December 21, 2016 Our Correspondents Zonies, Part 3: Utopia By Mike Powell Mike Powell’s column is about living in Arizona. Biosphere 2. One morning, in early 2011, my friend Ray took a few friends and me up to a place about an hour north of Tucson called Biosphere 2. Ray was working or volunteering there in some capacity and suggested that we follow him around. We drove up Oracle Road, which turns into Route 77, which I mention because you know that when a road turns into a route that you are leaving something. Strip malls and sprawl thinned out into empty desert. We made a few turns and rumbled over some cattle guards and that’s when I saw it, like a young boy’s crayon drawing of a space station rising majestically out of the dust. “We’re here,” Ray said, as though that wasn’t already clear. At the time, all I understood about Biosphere 2 was that it was a scientific research facility filled with re-creations of real-world environments: jungle, desert, ocean, et cetera. That, and that a group of scientists voluntarily locked themselves in there for two years during the early 1990s, where they strived, studied, bickered, lost a lot of weight, and eventually became the butt of a cultural joke. I admired them already. Read More
December 21, 2016 Arts & Culture A Comics Adaptation of Sigizmund Krzhizhanovsky By Laura Park The latest entry in the NYRB Classics Book Club is Sigizmund Krzhizhanovsky’s novel The Return of Münchausen, translated into English for the first time by Joanne Turnbull. Though Krzhizhanovsky wrote for some twenty years, Soviet censorship and World War II conspired against him, and none of his fiction was published in his lifetime (he died in 1950). “A fantastical plot is my method,” Krzhizhanovsky once wrote. “First you borrow from reality, you ask reality for permission to use your imagination, to deviate from actual fact; later you repay your debt to your creditor with nature, with a profoundly realistic investigation of the facts and an exact logic of conclusions.” In Münchausen, he borrows from the life—both real and legendary—of Baron Münchausen to spin his own absurd tale involving the baron’s post–World War I perambulations in Berlin, London, and Moscow on a diplomatic mission. Bizarre and fantastic, Münchausen (or is it Krzhizhanovky?) defends imagination above all else. The Daily is featuring a trio of adaptations of short excerpts from the novel. In our last installment, Laura Park finds the baron recalling a strange encounter in “the Land of the Soviets.” Read More
December 21, 2016 On the Shelf How to Build Your Evil Headquarters, and Other News By Dan Piepenbring The Pyramids, in Indianapolis. Photo: jikatu Science fiction’s evil megacorporations all seem to hire the same architect—it’s as if they’re so focused on turning the world into a bleak, ashen dystopia that they don’t even have the time to design a truly unique headquarters. Or maybe they just know what they like. Kate Wagner looks at a few examples: “What’s fascinating about the evil megacorporation is that its architectural aesthetic has remained virtually unchanged throughout its history: brooding Late Modernist (AKA High-tech or Structural Expressionist) buildings have become a well-worn trope, reaching a peak during the sci-fi smorgasbord of the eighties … Modern architecture from its inception has always been associated with the coming of the machine. The movement’s founders in Europe believed that the architecture of the time laid in the hands of industry—factories, concrete silos, and other functional, rational buildings. New technology like steel and reinforced concrete enabled architects to come up with dramatic and powerful forms.” Thinking of how best to fight Trumpism, Jedediah Purdy takes some cues from Thoreau, of all people: “Thoreau took solitude as well as social life with utter seriousness because he believed both were at once necessary and impossible. Alone, you were in the company of received ideas, condescending self-judgment, anxiety that you were not doing your part; in company, you were alone in your strange mind—and everyone’s mind is strange—throwing words like stones into the pools of other people’s minds, disturbing their smooth surfaces … Thoreau’s responses to nature are not naïve, but they do not reject what is alive and instructive in the naïve response. We might find, in the next four years, that we need to recapture the living kernel in those ideas that seem to be clichéd husks. In my world of academic lawyers, only schemers even pretend to believe that the Constitution simply means what it says, or that we could stand to live by it if it did. But it will soon be time to defend constitutional limits on the President’s power, or limits on the power of the police, as if they were divine commandments (as if there were divine commandments).” Read More
December 20, 2016 Our Correspondents Beautiful Animal of the King By Elena Passarello Elena Passarello’s column is about famous animals from history. This week: Zarafa. Design by Kristen Radtke. All these observations bring to mind the possibility of bringing her to Paris by small daily journeys. No other manner of transport seems preferable to me. —Count Villeneuve-Bargemon At each arrival in populous towns … I had to fight the crowds who rushed tumultuously at the animal. —Étienne Geoffroy Saint-Hilaire The giraffe occupies all the public’s attention; one talks of nothing else in the circles of the capital. —La pandore Name: Zarafa Species: Giraffa camelopardalis camelopardalis Years Active: 1825–1845 Distinguishing Features: Sixteen-inch prehensile tongue, tufted ossicones, bedroom eyes Skills: Long walks, befriending dignitaries Habitat: A parquet-floored wing of the Jardin des Plantes rotunda: “truly the boudoir of a little lady” Additional Notes: When Zarafa arrived at the port of Marseilles in the autumn of 1826, she did so unnamed. Though she was occasionally called “the child of Egypt,” “Dame Girafe,” or “the Beautiful Animal of the King” by dignitaries, newspapers, and her thousands-strong French fan club, Zarafa lived her eighteen years never officially known as anything but la girafe. There were no other beasts of her kind, you see, with which to confuse her. Read More
December 20, 2016 Arts & Culture The Captured Santa By Dan Piepenbring Why pop culture fixates on the incarcerated Claus. From Get Santa, 2014. Let me tell you something you already know: our culture longs to incapacitate Santa. At Christmastime, as the tired “God Rest Ye Merry Gentlemen” apparatus lurches to serve up the same perverse images of twinkling, Old World pageantry, we dream of the captured Santa, the deposed king, thwarted by his own bumbling jollity into reckoning with his parochialism. Santa represents a tradition at its breaking point. He’s the relic of a broken Eurocentric past, held over by the glad-handing rearguard in smoky backroom deals. Everywhere you look, you marvel at how brittle his grip is on power. You can feel it in the decorations, the imperious gimlet-eyed nutcrackers and gaudy wreaths, the prickly holly bushes with their poisonous berries, the wantonly felled firs, the long wasteful chains of eco-unfriendly incandescent lights. You can smell it on nog-breathed mall Santas, their faces glistening with sweat, their hours punishingly long, the ink still wet on their International University of Santa Claus diplomas. Santa is ripe for abduction—Santa wants to be abducted. This is why pop culture is teeming with images in which he’s out of commission. Read More
December 20, 2016 On the Shelf I Got You This Dead Bird, and Other News By Dan Piepenbring Americans just hate it when you sleep on the job. I learned this the hard way when I installed a Murphy bed in my last office. Boy, was the management steamed! I thought their issue was that I was spending too much time alone—not being a team player and such—so I invited my colleagues to watch me sleep, or even to join me in the Murphy bed if they were so inclined. (It was a queen.) But that only made them fire me! Imagine the joy, then, with which I greeted Bryant Rousseau’s reporting from Japan, where napping in public is not just allowed, but celebrated: “The word for it is inemuri. It is often translated as ‘sleeping on duty,’ but Dr. Brigitte Steger, a senior lecturer in Japanese studies at Downing College, Cambridge, who has written a book on the topic, says it would be more accurate to render it as ‘sleeping while present’ … Sleeping in social situations can even enhance your reputation. Dr. Steger recalled a group dinner at a restaurant where the male guest of a female colleague fell asleep at the table. The other guests complimented his ‘gentlemanly behavior’—that he chose to stay present and sleep, rather than excuse himself.” Not dissimilarly, I went through a phrase where the only Christmas gifts I could think to give were dead birds. Not birds of prey or anything gauche like that—just cute, deceased little songbirds, sometimes on dry ice, wrapped in little parcels of tissue and tied with twine. Well, people weren’t having it. My best friend spit in my face. Even my mom asked if I kept the receipt. I was born in the wrong time, I guess, because in Victorian England, people just loved dead birds for the holidays. Allison Meier writes, “The image of a dead bird in the snow is similar to the popular ‘Babe in the Woods’ motif of children who are in their mortal sleep in the forest, and may have likewise been a call to empathy for the less fortunate. John Grossman, author of Christmas Curiosities, told Tea Tree Library that the cards were ‘bound to elicit Victorian sympathy and may reference common stories of poor children freezing to death at Christmas’ … Hunter Oatman-Stanford at Collectors Weekly noted that the birds are often robins and wrens, and that ‘killing a wren or robin was once a good-luck ritual performed in late December.’” Read More