So the theory has it that the universe expanded exponentially from a point, a singular space/time point, a moment/thing, some original particulate event or quantum substantive happenstance, to an extent that the word explosion is inadequate, though the theory is known as the Big Bang. What we are supposed to keep in mind, in our mind, is that the universe didn't burst out into pre-existent available space, it was the space that blew out, taking everything with it in a great expansive flowering, a silent flash into being in a second or two of the entire outrushing universe of gas and matter and darkness-light, a cosmic floop of nothing into the volume and chronology of spacetime. Okay?
And universal history since has seen a kind of evolution of star matter, of elemental dust, nebulae, burning, glowing, pulsing, everything flying away from everything else for the last fifteen or so billion years.
But what does it mean that the original singularity, or the singular originality, which included in its submicroscopic being all space, all time, that was to voluminously suddenly and monumentally erupt into concepts that we can understand, or learn-what does it mean to say that ... the universe did not blast into being through space but that space, itself a property of the universe, is what blasted out along with everything in it?
What does it mean to say that space is what expanded, stretched, flowered? Into what? The universe expanding even now its galaxies of burning suns, dying stars, metallic monuments of stone, clouds of cosmic dust, must be filling ... something. If it is expanding it has perimeters, at present far beyond any ability of ours to measure. What do things look like just at the instant's action at the edge of the universe? What is just beyond that rushing, overwhelming parametric edge before it is overwhelmed? What is being overcome, filled, enlivened, lit?
Or is there no edge, no border, but an infinite series of universes expanding into one another, all at the same time? So that the expanding expands futilely into itself, an infinitely convoluting dark matter of ghastly insensate endlessness, with no properties, no volume, no transformative elemental energies of light or force or pulsing quanta, all these being inventions of our own consciousness, and our consciousness, lacking volume and physical quality in itself, a project as finally mindless, cold, and inhuman as the universe of our illusion.
I would like to find an astronomer to talk to. I think how people numbed themselves to survive the camps. So do astronomers deaden themselves to the starry universe? I mean, seeing the universe as a job? (Not to exonerate the rest of us, who are given these painful intimations of the universal vastness and then go about our lives as if it is no more than an exhibit at the Museum of Natural History.)
Does the average astronomer doing his daily work understand that beyond the celestial phenomena given to his study, the calculations of his radiometry, to say nothing of the obligated awe of his professional life, lies a truth so monumentally horrifying-this ultimate context of our striving, this conclusion of our historical intellects so hideous to contemplate-that even one's turn to God cannot alleviate the misery of such profound, disastrous, hopeless infinitude? That's my question.
In fact if God is involved in this matter, these elemental facts, these apparent concepts, He is so fearsome as to be beyond any human entreaty for our solace, or comfort, or the redemption that would come of our being brought into His secret.
These are the first words in E.L. Doctorow's City of God. I found them on a humble, just flipping through fiction at bookstore. I've been thinking a lot about aggression and violence lately. My favorite writers are all aggressive, they snatch you up and propel you on the strength of their confidence, on the strength of their evangelical belief that this world they are conjuring is all real talk. These writers are not waiting on you, playing with you, or apologizing to you. They don't even really need you. They are writing, and you can either come along on you can do what we all know you want to know, and go back you life of various Real Housewives in various fake locales.
What I am saying here, in somewhat overly dramatic terms, is my favorites writers are always daring me, always threatening me. I picked up a few other books before I got to this one, and all the writing was some wimpy, limp, half-ass, and apologetic. If the writer doesn't believe in the world they are creating, why should I?
It isn't just in fiction. Half the opinionating I read begins with apology or bravado. I'd rather be punched in the face. I remember the first time I heard "Rebel Without A Pause." I hated it. But Public Enemy just compelled me.
Black poverty is fundamentally distinct from white poverty—and so cannot be addressed without grappling with racism.
There have been a number of useful entries in the weeks since Senator Bernie Sanders declared himself against reparations. Perhaps the most clarifying comes from Cedric Johnson in a piece entitled, “An Open Letter To Ta-Nehisi Coates And The Liberals Who Love Him.” Johnson’s essay offers those of us interested in the problem of white supremacy and the question of economic class the chance to tease out how, and where, these two problems intersect. In Johnson’s rendition, racism, in and of itself, holds limited explanatory power when looking at the socio-economic problems which beset African Americans. “We continue to reach for old modes of analysis in the face of a changed world,” writes Johnson. “One where blackness is still derogated but anti-black racism is not the principal determinant of material conditions and economic mobility for many African Americans.”
As Coldplay blandly strained for the universal, she and Bruno Mars pulled off something more specific and more daring.
What a perfect Beyoncésong name: “Formation.” All great pop involves people acting in formation. So does all great change. And while fans scream that Beyoncé’s a “queen” and “goddess,” her core appeal really is as a drill sergeant. With Beyoncé in command, greatness is scalable, achievable, for the collective. Everyone waves their hands to the same beat. Everyone walks around like they have hot sauce in their bag.
But in pop and in politics, “everyone” is a loaded term. Stars as ubiquitous as Beyoncé have haters, the “albino alligators” who “Formation” informs us she twirls upon. And in a more general historical sense, “everyone” can be a dangerous illusion that elevates one point of view as universal while minimizing others. Beyoncé gets all of this, it seems. As a pop star, she surely wants to have as broad a reach as possible. But as an artist, she has a specific message, born of a specific experience, meaningful to specific people. Rather than pretend otherwise, she’s going to make art about the tension implied by this dynamic. She’s going to show up to Super Bowl with a phalanx of women dressed as Black Panthers.
Most people in the U.S. believe their country is going to hell. But they’re wrong. What a three-year journey by single-engine plane reveals about reinvention and renewal.
When news broke late last year of a mass shooting in San Bernardino, California, most people in the rest of the country, and even the state, probably had to search a map to figure out where the city was. I knew exactly, having grown up in the next-door town of Redlands (where the two killers lived) and having, by chance, spent a long period earlier in the year meeting and interviewing people in the unglamorous “Inland Empire” of Southern California as part of an ongoing project of reporting across America.
Some of what my wife, Deb, and I heard in San Bernardino before the shootings closely matched the picture that the nonstop news coverage presented afterward: San Bernardino as a poor, troubled town that sadly managed to combine nearly every destructive economic, political, and social trend of the country as a whole. San Bernardino went into bankruptcy in 2012 and was only beginning to emerge at the time of the shootings. Crime is high, household income is low, the downtown is nearly abandoned in the daytime and dangerous at night, and unemployment and welfare rates are persistently the worst in the state.
In Homs, Syria, where entire city blocks have been reduced to rubble by years of civil war, a Syrian wedding photographer thought of using the destruction of the city as a backdrop for pictures of newlywed couples “to show that life is stronger than death.”
In Homs, Syria, where entire city blocks have been reduced to rubble by years of civil war, a Syrian wedding photographer thought of using the destruction of the city as a backdrop for pictures of newlywed couples “to show that life is stronger than death,” according to AFP photographer Joseph Eid. Here, Nada Merhi, 18, and her husband, Syrian army soldier Hassan Youssef, 27, pose for a series of wedding pictures amid heavily damaged buildings in Homs on February 5, 2016.
Will the Democratic Party nominate a candidate who hasn’t been a member of their party, and who has long denounced it?
When a party chooses its presidential candidate, it also chooses its party leader in the election. This year the Democrats face an unusual situation. Bernie Sanders isn’t just an outsider to the party establishment; he’s not even been a member of the party, and has long excoriated it in unsparing language. Although the media haven’t much focused on this history, the early signs suggest it could become a problem for Sanders in getting the nomination—and a problem for the party if he does get it.
According to the entrance polls at the Iowa caucuses, there was a 30-percentage-point split between self-identified Democrats and independents in their support for Sanders. Hillary Clinton won 56 percent of self-identified Democrats but only 26 percent of independents, while Sanders won only 39 percent of Democrats but 69 percent of independents.
For decades the Man of Steel has failed to find his groove, thanks to a continual misunderstanding of his strengths.
Superman should be invincible. Since his car-smashing debut in 1938, he’s starred in at least one regular monthly comic, three blockbuster films, and four television shows. His crest is recognized across the globe, his supporting cast is legendary, and anybody even vaguely familiar with comics can recount the broad strokes of his origin. (The writer Grant Morrison accomplished it in eight words: “Doomed Planet. Desperate Scientists. Last Hope. Kindly Couple.”) He’s the first of the superheroes, a genre that’s grown into a modern mass-media juggernaut.
And yet, for a character who gains his power from the light of the sun, Superman is curiously eclipsed by other heroes. According to numbers provided by Diamond Distributors, the long-running Superman comic sold only 55,000 copies a month in 2015, down from around 70,000 in 2010—a mediocre showing even for the famously anemic comic-book market. That’s significantly less than his colleague Batman, who last year moved issues at a comparatively brisk 150,000 a month. Mass media hasn’t been much kinder: The longest-running Superman television show, 2001’s Smallville, kept him out of his iconic suit for a decade. Superman Returns recouped its budget at the box office, but proved mostly forgettable.2013’s Man of Steel drew sharp criticism from critics and audiences alike for its bleak tone and rampaging finale. Trailers for the sequel, Batman v Superman: Dawn of Justice, have shifted the focus (and top billing) to the Dark Knight. Worst of all, conventional wisdom puts the blame on Superman himself. He’s boring, people say; he’s unrelatable, nothing like the Marvel characters dominating the sales charts and the box office. More than anything, he seems embarrassing. Look at him. Truth? Justice? He wears his underwear on the outside.
One professor is borrowing a method from Harvard Business School to engage students and inspire better decision-making skills.
In a spacious classroom in Aldrich Hall on the Harvard Business School campus, 100 students are passionately discussing a case called “Battle Over a Bank.” But these aren’t MBA students deliberating over how much the government should regulate the financial sector. This group of mostly undergraduates, guided by the award-winning Harvard Business School professor David Moss, is diving into the fierce 1791 debate over whether the Constitution could be interpreted to allow the fledgling U.S. government the power to form a bank at all.
This class, “History of American Democracy,” is no pedestrian historical survey course. It uses the case method—the business school’s signature teaching technique—to immerse undergraduates (as well as a limited number of HBS students) in critical episodes in the development of American democracy.
The trust people tend to feel toward others in the same ethnic, racial, and political groups makes them easy targets for scammers.
Last week’s ABC mini-series chronicled the most famous financial fraud in recent American history: Bernard Madoff’s $50 billion Ponzi scheme, which devastated elite institutions and families of the American Jewish community. The scale of Madoff’s crimes was breathtaking. There’s much to be said about his crimes—not least about the incompetence of the regulatory apparatus that failed to stop him despite repeated warnings and what researchers Greg Gregoriou and Francois Lhabitant quite appropriately called “a riot of red flags” over many years.
A photo series reveals what expectant mothers in various countries bring with them to the hospital.
For most expecting mothers in the Western world, a hospital bag is something that makes the birthing process marginally more comfortable. You’ve just brought a new being into the world; you deserve to wear your own sweatpants.
But in some parts of the world, hospitals are so bare-bones that women in labor must tote everything with them, from rubber gloves to water pans to gauze.
To draw attention to the difficulty of giving birth in regions where water is scarce, the organization WaterAid recently dispatched photographers to ask expecting and brand-new moms in various countries to open up their hospital bags. Here are their photos, as well as lightly edited interviews with the moms conducted by WaterAid.
The former president’s heated assault on Bernie Sanders is a reminder of how the Clintons have long reacted to any opposition.
One of my oldest Hillary Clinton memories: Twenty-six years ago, I stood in the second-floor rotunda of the Arkansas Capitol half-listening to a news conference by Tom McRae, an earnest Democrat challenging Governor Bill Clinton for re-election. Then I heard it: Click. Clack. Click. Clack. Click. Clack.
The sound of Hillary Clinton’s low-heeled shoes on a hidden marble hallway jarred McRae, who in 1990 was Bill Clinton’s biggest obstacle to a fifth term and a presidential bid two years later. The first lady of Arkansas rounded the corner and stormed his news conference. “Tom!” she shouted. “I think we oughta get the record straight!”
Waving a sheaf of papers, Hillary Clinton undercut McRae’s criticism of her husband’s record by pointing to McRae’s past praise of the governor. It was a brutal sandbagging. “Many of the reports you issued not only praise the governor on his environmental record,” she said, “but his education and his economic record!”