extinguished, wine frozen in the veins of the cactus. Read More
February 13, 2014 Arts & Culture, Our Daily Correspondent A Brief History of the Snowball Fight By Sadie Stein Venceslao Boemo, January, c. 1400. My colleague Stephen sent along this clipping earlier today, from an 1855 issue of the New York Times. Nor is this the only recorded instance of snowball-related violence. January 29, 1863: Confederate troops stationed in the Rappahannock Valley in Northern Virginia begin exchanging friendly snowball fire. This escalates to a nine-thousand-rebel brawl. This is what happens when you put rocks in your snowballs. January 12, 1893: Some rambunctious Princeton sophomores engage in a rock-laced snowball fight. This is the result. The Great Depression: Snowballs (aka snowcones) are known as “hard times sundaes.” August 17, 1945: Animal Farm is published. Summer, 1958: My dad (or rather, the boy who will, decades later, become my dad) and his friends decide it will be the coolest thing ever if they freeze snowballs during the winter so they can have a snowball fight in July. First snowball—now pure ice—results in eight-year-old Joel Bernstein taken to the hospital for stitches. January 7, 2013: A German teacher, hurt in a snowball fight with students, sues the school board and succeeds in getting it classified a work injury. February 13, 2014: A brother and sister, maybe five and three, are having a snowball fight under my window. She repeatedly screams, “WHY DID THE CHICKEN CROSS THE ROAD? TO GO TO THE BATHROOM!” He throws a snowball at her face; she falls down, crying.
February 13, 2014 Arts & Culture The Silent Treatment By Harry Backlund On Art Spiegelman’s new stage show, Wordless! Photo: Robert Kozloff/The University of Chicago In 1970, when Art Spiegelman was twenty-two, he went to a gallery opening in Binghamton, New York, for an exhibition of woodcuts by Lynd Ward. Spiegelman wanted to tell Ward how much he admired the wordless novels the artist had made in the 1930s, but also, and no less importantly, he wanted to ask him what his favorite comic books were. The way Spiegelman tells it, the sixty-five-year-old Ward was gracious but confused: he didn’t know much about comics; his Methodist minister father had forbidden them. Ward’s woodcut novels, which blended Depression-era social realism with a Faustian sense of good and evil, owed more to the biblical engravings of Gustave Doré than they did to the Sunday funnies. Spiegelman didn’t get the comics talk he came for, but he spent some time in the gallery, studying those prints. Two years later, he composed a four-page comic about his guilt over his mother’s suicide. It was just a few panels, but their startling intimacy set the pattern for much of his later work, including the Pulitzer Prize–winning Maus, in which they were later included. Spiegelman titled that short comic “Prisoner on the Hell Planet,” and in its stark style and pitch-black outlook, you can see the influence of Ward’s woodcuts. Spiegelman has given Ward’s novels a central role in Wordless!, the new stage show he created with the composer Phillip Johnston, and which the two men presented twice last Saturday to sold-out crowds at the University of Chicago’s Logan Center for the Arts. Wordless! weaves together Spiegelman’s reflections on the history of wordless novels with slide show projections of the genre’s classic works, which Johnston and his sextet accompany with rollicking, klezmer-inflected, vaudeville jazz. The back-and-forth between lecture and performance neatly captured Spiegelman’s ambivalence about his role on stage. On the one hand, he was a comic artist on a mission, there to add a new branch to the family tree of the graphic novel, one that would demonstrate the genre’s deep roots and help solidify its place in the canon of “real literature.” Mostly though, Spiegelman was having fun. He was there to give the crowd what he had sought from Ward: a conversation about some of his favorite comics and a taste of the overwhelming pleasure they give him. “Don’t worry if you get a little lost while you’re watching,” he reassured his listeners between puffs on his e-cigarette. “I’m hoping you will careen between my words and these picture stories until you’re left as breathlessly unbalanced as I am.” Read More
February 13, 2014 Quote Unquote Noodles and Mush By Dan Piepenbring A valiant mascot shovels snow outside the Nissin Cup Noodles Museum in Yokohama. All my life I ate noodles. Because my mother used to repair old lacework. And one thing about old lace is that odors stick to it forever. And you can’t deliver smelly lace! So what didn’t smell? Noodles. I’ve eaten basinfuls of noodles. My mother made noodles by the basinful. Boiled noodles, oh, yes, yes, all my youth, noodles and mush. —Louis-Ferdinand Céline, the Art of Fiction No. 33
February 13, 2014 On the Shelf There’s Not an App for That, and Other News By Dan Piepenbring Do you really want to write like this guy, anyway? The last thing the world needs is another Hemingway imitator, but a new app purports to help you write like Ernest Hemingway. It lops off adverbs and corrects instances of passive voice, but “it’s pretty tricky to distill instructions into computer code and make a machine into an editor.” Phew. Job security. Why are writers such inveterate procrastinators? “We were too good in English class.” Another question: Why do literary biographers insist on portraying “a positive moral image” of their subjects, many of whom were ethically lax? The Tournament of Cookbooks has begun. There will be blood. And bruised egos. And bold Mediterranean recipes. An 1882 pamphlet—“The Nonsense of It!”—sunders the flimsy arguments against giving women the vote. “‘The polls are not decent places for women at present.’ Then she is certainly needed there to make them decent … the presence of one woman would be worth a dozen policemen.”