Citizen E has been on me to read War And Peace for over a year now. He echoes my father, who has been on me to read War And Peace for the better part of twenty years. I'm having a hard time with it, and evidently, I am in good company. Henry James called it a "large loose baggy monster." I have found it much the same--emphasis on monster. It's tough to get a foothold on any one character, or any one set of events--there are many formal soirées where it feels like nothing, save gossiping over Napolean's latest machinations, seem to happen.
And yet I am attracted to Tolstoy's seeming disrespect for plot and form even as I am not sure what, precisely, I'm reading. But more than that I'm attracted by own limits, to the rather strict nature of my native aesthetic. Pops traces my days as a writer back to toddlerdom. He says when I was just two I would sit by the speaker and demand that he play the Last Poets' Delights Of The Garden over and over again. I don't much remember what's on that record, but I have vague memories of being transfixed by the Last Poets.
I think it's about some deep sense that a sentence is really an instrument of percussion, that I hear all my favorite writers the way other people hear Max Roach. I finished Rebecca a few weeks back and as much I loved how, for most of the book, Du Maurier manages the suspense, how she turns your own fearful curiosity against you, what I really love is the rhythm of something like this:
I wonder what she is doing now. She and Favell. I think it was the expression on her face that gave me my first feeling of unrest. Instinctively, I thought, "She is comparing me to Rebecca."; and sharp as a sword, the shadow came between us.
I read that, and, rightly or wrongly, I heard African drumming. Same for Doctorow. Same for Fitzgerald (especially in his Jazz Age essays.) Same for Komunyakaa. Same for Diaz. I see literature through an odd Afrocentric lens. What I love about the Western canon, I love because it takes me back to what I thought was beautiful all those days ago when I would troop to school thinking over and over,
It's only one capable, breaks the unbreakable,
Melodies unmakable, patterns unescapble.
A haunt if you want the style I posses,
I bless the Child, the Earth, the Gods and bomb the rest..
I read Tolstoy and don't hear drumming--or rather not the drumming that I am as yet qualified to recognize. And I think that's the point. I don't hope to love this book--if I do, that's great. But more so, I hope to understand why so many other people love this book, to appreciate their appreciation, if not to share it. I have said this before, but I would hate to grow old and become a prisoner to my own aesthetics. I do not despise those who inveigh against hip-hop and X-Boxes--but I fear, most powerfully, becoming them.
My Dad read War and Peace before he went off to Vietnam. He must have been about 16, a poor black kid trying to find his way out of Philadelphia. By the time he came to Tolstoy, he'd seen his father alive for the last time. He'd come home, as a six-year old, and seen all of his home set out in the street. He'd lived in a truck for a week, and he'd come to believe that if he stayed in Philly, he would be killed. Still awaiting him was the murder of two of his older brothers, the service, the Panthers, and a tribe of children.
What moves someone like that to Tolstoy? What allows you to cross that long, dreamy bridge from the ghettos of America to the parlors of old Russia?
There is something out there. I'm going to find it.
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.”
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.
The number of American teens who excel at advanced math has surged. Why?
On a sultry evening last July, a tall, soft-spoken 17-year-old named David Stoner and nearly 600 other math whizzes from all over the world sat huddled in small groups around wicker bistro tables, talking in low voices and obsessively refreshing the browsers on their laptops. The air in the cavernous lobby of the Lotus Hotel Pang Suan Kaew in Chiang Mai, Thailand, was humid, recalls Stoner, whose light South Carolina accent warms his carefully chosen words. The tension in the room made it seem especially heavy, like the atmosphere at a high-stakes poker tournament.
Stoner and five teammates were representing the United States in the 56th International Mathematical Olympiad. They figured they’d done pretty well over the two days of competition. God knows, they’d trained hard. Stoner, like his teammates, had endured a grueling regime for more than a year—practicing tricky problems over breakfast before school and taking on more problems late into the evening after he completed the homework for his college-level math classes. Sometimes, he sketched out proofs on the large dry-erase board his dad had installed in his bedroom. Most nights, he put himself to sleep reading books like New Problems in Euclidean Geometry and An Introduction to Diophantine Equations.
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.
Many are familiar with the challenges faced by working moms, but the troubles of women with aging parents are unseen and widely ignored.
For America’s working moms, there is pretty much an endless stream of resources to guide and comfort them on how to tell the boss they’re pregnant, how to find a private place to pump at work, how to negotiate flex time, how to split the chores at home, and whether or not to display pictures of their kids at the office. They can read all day and all night about the many stresses of working motherhood including pregnancy discrimination, the wage gap, the mommy wars, leaning in, and opting out. But for America’s working daughters, there is little to help them navigate between their careers and the needs of their aging parents.
There are currently 44 million unpaid eldercare providers in the United States according to the U.S. Census Bureau and the majority are women. And yet there are very few support programs, formal or informal, in place to support these family caregivers, many of whom are struggling at work and at home. Working daughters often find they need to switch to a less demanding job, take time off, or quit work altogether in order to make time for their caregiving duties. As a result, they suffer loss of wages and risk losing job-related benefits such as health insurance, retirement savings, and Social Security benefits. In fact, a study from MetLife and the National Alliance for Caregiving calculated women lose an average $324,044 in compensation due to caregiving.
After getting shut down late last year, a website that allows free access to paywalled academic papers has sprung back up in a shadowy corner of the Internet.
There’s a battle raging over whether academic research should be free, and it’s overflowing into the dark web.
Most modern scholarly work remains locked behind paywalls, and unless your computer is on the network of a university with an expensive subscription, you have to pay a fee, often around 30 dollars, to access each paper.
Many scholars say this system makes publishers rich—Elsevier, a company that controls access to more than 2,000 journals, has a market capitalization about equal to that of Delta Airlines—but does not benefit the academics that conducted the research, or the public at large. Others worry that free academic journals would have a hard time upholding the rigorous standards and peer reviews that the most prestigious paid journals are famous for.
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.
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.
Tracking them down is a globe-trotting adventure that rivals any jungle expedition.
In the darkness of the Akeley Hall of Mammals, swarms of kids gawk at beautifully staged dioramas of Africa’s wildlife. The stuffed safari, nestled in the American Museum of Natural History (AMNH) in New York, includes taxidermied leopards stalking a bush pig, preserved ostriches strutting in front of warthogs, and long-dead baboons cautiously considering a viper. In one corner, in a display marked “Upper Nile Region,” a lone hippo grazes next to a herd of lechwe, roan antelope, and a comically stern shoebill stork.
“This is my favorite one,” says Evon Hekkala, pointing to the display. “There’s a taxidermied crocodile tucked away down there.”
It takes a while to spot it and I have to crane my head to do so, but yes, there it is—a large crocodile, in the back, mouth agape, next to the hippo. It’s mostly hidden from view, and until recently, it was hidden from science, too.