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February 18, 2014 · 7:16 am
The truth and progress, 2: Santa Teresa
This is the second reflection on ideas about "progress" and change through novels that explore the consequences of progress for ordinary people and their everyday live. The first considered Patrick Chamioseau's Texaco, and here the conversation turns to Roberto Bolaño's The Savage Detectives and 2666.
The secret story is the one we'll never know, although we're living it from day to day, thinking we're alive, thinking we've got it all under control and the stuff we overlook doesn't matter. But every damn thing matters! It's just that we don't realize. We tell ourselves that art runs on one track and life, our lives, on another, we don't even realize that's a lie.
―Roberto Bolaño, Last Evenings on Earth
The Savage Detectives and 2666 are monumental novels about a search for literary ghosts in the cities and towns of northern Mexico's Sonoran Desert. They were written by Roberto Bolaño, a Chilean who lived much of his life in exile, in Mexico and Spain, searching for ways to make words reconcile the world that is with the world of his own experience and imagination.
In The Savage Detectives, Bolaño assumes a pose akin to Chamoiseau's in Texaco, as a thinly disguised self called Arturo Belano, whose poetic vocation reflects his directionless quest for authenticity and escape from the Latin American "Boom" generation—those writers like Octavio Paz, Garcia Marquez, Vargas Llosa, & etc. whose work won four Nobel Prizes and utterly defined the "Latin American" voice. Their monumental dominance is for Belano and his generation a straight-jacket of Latin exoticism that is nothing like the world they grew up in. Belano/Bolaño's world is one in which global currents are washing over Latin America, wearing away what the Boom Generation created.
Cesárea Tinojero's only known poem, "Sión"
The Savage Detectives follows Belano's group of poets—the "Visceral Realists"—from an early adventure in the mid-1970s to find an obscure 1930s Mexican poet, Cesárea Tinajero. In the 30s, she worked for one of the generals leading the Mexican Revolution, which began in 1910 and only wound down by the 1930s. The Mexican Revolution itself was the constituting event in Latin American history that drew a line between the United States and everything south of the Rio Grande. It made the Boom Generation possible.
By the late 1970s, long after her general died, Cesárea is presumed living in somewhere in Sonora not far from Santa Teresa, itself a thinly disguised version of Mexico's border boomtown, Ciudad Juarez, just across the Rio Grande from El Paso. After rambling through the desert, they finally find her, aged and alone, in a small room in Santa Teresa. Through a local teacher who had befriended Cesárea, they learn that she had lived a very lonely, impoverished life, lately having taken to scribbling visions of the future, afraid of persecution and even death, in a scene that appears to foreshadow 2666 without being specific enough to say anything at all.
"… Cesárea spoke of times to come and the teacher, to change the subject, asked her what times she meant and when they would be. And Cesárea named a date, sometime around the year 2600. Two thousand six hundred and something. And then, when the teacher couldn't help but laugh at such a random date, a smothered little laugh that could scarcely be heard, Cesárea laughed again, although this time the thunder of her laughter remained within the confines of her own room." (The Savage Detectives, p. 634)
Belano and his cohorts will meet Cesárea herself, but before anything much happens her end meets the end of the Visceral Realists in a thudding anticlimax that explains the preceding 400 pages chronicling the group's dissolution and dispersal around the world.
Archimboldi
2666 isn't a sequel to The Savage Detectives, but in important ways it picks up where the earlier left off, with a crew of literary critics searching for Benno von Archimboldi, a German author whose Pynchonian mantle of self-imposed obscurity only heightens the reverence of his followers. As with Cesárea Tinojero's oblique reference to the year 2600, Archimboldi is also referenced in The Savage Detectives, as "J.M.G. Arcimboldi," credited for the Archimboldi of 2666's early novel, The Endless Rose. By the time of 2666, set around the turn of the millenium, Archimboldi has had a 40-year career in which he has published 21 novels and is mentioned frequently as a short-list candidate for the Nobel Prize. Like most of their colleagues, Archimboldi scholars are a fanatical lot and would go to the ends of the earth to find their master—which leads them to Santa Teresa a quarter-century after Arturo Belano and the Visceral Realists arrived there to find their master.
What is different between the two novels is the Mexico they depict. Where The Savage Detectives chronicles a generation's futile struggle against the grandiose and Nobel-studded world of their literary forbears, 2666 completes that story by portraying a Mexico that is at once devouring itself with it's own misogyny and violence while at the same time it is irretrievably caught in a tide of globalization, which abets the local violence and even explains it as its own pathology. Like Texaco, 2666 is a novel about a city that stands for a larger story about the price of progress.
If the apogee of the Mexican revolution, in literary terms, is Octavio Paz's Nobel Prize, then the nadir, in human terms, is the killing of up to 400 young women—femicidios—in Ciudad Juarez between 1993 and 2004. These murders are historical core of 2666, just like slavery and urban modernization are the historical core of Texaco. Thumbnail sketches of the murders in the fictionalized Juarez of Santa Teresa, hundreds of them, are meted out in clinical detail for over 280 pages in the longest of the novel's five sections, "The Part About the Crimes." Plot points filter in and out of an utter fog of forensic reportage like familiar faces wandering into a dream, trying desperately to drag it into the waking world. The scourge of violence becomes banal and then fades into normalcy. "The Part About the Crimes" is the reader's own exile from everything she knows, the reader as Aeneas in Hades seeing a prophetic vision of dystopian globalization that reverses the familiar story of progress, replacing civil society and the rule of law with a world descending into inexplicable, and inexplicably unjust, viciousness.
In the last section of the book, "The Part About Archimboldi," we finally learn who this writer is in an epic tale spanning the Russian Revolution, World War II, the Cold War, the emergence of computer technology, and the femicidios of Santa Teresa. In the end, it's the story of how the twentieth century gave way to the twenty-first, a Latin American novel that was written in Spain and unmoored itself from Mexico with a cast of characters from the United States, Spain, England, France, Germany, Russia, Chile, Romania, Italy, Mexico, and other places. Set on the border between the U.S. and Mexico, in an international metropolis that reflects the two countries' grand fraternal struggle for coexistence, 2666 continuously finds its border-crushing narrative crashing against the invisible wall between these two countries. Like Chamoiseau, Bolaño in The Savage Detectives and 2666 reimagines the world he has lived in and feeds it back to us in overlapping waves of murder mysteries, vision quests, and pilgrimmages. These books are the chronicle of Bolaño's life swept up by the grand rip currents of history.
Notes and Credits
Photographs and images: The first photo is of crosses placed on Lomas del Poleo Planta Alta, Ciudad Juárez, in the place where the bodies of eight murdered women were discovered in 1996. It is from the Wikimedia Commons. The photocopy of Cesárea Tinajero's poem, "Sión," from p. 398 of The Savage Detectives, is a photocopy taken by Tom Sparks and posted on his blog, WFTM. The air photo of Ciudad Juarez's sprawl across the countryside up to the mountains was taken from an article in El País online, ¿Porqué Ciudad Juárez?
Five Latin American writers would win the Nobel Prize between 1945 and 2010: Gabriela Mistral (Chile, 1945), Pablo Neruda (Chile, 1971), Miguel Ángel Asturias (Guatemala, 1967), Gabriel García Márquez (Colombia, 1982), Octavio Paz (Mexico, 1990), and Mario Vargas Llosa (Peru, 2010). These writers and many others equally as notable, including Jorge Luis Borges, Júlio Cortázar, and Carlos Fuentes, to name a few, not only created a globally recognized "Latin American Literaure" but they also exercised a palpable influence on post-World War II literature in general. García Márquez's novel One Hundred Years of Solitude is recognized as the overarching masterwork of the era, bringing the notion of "magical realism" to fore in world literature, while Cortázar's Rayuela has become a post-modern touchstone that has far eclipsed the Boom Generation.
From 1993 onward, around 400 women have been killed in Ciudad Juarez, a city of about 1.5 million people just across the Rio Grande from El Paso. Most of the victims of the femicidios were young and suffered violent deaths that included rape and torture. Few of the murders were solved. Those who could fled the violence (an estimated 700,000 people leaving the area in the late 1990s-early 2000s) while those who couldn't continued to work in the maquiladora factories created to supply U.S. companies with cheap production based almost entirely on the miserly wages paid to the Mexican workers—mainly women—who have flocked to the border for work. The violence has ebbed and flowed, but it nonetheless continues to the present day and has spawned movements and organized reactions.
Filed under body, conflict, danger, death, fiction, hubris, ideas, postcolonialism, writing
Tagged as 2666, Ciudad Juarez, femicídios, femicide, globalization, history, Latin America, literature, Mexico, modernity, murder, Octavio Paz, Patrick Chamoiseau, progress, Roberto Bolaño, The Savage Detectives
The truth and publishing: Beyond the Writing
Brooklyn Reading Works at The Old Stone House presents The Truth and Publishing, a panel discussion about the future of books, publishers, authors, agents and readers, curated by John Guidry.
Refreshments provided
$5 suggested donation
5th Avenue in Brooklyn
b/t 3rd and 4th Streets at JJ Byrne Park
info@theoldstonehouse.org
We often think of writing as a lone pursuit, a lone artist or dedicated journalist pursuing the craft with every ounce of dedication they can muster. If we think in the plural, it's usually in pairs. Yet behind the work of writers is a larger cast of professionals every bit as dedicated to the written word and concerned about its future. They include editors, agents, publishers, critics, and others whose work helps make the printed word possible. On this panel, we will meet editors, publishers and agents who will share their perspective on the process behind the written word and what lies in store for those in the publishing industry during these changing times.
Panelists include Amy Hundley, Tamson Weston, Josh Rolnick, Rob Spillman, Jonathan Lyons, and Renee Zuckerbrot.
AMY HUNDLEY is subsidiary rights director and editor at Grove/Atlantic, where she has worked in various editorial capacities for fifteen years. As a fiction editor, she has worked with authors such as Jim Harrison, Anne Enright (Winner of the Man Booker Prize), Barry Hannah, Porochista Khakpour, Ryan Boudinot, G. Willow Wilson, Mo Hayder, and Aminatta Forna. She also works with many of Grove's authors in translation, including Pascal Mercier, Catherine Millet, Nedjma, Kenzaburo Oe, and Jose Manuel Prieto. Her nonfiction list includes Last Night a DJ Saved My Life and How to DJ Right by Bill Brewster and Frank Broughton and The Deserter's Tale, a memoir by an American deserter from Iraq. As director of subsidiary rights, she is responsible for selling foreign and domestic rights in Grove/Atlantic titles. She has attended international publishing fellowships sponsored by the French Ministry of Culture and French-American Foundation; the Frankfurt Book Fair; the Polish Book Institute; the Jerusalem Book Fair; and the Turin International Book Fair. Born and raised in Chicago, Amy Hundley attended Wesleyan University in Middletown, Connecticut.
TAMSON WESTON is a published children's book author, founder of Tamson Weston Books, and an editor with over 15 years experience. She has worked on many acclaimed and award-winning books for children of all ages at several prestigious publishing houses including HarperCollins, Houghton Miffling Harcourt and Disney Hyperion. When she doesn't have her nose in a book, Tamson likes to run, bike, swim, lift heavy things and, most of all, hang out with my family in Brooklyn, NY. Visit her online at www.tamsonweston.com.
JOSH ROLNICK'S debut collection, "Pulp and Paper," won the 2011 John Simmons Short Fiction Award, selected by Yiyun Li. His short stories have also won the Arts & Letters Fiction Prize and the Florida Review Editor's Choice Prize. They have been published in Harvard Review, Western Humanities Review, Bellingham Review, and Gulf Coast, and have been nominated for the Pushcart Prize and Best New American Voices. Josh holds an MFA from the Iowa Writers' Workshop, and an MA in Writing from The Johns Hopkins University. He is working on a novel.
In a journalism and writing career spanning two decades, he served as a fiction editor at the Iowa Review, creative writing teacher at the University of Iowa, an editor at Stanford Social Innovation Review and Moment magazine, a newsman for the Associated Press, and a reporter for Congressional Quarterly and the News Tribune of Woodbridge, N.J. He currently serves as fiction editor of the literary journal Unstuck, and publisher of Sh'ma, a journal of Jewish ideas.
Josh grew up in Highland Park, N.J. He spent summers fishing for fluke and riding the giant slide at Hartman's Amusement Park in Long Beach Island, N.J., and camping in a Jayco pop-up trailer across the Adirondacks, returning again and again to Buck Pond, where he caught his first bullhead. He holds a BA from Rutgers University, an MA in International History from London School of Economics and a visiting graduate certificate from the Hebrew University of Jerusalem. He has lived in Jerusalem, London, Philadelphia, Iowa City, Washington, D.C., and Menlo Park, California. He lives with his wife and three sons, dividing his time between Akron, Ohio, and Brooklyn, New York.
ROB SPILLMAN is Editor and co-founder of Tin House, a fourteen-year-old bi-coastal (Brooklyn, New York and Portland, Oregon) literary magazine. Tin House has been honored in Best American Stories, Best American Essays, Best American Poetry, O'Henry Prize Stories, the Pushcart Prize Anthology and numerous other anthologies, and was nominated for the 2010 Utne Magazine Independent Press Award for Best Writing. He is also the Executive Editor of Tin House Books and co-founder of the Tin House Literary Festival, now in its tenth year. His writing has appeared in BookForum, the Boston Review, Connoisseur, Details, GQ, Nerve, the New York Times Book Review, Real Simple, Rolling Stone, Salon, Spin, Sports Illustrated, Vanity Fair, Vogue, Worth, among other magazines, newspapers, and essay collections. He is also the editor of Gods and Soldiers: the Penguin Anthology of Contemporary African Writing, which was published in 2009.
JONATHAN LYONS is a literary agent and Director of Translation Rights for Curtis Brown, LTD. Founded in 1914, Curtis Brown's client list includes numerous bestselling and award-winners, such as Karen Armstrong, Po Bronson, Betty Friedan, Jane Dyer, Diana Gabaldon, Gail Carson Levine, Harold Kushner, Frances Mayes, Diana Palmer, Linda Sue Park, S.E. Hinton, A.A. Milne, Ogden Nash, Ayn Rand, W.H. Auden, Tony Hillerman, John Cheever, Lucille Clifton, and more. Previously Jonathan ran his own agency, Lyons Literary LLC, and has also overseen the subsidiary rights departments at both McIntosh & Otis and Folio Literary Management. His own client list is varied, including authors of mysteries and thrillers, science fiction and fantasy, literary fiction, young adult and middle grade fiction, and nonfiction of all types. Jonathan is a member of the Authors Guild and is on the Contracts Committee of the Association of Author Representatives.
Jonathan is also an attorney with the boutique intellectual property law firm of Savur & Pellecchia. He has over ten years experience handling a variety of publishing and copyright related transactions on behalf of individuals and corporations, with an emphasis on print and digital publishing. His legal clients include authors, publishers, magazines, literary agents, distributors, and artists, among other publishing industry businesses and professionals. Jonathan regularly gives lectures and participates in panels regarding publishing law, including most recently at the Copyright Clearance Center's On Copyright 2012 Conference, the NYSBA Entertainment and Sports Law 2012 panel "New Models of Publishing", and the 2012 Self-Publishing Expo. Jonathan earned his law degree from Benjamin N. Cardozo School of Law in 2001, and his undergraduate degree from Washington University in St. Louis. He is admitted to the bar of New York.
RENEE ZUCKERBROT founded Renée Zuckerbrot Literary Agency after working as an editor at Doubleday and Franklin Square Press/Harper's Magazine, following a short stint at Marly Rusoff & Associates. She is a member of the AAR and Authors Guild, and in 2008, Poets & Writers included her on their list of "Twenty-One Agents You Should Know." represents a wide-ranging list that includes literary and commercial adult fiction, narrative non-fiction, and cookbooks. The agency represents writers at all stages of their careers, first-time and well-established authors alike, and the agency's small, intimate scale fosters warm and long-lasting relationships with our clients. We believe that an agent should be the author's greatest advocate and fan, and to that end we take a proactive role throughout the publishing process, offering crucial support in project development, editing, contracts, marketing, rights management, and career-planning over the short and long term.
Filed under art, fiction, ideas, journalism, knowledge, literature, Park Slope, writing
Tagged as agents, books, Brooklyn, editors, events, Park Slope, publishing, writing
The truth and dreams, 1: Lost
Women, photograph by Lara Wechsler
I dreamt that we were around each other, but not really together. Our recent split was a wound still open, and I was trying to follow you, to get back to you, to make you see me again as yours. I knew that I had pushed you away in the first place and then raised the stakes for a reunion. I never claimed to be the complete master of my emotions. And you, being your locked-down self, said the same thing over and over, which in this case was like saying nothing at all, since I didn't believe you wanted it to end.
All this was in the air around us when I saw the child, a young girl maybe two or three, walking around, uncertain perhaps where she was. She was small, dressed in a pink Hello Kitty onesy, carrying a stuffed animal. She bore a vague resemblance to you. It looked as if she would begin to cry at any moment.
I didn't know whose child she was, and there were no other adults around. For reasons I don't really understand or remember, I thought the child was with you, or that you knew where the parents were. I pursued you with the child, and I told you that we need to find the parents.
I don't remember that you said anything, but you took the child from me.
Then we got into a car and you told me to drive. The car wasn't yours, but I couldn't figure out if it was stolen or rented. On the way there—a "there" that only became clear as we got closer, since I didn't know where we were going and was only following your periodic directions—the air between us was frosty. Not much was said. You held on to the child.
We pulled into the parking lot of a drug store, one of those chain stores that all look and feel the same, regardless of the name on the sign out front. It was very white—the aisles, the light, the coats that people were wearing. You took the child back behind the pharmacy counter and began speaking to someone amid shelves of pills and ointments and jars. I couldn't hear what you said, but you did something to divert me, something involving the car, and I left.
When I got back to the pharmacy, you were gone. I shouted into empty space, "We have to return the car! Whose is it?" Then I saw you running away.
I followed you into a massive, dark parking lot, the kind of multi-story affair you see next to stadiums, shopping malls, and airports. By the time I reached the spot, the car was gone and so were you. I thought: I must call you.
I awoke shaking and covered in sweat. I reached to the nightstand for the telephone, and that's when I realized where I was.
This posting is fiction, but the dream was real.
Photography credit to Lara Wechsler, who let me use this photo for this posting. Lara's work can be found on flickr, and on her own website. Her work is on exhibit with other local artists at 440 Gallery in Park Slope, Brooklyn. Her work is street photography, which mainly involves photos of street scenes and, in Lara's case, photographs of people. The photograph I used in this posting is the rare one in her collection not of people (or even one person). In this case, it's a shot that evokes a persona, the perfect image for this dream that made me think, over and over again, what do I want?
Filed under conflict, danger, fiction, life, love, struggle, truth
Tagged as children, desire, dreams, fiction, life, loss, love, truth
The truth and magic: One Hundred Years of 'Tude
The magically-unreal story of how it all began …
Many years later, as he faced the firing squad, whose right to shoot him was protected by the second amendment, Colonel Aureliano Boone was to remember that distant afternoon when his father took him to discover books. At the time, America was a village of McMansions built on the bank of a river of polluted water that ran along a bed of stones polished to unearthly brilliance by chemical waste, petroleum fertilizers, and random sewerage, all of which made the children look like fat prehistoric eggs. The world was so recent that many things lacked names, for nothing lasted longer than the attention span of an 8-year old pointing his stubby, French Fry fingers at things he could not understand. Every year during the month of March a family of ragged right-wingers would set up their tents near the village, and with a great uproar of pipes and kettledrums they would create new radio shows. A heavy gypsy with an untamed ignorance and limp, fist-fucking hands, who introduced himself as Rush Limbaugh, put on a bold demonstration of what he himself called the eighth wonder of the learned alchemists of Kansas, where scientific knowledge had peaked around the time of the Scopes trial. He broadcast from house to house, his ideas attracting every angry white racist, bigot, gun owner, know-nothing dipshit, and ditto-headed idiot who had been lost for a long time, dragging along in turbulent confusion behind Rush Limbaugh's magnetic charm. "Freedom has a life of its own," the gypsy proclaimed with a nondescript Midwestern accent. "It's simply a matter of waking up its soul."
Photograph of Glenn Beck at the Rally to Restore Honor from Wikimedia Commons. Parody of Gabriel Garcia Marquez courtesy of satire.
Filed under conflict, danger, fiction, freedom, hubris, ideas, politics
Tagged as America, elections, Gabriel Garcia Marquez, Glenn Beck, Rush Limbaugh, Scopes Trial, second amendment
The truth and narrative, 3: my life with Roberto Bolaño
I met Gondim in Rio de Janeiro in 1987. He brought me to Morro dos Prazeres, a favela whose name translates into English as "Hill of Pleasures." We took the streetcar from downtown up to the neighborhood of Santa Teresa, climbing a couple thousand feet along the way. It was (and still is) Rio's last streetcar line, and the trip is a step back in time. At the end of the line, you arrive in Santa Teresa's walled streets and tight alleys, a Bohemian retreat high above the Rio's noise and splatter. It's a nice place, and the mountain air is cool.
One turn and a hundred feet down another street, Santa Teresa gives way to small houses climbing up the hillside in seemingly ramshackle fashion, stacked one atop the other to the sky. Children play on rooftops, their kites hanging in the ocean breeze. The two neighborhoods cling to each other on the steep hillsides of Rio de Janeiro in an uneasy relationship marked by occasional hostility, outbreaks of violence, and cheap domestic help. The views are breathtaking across the Guanabara Bay. Back in 1987, Gondim introduced me to Walter, the "professor," a fan of Fidel Castro's and leader of the neighborhood association in Morro dos Prazeres. I spent time there talking to people, hanging out, following Walter around.
At that time, Gondim lived in Santa Teresa, among artists and musicians and dancers. It was love and revolution all night long over cachaça, weed, and samba. At night, and sometimes during the day, I played music anywhere I could, with Rogerio or for the girls on Avenida Atlântica between tricks, the ocean crashing across the road beneath the moon and the Southern Cross.
Five years passed and I wasn't a very good correspondent. Neither was Gondim or Rogerio or anyone in Rio. In 1992, I found Rogerio in Flamengo, the neighborhood down on the beach below Santa Teresa. He asked me what I was doing, and I told him I was on my way to Belém. Belém!, he screamed—there are only crooks and thieves and whores there! Madness to go there! he told me. My people, I thought, and then he gave me his sister's phone number and said I should look up her up when I get there. Next I went to Gondim's offices at the magazine, but the editor told me he had moved. Where to? I asked. Belém, she said, and she gave me a phone number.
In Belém, it was sweaty nights on the street in Cidade Velha with Gondim and his friends, among them Petit, a Catalan who had married a Belemense girl and become a professor at the university. We drank beer, ate chicken and rice, and sang songs about everything. With Marga (see the Tamba-Tajá stories) I took in the arrival of Iemanjá on the beach at Mosqueiro in 1992. Márcia took me to her neighborhood, Bom Futuro, which like Morro dos Prazeres had a meaning that seemed at odds with its circumstance, "Good Future" in Portuguese. We had great parties at her house and a photograph of all the women in her family, four generations, hangs in my office next to my desk, not far from a photograph of my own mother.
Bom Futuro was an invasão—they didn't call them favelas in Belém—in a swampy area amid the mega-invasão of Área Cabanagem (pop 200,000) named after Oscar Neimeyer's nearby monument to the slave and Afro-Native rebellion that occurred in Belém in the 1830s. Chiquinho took me to his invasão in Aurá, a suburb about an hour or 90 minutes from central Belém by bus. I spent years with him and his comrades as they struggled to pave the streets and keep the lights on. I cherished these friends dearly, as I also loved M-J, who became my accomplice in dreams for a few years.
Then things changed.
The details are unimportant. What matters is that things changed because I made decisions that I don't understand today. The right thing to do now seems so obvious, though it was so obviously the wrong thing to do at the time. My mistake was not so much in doing right or wrong, but in doing either only half way. I forgot my passion at some point, and my calling went to rest beneath a rock of responsibility or reason that did not suit me very well. Maluco Beleza was the song I loved, and it became the life I lived a little by accident and not nearly enough by design.
Years later, when I picked up The Savage Detectives in Brooklyn's Community Bookstore, I felt like I found something I had lost.
My lives with Greene and Cortázar were there on Bolaño's pages, in the stories of Arturo Belano, Ulises Lima and their band of poets—the visceral realists—by way of hundreds of small depositions from everyone who had crossed paths with them over four continents and twenty years, chronicling their lovers and affairs, their triumphs and tragedies and madness. About half way through, the literary and historical sweep of the novel becomes staggering, Cortázar resurrected in the granularity of Bolaño's storytelling and an entire generation of Latin American literature (including at least two Nobel prizes) left in the dust. This was my world.
I laughed out loud on the subway to read Amadeo Salvatierra reminiscing on his hero during the years just after the Mexican Revolution (p. 396),
… I emerged from the swamp of mi general Diego Carvajal's death or the boiling soup of his memory, an indelible, mysterious soup that's poised above our fates, it seems to me, like Damocles' sword or an advertisement for tequila …
And also at the exchange between Belano and Lima and Salvatierra over the one published poem by Cesárea Tinajero, the original visceral realist in the 1920s (p. 421),
Belano or Lima: So why do you say it's a poem?
Salvatierra: Well, because Cesárea said so … That's the only reason why, because I had Cesárea's word for it. If that woman had told me that a piece of her shit wrapped in a shopping bag was a poem I would have believed it …
Belano: How modern.
I felt my heart tug when Joaquín Font spoke about his release from the mental hospital where he'd spent the last several years (p. 400) …
Freedom is like a prime number.
… and when Edith Oster, a heart-broken, ill, displaced Mexican in Barcelona, told of how she went to find a payphone to call her parents in Mexico City (p. 436),
In those days, Arturo and his friends didn't pay for the international calls they made … They would find some telephone and hook up a few wires and that was it, they had a connection … The rigged telephones were easy to tell by the lines that formed around them, especially at night. The best and worst of Latin America came together in those lines, the old revolutionaries and the rapists, the former political prisoners and the hawkers of junk jewelry.
She had broken Belano's heart, too, but the image brought me back to Vargas Llosa's revolutionaries in Historia de Mayta, who sat around debating the finer points of Marxist theory in their garage, perched atop stacks of their party's newspaper that had no readers and never saw the light of day, much less of a dim bulb or candle for covert reading in a dormitory, prison, or monastery.
Bolaño himself was at one time or another an old revolutionary, a former political prisoner, and a hawker of junk jewelry. Adding rapists to the mix only put down the rose-colored glasses of our generation's passions and all those fights between Garcia Marquéz and Vargas Llosa as if to say "enough, already." Yet being Bolaño, it would have been more like a visceral scream from the front row during a book reading at a polite salon or book store.
The Savage Detectives is a fractured narrative told in the shards of pottery and broken mirrors laying about the floors of the places where Bolaño slept. I read Bolaño and I saw what had become my life.
The photo of Bolaño's The Savage Detectives was taken by the author on his nightstand. This is the normal appearance of my end table. I picked up the leather Brazilian street scenes in Salvador, Bahia, in 1993.
Bolaño's biography is well-noted and I won't go over it here, except to say that the last 10 years of his tragic life (cut short by terminal illness) was one of those artistic outpourings that will live in legend. In a brief period of time, Bolaño the cast-off cast-away reshaped Latin America an became its voice (for now, at least).
The photo of Santa Teresa and Morro dos Prazeres comes from the Wikimedia Commons and a photographer named "chensiyuan." The photo of Belém from the Amazon River was taken by the author in 2000, arriving in Belém on a boat trip that began in Manaus about 10 days earlier. The photograph of Bom Futuro was taken in 1995 on a visit to Márcia's house. I've chosen for now to leave out my photos of Márcia, her family, and the parties we had.
The picture of the Bolaño graffiti was taken from gsz's photostream on Flickr. The photo of the author and Gondim was taken on the beach at Mosqueiro in 1995. Mosqueiro is the old resort area of Belém, still within the city limits but on a remote island, where the elite used to have weekend vilas and houses.
Earlier this year, torrential rains caused flooding in Rio that resulted in a huge landslide in Morro dos Prazeres and other areas. As a result, the mayor of the city developed a plan to remove the neighborhoods, on the pretext that the danger of flooding is no longer tolerable. The problem with this logic, however, is that Rio's favelas have always had this problem in the annual rainy season. To many, it seems the floods are just an excuse to to solve some of Rio's other problems with crime and drugs (really a police problem) by blaming the poor and tearing down their neighborhoods.
This is the same issue that drew Janice Perlman to the favelas in the 1960s and me there, later, in the 1980s. Unfortunately, the problem of drugs and organized crime is all too real. In 1987, when I was there, the police routinely went into Morro dos Prazeres and rounded up young men for summary executions – this as a warning to others and a means of controlling the population. Twenty years later, the film Trope de Elite (Elite Squad) chronicled the same story, Morro dos Prazeres still there at the center.
The Memorial da Cabanagem is a landmark in Belém. It was built by Governor Jader Barbalho after he became one of 9 resistance candidates to win election to governorships against the military regime in 1984. The pretext is that Barbalho's victory signaled a rebellion of Cabanagem-like proportions, the people rising up against the elite. After humble beginnings, Barbalho himself has been governor twice and held seats in both the national congress and the senate, where he was that body's leader for a short while until he was impeached while rumors and allegations of corruption mounted. Barbalho is one of the richest men in Pará. As with Fernando Collor, time conquers all, and Barbalho is back in the national congress representing Pará. Jeferson Assis's Flickr photostream has many images of the Cabanagem monument, as does Jeso Carneiro.
Bolaño's rigged payphones reminds me of stories my friends told about the payphones in Washington Heights in the 1980s. The Latin American drug traffickers (or so my friends said) would rig them to make free international calls, and everyone in the neighborhood used them.
When all is said and done, I wish peace to my friend Gondim and pray that I will see him again.
Filed under brasil, Brazil, existentialism, fiction, freedom, ideas, life, literature, love, philosophy, truth, writing
Tagged as Amazon River, Belém, brasil, Brazil, Cabanagem, favelas, Janice Perlman, Memorial da Cabanagem, Morro dos Prazeres, Mosqueiro, Rio de Janeiro, Roberto Bolaño, Santa Teresa, The Savage Detectives
E/F – The glass (or cup, as it were) of coffee
Thomas Pynchon once imagined a conversation between Mason and Dixon (of the "line" fame, not the knitters, or the pollsters) that is as true in the twenty-first century as it must have been in the eighteenth. Mason asked Dixon,
How is it … that of each Pot of Coffee, only the first Cup is ever worth drinking,— and that, by the time I get to it, someone else has already drunk it?" To which Dixon answered that it's because of "Coffee's Sacramental nature, the Sacrament being Penance … whereby the remainder of the Pot, often dozens of cups deep, represents the Price for enjoying that first perfect Cup."
Coffee is the original smart drug, but like all things good, it comes with a price. The key is to be mindful of how much you drink, for the beneficial effects advance only to a certain level, after which having more coffee produces something like a living nightmare of half-truths, unfinished thoughts, and incomplete sentences.
For these and other reasons, people have blamed coffee for the Enlightenment and related revolutions in rocket science and politics. They all got started in coffee houses, perfect sites for the blending of conversation and caffeine, the ultimate result of which being a heightened desire for self-expression without, however, a commensurate acuity thereof. Or as Pynchon put it when describing the scene as Mason and Dixon slipped into a coffee house in Philadelphia in the late 1700's—
With its own fuliginous Weather, at once public and private, created of smoke billowing from Pipes, Hearthes, and Stoves, the Room would provide an extraordinary sight, were any able to see, in this Combination, peculiar and precise, of unceasing Talk and low Visibility, that makes Riot's indoor Sister, Conspiracy, not only possible, but resultful as well. One may be inches from a neighbor, yet both blurr'd past recognizing,— thus may Advice grow reckless and Prophecy extreme, given the astonishing volume of words moving about in here, not only aloud but upon Paper as well …
Coffee sounds a lot like alcohol. Coffee houses and barrooms once upon a time shared the combination of low lights and incessant smoking that leads two or more people to make very bad decisions based on what little they can see or understand of each other, half-remembered bliss and release lifting like a fog with the clarity of morning. The poor judgment brought on by low-lit coffee conversations that once resulted in revolutionary dreams, however, now leads mainly to snark and graduate theses. Compared to alcohol, it's more difficult to appreciate the terrible results of coffee, because they are so often taken for success.
The Tea Lounge, Park Slope, Brooklyn: a revolution is being plotted right here, right now.
People often combine alcohol and coffee, as if the effects of one can cancel out the other. This is a mistake. When you drink coffee while already drunk, you don't become sober. Instead, you achieve a much more keen awareness of how incoherent you are. It's called coffee-boarding and is outlawed by several international accords signed by everyone but the United States.
The relationship of coffee and alcohol to the truth is easily demonstrated by the degree to which various world religions have grappled with either or both. Islam banned alcohol, and Muslims became coffee addicts, as did fundamentalist Christians though their coffee is not nearly as good. AA meetings would be intolerable without coffee. The Mormons banned both coffee and alcohol, which is why they wound up in Utah, though somehow Coca-Cola escaped the ban despite its (post-cocaine) base in coffee's essential force, caffeine. The Buddhists call for people to avoid intoxication by alcohol or stimulants, but they don't make it inflexible. This sounds like a pretty good idea, except that it's impossible, which is the point.
The Tea Lounge, Park Slope
repurposing an old garage, the Park Slope way
The photos for this post were taken in the Tea Lounge, a venerable institution in Brooklyn's Park Slope, the neighborhood that everyone (else) in New York loves to hate, according to the local newspaper.
The original shop was located in the South Slope on 7th Avenue but had to close a while back due to increasing rents, leaving the larger Union Street shop (pictured here) as the flagship in the heart of the neighborhood. (Another Tea Lounge has opened in Cobble Hill, a couple nabes over on the other side of the Gowanus Canal.)
Every morning, it begins to fill up with freelancers of every type imaginable – writers, designers, editors, bloggers, people looking for jobs – who stay there all day sipping coffee and making the American economy what it is (hey, they're telecommuting). One morning a week (which one has rotated over time) the place fills up with mommies and nannies and toddlers when Lloyd comes to sing for the kids. Those of us who're working (including the staff) double down, shut our ears, and keep on working. The place features in Amy Sohn's satirical send-up of (and not-entirely-ironic homage to) Park Slope mommyhood, Prospect Park West, as the "Teat Lounge," so-called for the ubiquitous nursing of infants that goes on there to the soundtracks of Neil Young, Rolling Stones, Joni Mitchell, and the occasional contemporary indie-groove (think Jem).
A review by Elizabeth of the Anti Tourist describes the Tea Lounge like this:
Studious laptop users sat beside romancing couples and chatty friends and I have to say, between licking the whipped frosting off of my OREO cupcake and sipping a glass of Riesling, I was immediately at ease–especially when my friend bought me a second glass. So yes. Conclusively, I like Tea Lounge. Is it a perfect place to work? Eh. Maybe not. Is it a good place for a date or a drink with a friend? Definitely.
All photographs by the author.
Thomas Pynchon on coffee in Mason and Dixon (New York: Henry Holt, 1997) page 467 for the first quotation and 305 for the second. It's an historical novel that follows the eighteenth century British astronomers Charles Mason and Jeremiah Dixon throughout their lives, from their early collaborations in England and South Africa through their pioneering work to survey the border between the Pennsylvania and Maryland colonies from 1763 to 1768. As novels go, it's a wonderfully comic buddy film with a touching ending that reaches deep into the emotions surrounding friendship and fatherhood.
Stephen Johnson in The Invention of Air: A Story of Science, Faith, Revolution, and the Birth of America (New York: Riverhead Books, 2008) provides rollicking imagery of the confluence of coffee, truth, alcohol, rocket science, tobacco, and the Enlightenment. The thesis is simple: replacing beer with coffee as a way to avoid bad water propelled the Enlightenment foward with clear thinking at long last. Of the London Coffee House, the meeting place of Benjamin Franklin, Joseph Priestly, and other men of science and revolution, Johnson wrote (p. 17)—
The London Coffee House lay in St. Paul's churchyard, a crowded urban space steps from the cathedral, bustling with divinity students, booksellers, and instrument makers. The proximity to the divine hadn't stopped the coffeehouse from becoming a gathering place for some of London's most celebrated heretics, who may well have been drawn to the location for the sheer thrill exploring the limits of religious orthodoxy within shouting distance of England's most formidable shrine. On alternating Thursdays, a gang of freethinkers – eventually dubbed "The Club of Honest Whigs" by one of its founding members, Benjamin Franklin – met at the coffeehouse, embarking each fortnight on a long, rambling session that has no exact equivalent in modern scientific culture.
It no doubt would be interesting for Mr. Johnson to survey the clientele at the Tea Lounge and find out what revolutions are brewing for the near future here.
Filed under fiction, freedom, ideas, individuality, life, Park Slope, philosophy, politics, revolution, struggle, truth
Tagged as alcohol, Amy Sohn, coffee, coffeehouses, Enlightenment, ideas, Mason and Dixon, Park Slope, revolution, Stephen Johnson, Tea Lounge, Thomas Pynchon
E/F – The glass of writing
"… let no mournful yesterdays
disturb thy peaceful heart."
Ellen M. Huntington Gates, "Sleep Sweet"
"Of the making of many books there is no end,
and in much study there is weariness for the flesh."
When the glass is empty the writer searches, at times desperately, for some truth or experience to put on the page. The writer writes to make life real. It is an alchemy that turns nothing into something. Without writing, the writer is hollow, small, almost nothing.
When the glass is full the writer becomes like a god, though not so much a god of creation as one who reorders worlds that already exist. The writer recreates what he or she has known in order to say something about it. At the end of the day, it is a gratifying act.
In 1967, Gloria Steinem interviewed Truman Capote for an article that was published in McCall's. It was a candid interview. She asked him how he would like to be described as a writer and as a person—adding "without false modesty," just in case. Capote replied with grace and clarity.
"As a writer, that I'm a good artist, a serious craftsman; that my writing gives pleasure in itself, regardless of what I'm writing about. I spend a great deal of time with that object in mind. Because to me, the greatest pleasure of writing is not what it's about, but the inner music that words make."
Early in his career, Capote was praised for the beauty of his sentences. His prose was impeccable and his writing almost alone brought him into social circumstances the likes of which he never could have dreamed as the model for Dill in Harper Lee's To Kill a Mockingbird, a lonely child of divorce in a small Alabama town.
But Capote flew too close to sun. In a terrific irony—the exception that proves the rule, it seems—Capote's downfall came when he tried to write what he (thought he) knew. The serialized chapters of his long-awaited novel, Answered Prayers, hewed too closely to the real lives of his New York socialite crowd. Scandalized, Capote's supposed friends abandoned him and he learned how far, indeed, Monroeville, Alabama, was from New York's Upper East Side.
Capote had abandoned the "inner music" of his words for a cloying attempt that was less writing what he knew than writing what he both coveted and hated. Such is vanity.
To write is to be like a god, one of those fundamental acts of hubris that always results in a fall, whether in the Garden of Eden or Greek mythology. The "inner music" of Capotean reverie was to Franz Kafka a siren call to vanity and self-worship through the admiration of others. To his close friend and ally, Max Brod, Kafka wrote in 1922—
"Writing is a sweet and wonderful reward, but a reward for what? Last night it was as clear to me as the catechism learned in childhood that it is a reward for devil worship. This descent to the powers of darkness, the dubious embraces, and all the other things that doubtless occur down below and which we know nothing about up here when we write our stories in the sunshine. Perhaps there are other kinds of writing, this is only one I know…"
The writer was oblivious to this affliction, mindlessly scribbling away beneath a penumbra of vanity that surrounded the sun itself. Like sex, writing was at once a sensual and gratifying pact with the devil that was utterly essential to living experience—and at the same time, an act that obscured and defamed the very essence of love itself.
"It is the vanity and the hedonism, which flutter around and around either one's own or another's form in a ceaseless search for pleasure until in the end, by this constant repetition, a whole planetary system of vanity is created."
Kafka's life was filled with deep and vital relationships, with both women and men. His Madonna-whore complex notwithstanding, he knew how to connect with others, recoiling only from those women he thought of marrying. Writing was Kafka's only salvation, the only thing that made him seem real to himself.
As a writer, however, Kafka was a failure in his own estimation. His work remains for us mainly because his close friend and literary executor, Max Brod, famously chose to ignore to Kafka's request to destroy all the remaining manuscripts, which included his novels The Trial, The Castle, and Amerika.
Prayer, a writerly cup
The photo of the cup of tea at the beginning of this post was given to me by a friend, Maghan Lusk. She is from South Carolina. In 2008-09, she wrote a blog called "[a creative writer's] life, uncensored." On the blog, she wrote about writing, managing seamlessly to intersperse her own experiences with topical matter. Her writing and point of view suggested a very thoughtful person who took the time to understand why people were doing what they did, rather than judging them and tossing off opinions.
In 2009, she shut down her blog to work on her first novel, which she has now completed. Of her desk and cup she wrote—
"When I sit down to write, I make a pot of Ceylon orange pekoe (2 tbsp of loose tea, 1 tbsp of lemon curd, 1 tbsp of honey). And I warm the pot before I add the boiling water – it's a highly methodical process. I like the color, so I always drink from a glass tea cup. The pot in the back belonged to my mom before she married my dad (27 years ago)."
Before Maghan turned the pot to the support of her writer's craft, her mother used it to warm the water she soaked her feet with. Behind the pot, on the edge of the chest-of-drawers, is a framed poem, "Sleep Sweet," by Ellen M. Huntington Gates.
The desk itself is piled high with the artifacts of Maghan's life and work. In the stack of books are admired pieces, atop which sits Marilynne Robinson's Gilead, the much-celebrated novel set in Iowa, in which the Rev. John Ames writes out a family history for his young son. The Reverend's wife calculated that all the sermons he had written across his life of preaching would come to 67,500 pages of prose, or 225 books by the Rev.'s own calculation, "which puts me up there with Augustine and Calvin for quantity." In Robinson's prose, Rev. Ames takes us to a place in writing so much finer and wonderful than Kafka's, less self-involved than Capote's, more human and more in touch with the real reasons we write—to reach out to someone else.
"For me writing has always felt like praying, even when I wasn't writing prayers, as I was often enough. You feel that you are with someone. I feel that I am with you now, whatever that can mean …"
Feeding the Wolves
There is a famous Cherokee fable that goes like this.
An elder Cherokee was teaching his grandchildren about life. He said to them, "A fight is going on inside me. It is a terrible fight and it is between two wolves. One wolf represents fear, anger, envy, sorrow, regret, greed, arrogance, self-pity, guilt, resentment, inferiority, lies, false pride, superiority, and ego. The other stands for joy, peace, love, hope, sharing, serenity, humility, kindness, benevolence, friendship, empathy, generosity, truth, compassion, and faith. This same fight is going on inside you, and inside every other person, too."
The children thought about it for a minute and then one child asked his grandfather, "Which wolf will win?"
The old Cherokee simply replied, "The one you feed."
Capote fed both wolves, with his life and with his words. He was as destroyed by writing as he was acclaimed for it. The same thing happened to Hemingway. Kafka—and possibly Faulkner—fed the wolves with words alone, leaving their lives to become shambles of unrequited desire.
Sylvia Plath fed both wolves. She fed them with her words and her flesh. She married a man, Ted Hughes, who believed that a writer had the duty to live beyond all morality, to use his or her own life to build the experiences that would come to life in words.
To be an artist is a dangerous thing. It is a special role, a special calling that cannot be resisted. From the beginning of time—Lascaux to the Bible to Pynchon and Picasso and Joe Strummer—artists have helped us know who we are and how we live. Some of them handle the role better than others.
I owe thanks to Maghan Lusk for sharing her photos and story for this posting, as well as for insightful correspondence over issues of writing, spirituality, and living in the Deep South over the last year or so.
Capote's interview was by Gloria Steinem, "'Go Right Ahead and Ask Me Anything.' (And So She Did) An Interview with Truman Capote." McCall's 95 (November 1967), 76-77, 148-52, 154.
Kafka from: Letter to Max Brod, July 5, 1922, in Franz Kafka, I Am a Memory Come Alive: Autobiographical Writings, ed. N Glatzer (New York: Schocken, 1974), p. 223. An interesting source for Kafka information (though not the only one I used, of course) and condominiums in Miami can be found here.
Gilead quotation: p. 19 of the Picador, 2004, edition.
The Cherokee fable of the two wolves is widely known. The version posted here was taken from a website called "First People, The Legends." The story is the much the same in its various posting around the Web.
The photographs of books were taken by the author, on his own desk. Disclosure: I have not read Gilead, but I will do so shortly. I have not read In Cold Blood, but I saw the movie with Robert Blake a long time ago on late-night tv. I have not seen the movies of Capote's life, neither Toby Jones's nor Philip Seymour Hoffman's. The copy of In Cold Blood in the photograph was found on the sidewalk in Park Slope one day. I have read much of Kafka's writing—novels, stories, and letters, and I saw the movie.
Filed under art, beauty, danger, failure, fiction, ideas, life, love, risk, truth, writing
Tagged as art, Barton Fink, Cherokee Legends, Ellen M. Huntington Gates, Gilead, Kafka, literature, Maghan Lusk, Marilynne Robinson, prayer, Sylvia Plath, Ted Hughes, Truman Capote, writing
The truth and change, 3a: From Life on Mars to Linden
The House of Tomorrow, now
The third post in this series, The truth and change, is split in two, 3a and 3b. They provide different outcomes for the multi-part essay on change and the future that I began a month ago. It wasn't how I planned the posts, nor are these the only two ways things can work out. They are, instead, the unintended surprises at the end of a long chain of lateral thinking that has also suggested a set of follow-up postings down the line. It's always nice to pile up things to do.
From Life on Mars to Linden
Avatars are nothing new to the human species, from the caves of Lascaux to the virtual worlds of Second Life and other large web-based games. These (brave?) new worlds carry out the same primeval urge that led people to create paintings of their daily lives 35,000 years ago. What began in the caves has become a massive wall written on by millions of people, together, sharing a world that they have imagined out of the very world in which they live.
The House of Tomorrow, 35,000 BCE
One of the interesting things about the virtual world is that it does create a "place" that didn't exist before, uncovering new spaces in life that are hidden beneath the physical dimensions we take for granted. In the world of Massive Multiplayer Online Role Playing Games (MMORPGs, or MMOs) such as Second Life, people leave their organic beings and create virtual selves, societies, and places in cyberspace. These worlds are a social version of the extra-dimensional physics of string theory, "brane worlds," and high energy model building that physicist Lisa Randall has written and spoken about. In MMOs, we are building new worlds in very small spaces inside the world of everyday experience.
The key thing about these virtual dimensions is their connectivity to real life, which engenders much greater imaginative potential than the escape to the "silver screen" that left the sad girl in David Bowie's song wondering if there was "Life on Mars." Ours is now a world of both cultural production and absolute reflexivity, in which the virtual world is like a magnifying mirror we hold to our organic lives.
In a fascinating example of this reflexivity, organic journalist Marcia Stepanek reports on Second Life journalist Draxtor Despres, who himself reports on the goings-on of the organic world for the people of Second Life. Their dialogue is like an 8-track tape, or a Möbius Strip in which one side is organic, the other side virtual, both surfaces effortlessly sliding into each other when they are attached in just the right way.
Stepanek has also profiled the work of Douglas Gayeton, a multimedia artist who "creates immersive story experiences for virtual worlds and social networks." Gayeton's documentary, "Molotov Alva and His Search for the Creator: A Second Life Odyssey," was the first documentary produced entirely in Second Life. For a while it was the highest rated video on YouTube. It's been picked up by HBO and begins to make clear how "real" the virtual world really is.
Already, the virtual economy is derived from, reflects, and ultimately contributes to the organic economy. In July of 2009, Second Life creator Philip Linden spoke to BOSL (Best of Second Life) Blog about how Linden Labs is creating various supports for crossover services involving both businesses and educators, who will use the SL platform to provide services in real life. Within SL, "Linden Dollars" are the basis of a vast economy of virtual goods that can be converted, ultimately, into organic dollars.
The virtual world embraces an entire crossover economy. Hermione Watanabe is a "virtual wealth coach" whose blog provides advice and information on the SL economy and how to grow income there and in the organic world. Perhaps the most compelling confirmation of the virtual world's "real" existence is that the Federal Government is thinking about how to tax virtual economic activity.
The crossover continues in the amateur machinima that is becoming an art form of its own, sprawling across YouTube, Vimeo, and other video networking sites. Aenea Nori's SL video for Kafka Dinzeo's remix of Lily Allen's "Littlest Things" brilliantly takes us through the wormholes that connect virtual dimensions to the organic and back again.
LauraMW12345 created an organic-virtual mix in which "Second Life Meets Real Life," in which the green screen existed in SL and the "real world" had to be inserted as fictional background for the avatars. The video is set over the DNA remix of "Tom's Diner," which was one of the early, pioneering events in remix history, on the borders of different dimensions of musical creation and imagination.
This sliding between organic and virtual lives has inevitably encompassed the most ubiquitous and equalizing of human emotions: sex (and its correlate emotions). Love is in the virtual air, as people in Second Life and other MMOs mix, mingle, fall for each other, become married (virtually, but quite really), pledge love, cheat, cry, break up, and try again. For a while, people started to create real-world-like porn magazines on-line (in Second Life, Slustler was a phenomenon in 2005-07), but these have been displaced by other virtual services and games that better fit the medium, such as Red Light Center (which creates a very real organic economy for itself as well) and SL meeting places and adult parties.
Eventually, however, we come back to the connection between the virtual and organic worlds. They cannot function without each other. "If This is Second Life Why Is My Heart Breaking In Real Life?" is a machinima video created by Kirk Lancaster and Sandra Holyoke that explores the crossover of desire and heartache. The relationships we create in other dimensions reverberate in the organic world and behind them all lie one, beating, very organic heart.
The future, it seems, is not out there in the world, some place distant in either time or space. It's in our minds, already, right now, and available for our scrutiny. This isn't the future I imagined as a youth, or even when I began writing these postings. In this future, much of the world is simply brought to life from our own minds with the help of technologies that enable millions of minds to communicate in tandem, synced together to build a world that is every bit as real as the organic world even as it vanishes before us to live in our minds.
This brings me back to the Shetland Islands of the late 1940s, where Erving Goffman gathered observations and data for his book, The Presentation of Self in Everyday Life. It was published in 1959 and became a classic of American sociology; it's still widely read and has never been thought out-of-date.
Immersing himself in the world of the Shetland Islanders, Goffmann looked at their everyday interactions through the lens of drama – people were actors in their own plays, as well as each other's audiences. "All the world's a stage," Shakespeare famously said, and Goffmann set out to prove it. People work hard to create settings and situations in which they can enact a specific, intentional script. They have certain behaviors for their audience, as well as an array of backstage behaviors.
Goffman's point of view was revolutionary at the time and cemented the foundation of a whole school of social thought. We construct our own worlds in the same way that we construct plays and dramas. The representational activity that started in places like Lascaux and ends up in MMOs is pretty much the same. The attractiveness of gaming and MMOs is clear: it's what we already do in regular life, only in the MMO we get a greater degree of control over what we hide backstage.
This begs a question. Is the change we experience with this technology really anything more than a change in the venue (now virtual, created) for the same old desires we've always had? A vanity of vanities in which there's nothing new under the sun except for the bottles that are filled with old wine? Does the virtual world of love and sex and desire change any of the fundamental emotions or relationships that constitute what it means to be human? When and where does the virtual world go beyond reflections and extrapolations of the organic?
When is the virtual world for-itself?
The opening photo is from the Flikr site of rikomatic. The photo shows a house for sale in Second Life, where participants engage in an extensive economy that has several dimensions – purely virtual, combined virtual and organic, and mainly oriented toward organic profit. In Second Life, people create their own houses by using virtual money (Linden dollars) to purchase land and materials in the virtual world.
Much thanks to Marcia Stepanek for introducing me to the world of machinima in her writing on Cause Global and Pop!Tech.
The photo of the Lascaux cave paintings is from Prof. Saxx and can be seen at the Wikimedia commons.
Aenea Nori's machinima for the "Littlest Things (remix)" carries us through many layers of time and space. I would have embedded the video in the blog for people to see, except that WordPress (the free version, anyway) isn't communicating with Vimeo. You should go to her site, however, and check out her video work. There is no recent activity on the Vimeo site or on her blog (the last activity is September 2008), but perhaps she'll be back.
Lily Allen uses a lot of mixing, overdubbing, and sampling to build her songs, which are themselves an aural hypertext calling forth a multitude of associations and images. "Littlest Things" recalls Cat Stevens' "Wild World," morphing time across 35 years of cultural production. Listening to Allen's work is stimulating – and now Aenea Nori and Kafka Dinzeo transport the music and associated images into another world altogether, sliding along a "brane" between the virtual and organic worlds.
Regina Lynn has written in Wired about the growth of the virtual sex world found in MMOs all over the web, some of which are lucrative businesses. WebMD posted a balanced article on the advantages of cybersex and "teledildonics," which include a safe place to try out new ideas (both in terms of disease and in terms of emotional control), as well as the problems – it can become addictive and affect real-life relationships. The article quotes Regina Lynn, who brings the issue down to earth: "Does your partner know, and does your partner consent? Lying is cheating." Over at True/Slant, Todd Essig writes about the cutting edge developments in the world of cyber sex – now, cyber-touch with lasers across world's distances.
Taunt is a blog devoted to SL economics and SL sex life. SL and other MMOs feature escort services and erotic parties to cater to every taste, including many that are all but impossible to enact in organic life. "Second life guys can have it all, as long as they're willing to pay," according to Elle Kirshner, a Second Life designer and voiceover artist for Kirk Lancaster's SL video, "Second Life Man."
Overall, sex is actually the cutting edge of machinima and virtual reality. Why? Because it's what we want so much in real life that our urges push the limits of technology so that we can pursue desire in every possible corner of existence, from dreams to waking life to virtual reality.
Filed under art, body, fiction, ideas, journalism, life, love, media, truth, vanity
Tagged as branes, David Bowie, Douglas Gayeton, Draxtor Despres, Ervin Goffman, Lascaux, Lily Allen, Lisa Randall, machinima, MMORPGs, MMOs, Molotov Alva, Philip Linden, physics, Second Life, string theory, truth, virtual sex
The truth and unicorns, part 3
The Narwhal, Sea-unicorn of the Arctic
Unicorns weren't always mythical creatures.
The Greeks classified them among natural animals, with rhinos and other one-horned beasts. Vikings traded Narwhal tusks to Medieval Europeans, who believed they were unicorn horns and paid dearly to possess them and their magical powers. Marco Polo recorded his encounter with the Javan rhinoceros as the discovery of a unicorn.
No one knows exactly what the Narwhal's tusk is for, though it is found only on males and therefore probably has a sexual function not unlike the extravagant feathers of the male peacock, or the electric guitar. Yet while narwhal tusks and peacock feathers work as sexual aids for narwhals and peacocks, legend has it that the rhino's tusk is coveted by humans as a sexual talisman.
This is disputed, however, and there are other medicinal applications of rhinoceros tusks in Chinese traditional medicine, for fevers and convulsions. Either way, humankind's uses for rhinoceros tusks are threatening the mega-mammal's very existence, and it may soon vanish into the same ethereal space where its cousin, the unicorn, lives. Climate change may well send the narwhal there, too, to dwell with vanishing hitchhikers, organ-jackers, and people who make phone calls that come from inside the house.
In the Charlie the Unicorn cartoons, myths and legends pile up on one another into what is among the most popular videos of all time on Youtube, collectively scoring close to 50 million views for 3 episodes. In the first, Charlie is prodded by two smaller unicorns to come visit "Candy Mountain," a place immortalized in the hobo fantasy song,
Where the handouts grow on bushes and you sleep out every night
Where the boxcars are all empty and the sun shines every day
On the birds and the bees and the cigarette trees
Along the way, they meet a Liopleurodon, a real-world creature of fossilized myth that is quite in dispute in contemporary America, who will help guide them to Candy Mountain. As they move on, Charlie prods them, "Alright guys, you do know that there's no actual candy mountain, right?" They reply, "Shun the nonbeliever."
When they reach the actual Candy Mountain, Charlie recognizes the error of his earlier belief, and walks into a cave in the mountainside, where he's shut in and abandoned. He awakens in a meadow with a large scar over his lower abdomen. "They took my freakin' kidney!"
In the second episode, our hero is lounging in the meadow on his nice carpet, watching a big screen TV. Suddenly, his tormenting pals appear to him from an imaginary coral reef awash in "poisonous fugu fish" (puffer fish), which according to ethnobotanist Wade Davis are the source of the poison that produces the near-death experience resulting in zombification in Haiti. It's in a book Davis wrote, The Serpent and the Rainbow. Legendary horror director Wes Craven made the book into a movie with Bill Pullman playing the real-world Indiana Jones down in the Caribbean. Unicorns can lead you anywhere. Maybe they'll make Charlie into a zombie. How many degrees can Charlie be from Kevin Bacon?
Again, they journey. Along the way, there's a magical amulet and a Banana King, whose temple looks like an Egyptian pyramid with an insignia of the "hammer and banana" fashioned like the "hammer and sickle" of Communist symbolism. As Charlie is proclaimed the banana king, his friends abandon him and he falls from grace, literally. When he reaches his original meadow clearing, he finds that his things are gone – "Aw you gotta be – great – they robbed me!"
In the third episode, his friends appear from the future with an apocalyptic message: "The end is nigh." As they ride a large duck down a mythical stream in the future, Charlie's friends taunt him with calls of "ring, ring – hello" over and over again, reminding one of the phone calls urban legend. They confront shadowy narwhals that threaten to kill them. Then they are on the floor of an ocean in a Greek ruins, Atlantis anyone? Charlie's friends abandon him and he succumbs to sleeping gas, only to awaken in a frigid landscape where he finally encounters the snowman, who has cut off Charlie's horn and uses it as his snowman nose, and of course you know what they say about a snowman's nose and its correlates. There's a large scar on the snowman's lower abdomen. "Aw look, it's my kidney." A jolly, happy soul, as the song goes, indeed.
The horse, which provides its body to the unicorn of myth, is quite closely related to rhinoceroses. They are both perissodactyls, otherwise known as "odd-toed ungulates." Along with narwhals, swordfish also have pointy appendages sprouting from their heads, too.
Narwahl photo: http://en.wikipedia.org/wiki/File:Narwhalsk.jpg.
Big Rock Candy Mountain, Harry McClintock, 1928. http://www.bluegrasslyrics.com/all_song.cfm-recordID=s29253.htm
Charlie the Unicorn: Jeff Steele, Filmcow.com. http://www.youtube.com/user/SecretAgentBob, http://www.filmcow.com/.
For a nice collection of issues related to Darwin and debates about evolution and creationism, see this page at the the New York Times.
Filed under body, fiction, ideas, myth
Tagged as Atlantis, Big Rock Candy Mountain, Charlie the Unicorn, evolution, Frosty the Snowman, Kevin Bacon, narwhals, rhinoceros horns, urban legends, Wade Davis, Wes Craven
The truth and mirrors
The eye of the beholder sees many things, and the beholder alone is the judge of what he or she sees. The beholder sees beauty, or ugliness, or truth, or lies, and the beholder knows something. The thing about eyes, however, is that they look out, not in.
Adam Smith, the great moral philosopher and economist, wrote that the solitary person "could no more think of his own character, of the propriety or demerit of his own sentiments and conduct, of the beauty or deformity of his own mind, than of the beauty or deformity of his own face." The solitary person, in other words, can know little of himself – and so we need others. "Bring him into society, and he is immediately provided with the mirror which he wanted [i.e. lacked] before." This was key for Smith, for he believed that by considering the judgments and opinions that other people have of our actions, we achieve the basis of a moral society.
For Lou Reed, the mirror held the promise of love for those who couldn't see their own beauty.
I'll be your mirror
Reflect what you are, in case you don't know …
When you think the night has seen your mind
That inside you're twisted and unkind
Let me stand to show that you are blind …
I find it hard to believe you don't know
The beauty that you are
But if you don't let me be your eyes …
Michael Jackson took this a step further, hoping that the mirror could help a person look inside.
I'm starting with the man in the mirror
I'm asking him to change his ways …
If you wanna make the world a better place
Take a look at yourself, and then make a change
Jackson's use of the mirror was a kind of solipsistic (or maybe just plain lonely) version of Freud's: "The doctor should be opaque to his patients and, like a mirror, should show them nothing but what is shown to him."
But mirrors are tricky. They are passive reflectors. Place a lie in front of a mirror, and you will see only a lie. Mirrors confuse and when combined with smoke, serve to hoodwink and swindle people out of the truth and what is real. The mirror, a hoped-for source of truth, gives the world to magicians and con artists.
In the Middle Ages, ambitious politicians and intellectuals wrote books called Mirror of Princes, in order to curry favor and win state positions by writing about how a real prince could reflect the qualities of an ideal prince. An elaborate form of flattery, it was a way to get a job, but the Mirror of Princes literature was a corrupt thing, the falsification of what mirrors were supposedly created for.
Machiavelli exploited the lie of the Mirror of Princes to write the definitive satire of political philosophy, The Prince, seen only in its reverse-mirror image of "Machiavellian" self-interested intrigue, deception, and cruelty. Machiavelli wrote his satire only too well, and his republican and democratic self has been lost to history (except for the community of political theorists, who are a small community indeed). Machiavelli was a good guy, who survived torture and other awful events for his commitment to democratic republicanism. Such is the danger of playing in front of mirrors.
In The Lady from Shanghai, Orson Welles created the classic mirror scene, in which his central characters meet in a fun-house mirror maze and proceed to have a shootout amid the dozens of reflected images of themselves. Just who would kill whom is a matter of luck, but both Everett Sloane and Rita Hayworth are mortally wounded, and their stupidity allows Michael, played by Welles, to walk away free. The beauty of the scene consists in the way that the mirrors only serve to reflect the hubris of everyone involved, amplifying the conclusions that one might have hoped to see.
Mirrors can show us only what we put in front of them. Our fun-house mirrors create images that satisfy and mollify at the expense of the truth. We use mirrors to convince ourselves that we can see objectively, when we're only seeing what we want to see. Francis Bacon observed that "… human understanding is like a false mirror, which, receiving rays irregularly, distorts and discolors the nature of things by mingling its own nature with it."
There are mirrors, and then there are fun-house mirrors, and then there are false mirrors. Mirrors can't solve our problems or help us find the truth. Only honesty can, and that's a thing apart from mirrors. Don't seek the truth in a mirror. Close your eyes and seek the truth within. You may not see it, but you may find it.
Adam Smith, The Theory of the Moral Sentiments, in The Essential Adam Smith, ed. R. Heilbroner (New York: W. W. Norton, 1986), p. 101.
Lou Reed, "I'll Be Your Mirror," recorded by the Velvet Underground and Nico in 1967.
Michael Jackson, "Man in the Mirror, Bad, 1988.
Francis Bacon, Novum Organum, Aphorism 41.
Filed under existentialism, fiction, life, love
Tagged as life, love, philosophy, truth
culture, life, philosophy
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@JemarTisby I loved this piece. I grew up in New Orleans and grew up with all this as a white kid, repelled by it.… twitter.com/i/web/status/9… 3 years ago
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The truth and reconciliation
The truth and parallelism
The truth and letting go
The truth and love, again
The truth and resilience
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The Authored Voice: Storytelling Across Lives and Media
The truth and progress, 1: Texaco
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POSTED ON DECEMBER 28, 2015 TO Core Data, Data Infrastructure
Improving software RAID with a write-ahead log
By Shaohua Li
Hardware RAID often comes with transparency, management, and support challenges. For example, if there is a failure in the array, it may not be immediately apparent which hard disk drive has the issue; even when a failed disk is identified, physical access to the server might be required to fix it. One workaround is to replace hardware RAID with software RAID. However, software RAID — particularly software RAID 5 and 6 — also has some drawbacks, which can be problematic at Facebook's scale. Using a write-ahead log can address some of these issues and improve reliability of the array.
RAID 5 overview
Because RAID 5 and 6 are very similar, we'll refer to these systems collectively as "RAID 5" to cover the challenges associated with both. RAID 5 is a RAID configuration that uses disk striping with a distributed parity. If one disk fails, data on the failed disk can be rebuilt from the distributed data and parity on other disks. The data from a stripe stored on one disk is called a chunk. This configuration introduces some interesting challenges.
Write hole. If a power failure occurs during a write, the data and parity of the written stripe are only partially written to disks and don't match, leaving the stripe in an inconsistent state. If there is a subsequent disk failure, rebuilding with inconsistent data and parity will generate an incorrect stripe, resulting in a rebuild that overwrites existing data with the corrupt data, even if the existing data was unaffected by the power failure.
Rebuild performance. RAID 5 rebuilds after a power failure to make all stripes consistent. This process involves a whole disk read and possible write to all RAID disks, which can last from several hours to days. Software RAID 5 introduces a bitmap mechanism to speed up the rebuild, but the bitmap involves an extra disk write with a large disk cache flush, increasing normal I/O overhead.
Write performance. If a write isn't a full stripe write, the RAID 5 algorithm must do a read-modify-write, which has a penalty for both I/O throughput and latency. This doesn't occur just with a random write; a sequential write with an fsync() syscall can expose this issue as well.
Despite the drawbacks of using software RAID, we've come up with a way to address these issues: a write-ahead log. All data and parity are first written to a log, then once in persistent media (i.e., not in disk cache), they are written to RAID disks. The log itself can use a checksum mechanism for consistency detection. In this way, the write-ahead log can solve some of the problems we mentioned:
Write hole. The write-ahead algorithm guarantees a data and parity hit to RAID disks only after they are recorded in the log. After a power failure, the rebuild can discard the inconsistent part of the log, then use the consistent part to recover RAID disks. That way, the RAID array is guaranteed to be in a consistent state regardless of whether there is disk failure.
Rebuild performance. When a write-ahead log is implemented, the RAID array is created in a consistent state and the log will have consistent data and parity. If the rebuild writes consistent data and parity from the log to RAID disks, the RAID array should be in a consistent state too. The rebuild set size with the log-based rebuild is then limited to the log data size, which is significantly smaller than RAID disk size (several GB versus several TB).
Write performance. When we write data to the log first, we can delay the write to RAID disks, giving us the opportunity to aggregate several writes to a single full stripe write and avoid the read-modify-write penalty. This is particularly helpful for the sequential write with fsync() workload.
The implementation and status
We're currently using an SSD as the write-ahead log. This implementation allows us to use a typical log structure, which starts with a metadata block followed by RAID 5 data/parity blocks. Several of these metadata and data/parity block pairs make up the log. There is a super block pointing to the first valid metadata. The metadata mainly records data/parity position in RAID disks and checksum for consistency consideration. Its main fields are:
A magic number
Metadata size
Metadata checksum
Sequence number
RAID 5 data/parity position in RAID disks
RAID 5 data/parity checksum
The magic number, sequence number, and metadata checksum guarantee metadata consistency. The sequence number also helps identify log head and tail. The data/parity checksum is an important performance optimization, as it allows metadata and data/parity write to log the disk as out of order. Otherwise, the writes would have to be strictly ordered and an expensive disk cache flush must be added to guarantee consistency.
Like other log structures, proper reclaim is required when the log size is big. Since RAID 5 data/parity that is already persistent in RAID disks can be discarded from the log, reclaim can simply flush data/parity from log disk to RAID disks.
The main advantage of a write-ahead log is improved reliability. That means the array should work in extreme scenarios — for example, I/O errors, disk loss, crash recovery with disk loss, and so on. Existing Linux RAID 5 implementation can handle these scenarios for RAID disks, and we add corresponding support for the log disk. Our current practice is to prevent further data corruption if an error like this happens. If the log disk is lost, for example, the RAID 5 array will forcibly enter a read-only mode.
Our use of the write-ahead log fixes the write hole and rebuild performance issues. In the future, we'll also be focusing on write performance improvement, as we can alternatively use flashcache/bcache to address this currently. The code is merged to Linux 4.4 kernel.
Testing can be conducted using typical hard disks, and the log disk is a M.2 SSD (versus a higher-end option). The SSD performs at about 450 MB/s peak write. The raid array tested is created with 256 K chunk size.
In a RAID 5 array with five hard disks, the throughput with or without the log doesn't change. The throughput with the log has some jitters, however, which is caused by the SSD write jitter and SSD disk cache flush.
In a RAID 5 array with 15 hard disks, the throughput with the log drops around 25 percent compared with the throughput without the log. We attribute this drop to the SSD's slow disk cache flush (it's a SATA SSD). In SATA, cache flush command isn't an NCQ command, so it has sizable overhead. If we delete the flush (the log-noflush line in the chart above), the throughput is around 10 percent less than that without log. We expect that the throughput loss isn't a big problem with a high-end SSD or NVRAM/NVDIMM because it doesn't have the flush problem and is faster. There are more jitters with log, similar to the five-disk array, but because throughput is higher, the jitter happens more frequently.
Testing and bug fixes. Reliability is our main goal, so we're working to make sure our RAID array with log works well in destructive tests.
Performance. Currently the target usage is to improve reliability for hard-disk-based array, so performance isn't a big concern. We're always looking for new opportunities for fast storage. For example, each RAID 5 stripe enters stripe handling state machine two more times with log, which could be a problem with fast storage.
NVRAM/NVDIMM support. NVRAM/NVDIMM can act as a normal block device, so current code can largely be reused, but proper optimization is required.
Write performance improvement. The on-disk format of the log structure should work for the full stripe optimization.
Thanks to Song Liu for writing the code to support log in software RAID utility. Thanks to Neil Brown and Christoph Hellwig from the community for helping review and contribute patches.
TAGS: Caching Optimization Performance Storage


When out on the town, Gaynor conceals her emergency £20 note safely in her brassiere. She's taken the precaution of writing her name and address on the bank note, so in the event she temporarily loses the power of speech, she can simply pass the note to the taxi driver and fall asleep. 'Perfect' she'll say. The local vicar admires such contingency planning, there's been too many occasions when he's walked home in the rain, with only a waterlogged kebab for company. Paul suggests he sets up an account with the local cab firm, 'Speedway Taxis'. That way, he can ride now, pay later! It can't be more than six weeks later that Paul notices several unopened solicitors letters addressed to 'The local vicar, Paul's House, the Village', followed by a County Court summons. It's not Paul's place to say anything, but when George the bailiff arrives, Paul has to point him in the direction of the vicar's room, not forgetting to mention that all the posh electrical equipment chained to the radiator, belongs to room mate, Ed Sheeran. The vicar's belongings are valued at less than £50 and the bailiff leaves with nothing. 'Why don't you like follow Gaynor's example init and carry like some emergency money init' suggests Pixie Lott to the vicar. 'I don't have a bra' replies the vicar, 'but I'm willing to have a go with one of yours Pixie?' he adds quickly.


Before forming his own band, Ed toured and recorded with many different artists including Aretha Franklin, Tito Puente, Eddie Palmieri, Celia Cruz, Lena Horne, Tony Bennett, Mel Torme, Lou Rawls, Melba Moore, Debbie Gibson, The Spinners and countless others. He has written and arranged for the Tonight Show, Maurice Hines and Eddy Fischer. He also arranged the music for a recent James Brown concert at the Hollywood Bowl. His interpretation of the music of iconoclastic composer Frank Zappa has brought him wide recognition. His first CD of this material, The Ed Palermo Big Band Plays the Music of Frank Zappa, garnered rave reviews. Downbeat magazine gave the CD a 4-star review. Palermo's second CD of Zappa material, entitled Take Your Clothes off When You Dance, was received with equal enthusiasm from publications all over the world, including another rave from Downbeat. Subsequent albums have included material other than Zappa pieces, including Palermo originals.


This is the Chinese version of the traditional story of Little Red Riding Hood. Three sisters, Shang, Tao, and Paotze, must defend themselves against a frightening wolf while their mother is away visiting their grandmother for her birthday.
Have your students use this Venn diagram to compare two classic children's books: Lon Po Po and Little Red Riding Hood.
These creative ideas in math, art, and social studies will help you have fun with your students as they learn about this wonderful children's book.
Discuss the story with your class from the wolf's point of view. Create a new version of Lon Po Po, adding characters and/or a new setting.
Learn about the everyday things that were invented in China. Your students can make a list of items they have used that the Chinese invented.
Reproduce these Chinese symbols with your students for your classroom bulletin board.
This site contains pictures and descriptions of Chinese culture.
Read the famous story of Little Red Riding Hood.


text:
Don't miss the latest space insights
Operations /
A year of surprising science for NASA's InSight Mars Mission
Stephen Kuper
A new understanding of Mars is beginning to emerge thanks to the first year of NASA's InSight lander mission. Findings described in a set of six papers reveal a planet alive with quakes, dust devils and strange magnetic pulses.
Last Updated: 19 November 2020 Published: 02 March 2020
Five of the papers were published in Nature. An additional paper in Nature Geoscience details the InSight spacecraft's landing site, a shallow crater nicknamed "Homestead hollow" in a region called Elysium Planitia.
InSight is the first mission dedicated to looking deep beneath the Martian surface. Among its science tools are a seismometer for detecting quakes, sensors for gauging wind and air pressure, a magnetometer, and a heat flow probe designed to take the planet's temperature.
While the team continues to work on getting the probe into the Martian surface as intended, the ultra-sensitive seismometer, called the Seismic Experiment for Interior Structure (SEIS), has enabled scientists to "hear" multiple trembling events from hundreds to thousands of miles away.
Seismic waves are affected by the materials they move through, giving scientists a way to study the composition of the planet's inner structure. Mars can help the team better understand how all rocky planets, including Earth, first formed.
Mars trembles more often – but also more mildly – than expected. SEIS has found more than 450 seismic signals to date, the vast majority of which are probably quakes (as opposed to data noise created by environmental factors, like wind).
The largest quake was about magnitude 4.0 in size – not quite large enough to travel down below the crust into the planet's lower mantle and core.
Those are "the juiciest parts of the apple" when it comes to studying the planet's inner structure, said Bruce Banerdt, InSight principal investigator at JPL.
Scientists are ready for more: it took months after InSight's landing in November 2018 before they recorded the first seismic event.
By the end of 2019, SEIS was detecting about two seismic signals a day, suggesting that InSight just happened to touch down at a particularly quiet time. Scientists still have their fingers crossed for "the big one".
Mars doesn't have tectonic plates like Earth, but it does have volcanically active regions that can cause rumbles.
A pair of quakes was strongly linked to one such region, Cerberus Fossae, where scientists see boulders that may have been shaken down cliffsides. Ancient floods there carved channels nearly 1,300 kilometres long.
Lava flows then seeped into those channels within the past 10 million years – the blink of an eye in geologic time.
Planetary geologist Matt Golombek from NASA's JPL said, "It's just about the youngest tectonic feature on the planet. The fact that we're seeing evidence of shaking in this region isn't a surprise, but it's very cool."
Billions of years ago, Mars had a magnetic field. It is no longer present, but it left ghosts behind, magnetising ancient rocks that are now between 60 metres and several kilometres below ground. InSight is equipped with a magnetometer – the first on the surface of Mars to detect magnetic signals.
The magnetometer has found that the signals at Homestead hollow are 10 times stronger than what was predicted based on data from orbiting spacecraft that study the area. The measurements of these orbiters are averaged over a couple of hundred miles, whereas InSight's measurements are more local.
Because most surface rocks at InSight's location are too young to have been magnetised by the planet's former field, this magnetism must be coming from ancient rocks underground. "
We're combining these data with what we know from seismology and geology to understand the magnetised layers below InSight. How strong or deep would they have to be for us to detect this field?" said Catherine Johnson, a planetary scientist at the University of British Columbia and the Planetary Science Institute.
InSight has two radios: one for regularly sending and receiving data, and a more powerful radio designed to measure the "wobble" of Mars as it spins.
This X-band radio, also known as the Rotation and Interior Structure Experiment (RISE), can eventually reveal whether the planet's core is solid or liquid. A solid core would cause Mars to wobble less than a liquid one would.
This first year of data is just a start. Watching over a full Martian year (two Earth years) will give scientists a much better idea of the size and speed of the planet's wobble.
A division of Caltech in Pasadena, JPL manages InSight for NASA's Science Mission Directorate. InSight is part of NASA's Discovery Program, managed by the agency's Marshall Space Flight Center in Huntsville, Alabama. Lockheed Martin Space in Denver built the InSight spacecraft, including its cruise stage and lander, and supports spacecraft operations for the mission.
A number of European partners, including France's Centre National d'Études Spatiales (CNES), the German Aerospace Center (DLR) and the United Kingdom Space Agency (UKSA), are supporting the InSight mission.
CNES provided the SEIS instrument to NASA, with the principal investigator at IPGP (Institut de Physique du Globe de Paris).
Significant contributions for SEIS came from IPGP; the Max Planck Institute for Solar System Research (MPS) in Germany; the Swiss Federal Institute of Technology (ETH Zurich) in Switzerland; Imperial College London and Oxford University in the UK; and JPL.
DLR provided the Heat Flow and Physical Properties Package (HP3) instrument, with significant contributions from the Space Research Center (CBK) of the Polish Academy of Sciences and Astronika in Poland. Spain's Centro de Astrobiología (CAB) supplied the temperature and wind sensors.
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Scientists discover evidence of really big bang in a galaxy far away
Aussie telescope helps Breakthrough Listen scan Milky Way for signs of civilisation
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The Royal Australian Air Force welcomes the first two F-35s home to Australian soil 10 December 2018