death

A mummified body in front of a TV

weird / By / 1 April 2013

From Reuters’ “Mummified body found in front of blaring TV” (17 February 2007):

Police called to a Long Island man’s house discovered the mummified remains of the resident, dead for more than a year, sitting in front of a blaring television set.

The 70-year-old Hampton Bays, New York, resident, identified as Vincenzo Ricardo, appeared to have died of natural causes. Police said on Saturday his body was discovered on Thursday when they were called to the house over a burst water pipe.

…

Officials could not explain why the electricity had not been turned off, considering Ricardo had not been heard from since December 2005.

Ghost brides in China

law, religion, weird / By / 1 April 2013

From Reuters’ “China arrests men for murdering “ghost” brides” (26 January 2007):

BEIJING (Reuters) – Chinese police have arrested three men for killing two young women to sell their corpses as “ghost brides” for dead single men, a Chinese newspaper reported, warning the dark custom might have claimed many other victims.

Yang Donghai, a 35-year-old farmer in western China’s Shaanxi province, confessed to killing a woman bought from a poor family for 12,000 yuan ($1,545) last year.

She thought she was being sold into an arranged marriage, but Yang killed her in a gully and sold her corpse for 16,000 yuan, the Legal Daily reported on Thursday. He and two accomplices then killed a prostitute and sold her for 8,000 yuan before police caught them.

…

The women were victims of an old belief, still alive in the yellow-earth highlands of western China, that young men who die unmarried should go to their graves accompanied by deceased women who will be their wives in the afterlife. Often these women die natural deaths.

Police in Yanan, the poor and dusty corner of Shaanxi where Chairman Mao Zedong nurtured his Communist revolution, said the dark trade went beyond these cases.

…

Yang and two helpers sold the bodies to Li Longsheng, an undertaker who police said specialized in buying and selling the dead women for “ghost weddings.” It was unclear what happened to Li.

The technical details of executions by hanging

history / By / 1 April 2013

From Daniel Engber’s “How Do Hangings Work?” (Slate: 7 November 2006):

The last major innovation in hanging occurred toward the end of the 19th century, when executioners first developed a systematic way to calculate the drop. Once these “drop tables” were published, a hangman knew that he’d need 7 feet for a slight, 120-pound criminal, but only about 4 feet for a 200-pounder.

In the United States, only Washington and New Hampshire still perform hangings. These jurisdictions follow now-defunct U.S. Army regulations for the punishment. The military rules demand 30 feet of hemp rope that has been boiled, stretched, and dried. The bottom of the rope should be greased or waxed to make sure that the knot of the noose doesn’t get snagged, and the whole system should be tested with a sandbag dummy before the actual hanging takes place.

The Army even has its own drop table. According to its guidelines, the last man to hang in America—220-pound Billy Bailey—would have required 5 feet of loose rope. …

The Army drop table turned out to be inadequate for Mitchell Rupe, a Washington inmate who was supposed to hang in 1994. On death row, Rupe refused all exercise and ate junk food nonstop. By the time of his execution he’d reached 409 pounds, well above the table’s maximum listed weight. According to Army regulations, anyone heavier than 220 pounds would get a 5-foot drop. The Washington authorities made an exception and cut Rupe’s planned drop to 3.5 feet. Rupe appealed his case, and a federal judge ruled that the risk of decapitation was still too high. Rupe died in a prison hospital this past February.

Umberto Eco on books

art, business, history, language & literature, on writing, religion / By / 8 September 2011

From Umberto Eco’s “Vegetal and mineral memory: The future of books” (Al-Ahram Weekly: 20—26 November 2003):

Libraries, over the centuries, have been the most important way of keeping our collective wisdom. They were and still are a sort of universal brain where we can retrieve what we have forgotten and what we still do not know. If you will allow me to use such a metaphor, a library is the best possible imitation, by human beings, of a divine mind, where the whole universe is viewed and understood at the same time. A person able to store in his or her mind the information provided by a great library would emulate in some way the mind of God. In other words, we have invented libraries because we know that we do not have divine powers, but we try to do our best to imitate them. …

First of all, we know that books are not ways of making somebody else think in our place; on the contrary, they are machines that provoke further thoughts. Only after the invention of writing was it possible to write such a masterpiece of spontaneous memory as Proust’s A la Recherche du Temps Perdu. Secondly, if once upon a time people needed to train their memories in order to remember things, after the invention of writing they had also to train their memories in order to remember books. Books challenge and improve memory; they do not narcotise it. …

YET IT IS EXACTLY AT THIS POINT that our unravelling activity must start because by hypertextual structure we usually mean two very different phenomena. First, there is the textual hypertext. In a traditional book one must read from left to right (or right to left, or up to down, according to different cultures) in a linear way. One can obviously skip through the pages, one—once arrived at page 300—can go back to check or re- read something at page 10—but this implies physical labour. In contrast to this, a hypertextual text is a multidimensional network or a maze in which every point or node can be potentially connected with any other node. Second, there is the systemic hypertext. The WWW is the Great Mother of All Hypertexts, a world-wide library where you can, or you will in short time, pick up all the books you wish. The Web is the general system of all existing hypertexts. …

Simply, books have proved to be the most suitable instrument for transmitting information. There are two sorts of book: those to be read and those to be consulted. As far as books-to-be-read are concerned, the normal way of reading them is the one that I would call the ‘detective story way’. You start from page one, where the author tells you that a crime has been committed, you follow every path of the detection process until the end, and finally you discover that the guilty one was the butler. End of the book and end of your reading experience. …

Then they are books to be consulted, like handbooks and encyclopaedias. Encyclopaedias are conceived in order to be consulted and never read from the first to the last page. …

Hypertexts will certainly render encyclopaedias and handbooks obsolete. Yesterday, it was possible to have a whole encyclopaedia on a CD-ROM; today, it is possible to have it on line with the advantage that this permits cross references and the non-linear retrieval of information. …

Books belong to those kinds of instruments that, once invented, have not been further improved because they are already alright, such as the hammer, the knife, spoon or scissors. …

TWO NEW INVENTIONS, however, are on the verge of being industrially exploited. One is printing on demand: after scanning the catalogues of many libraries or publishing houses a reader can select the book he needs, and the operator will push a button, and the machine will print and bind a single copy using the font the reader likes. … Simply put: every book will be tailored according to the desires of the buyer, as happened with old manuscripts.

The second invention is the e-book where by inserting a micro- cassette in the book’s spine or by connecting it to the internet one can have a book printed out in front of us. Even in this case, however, we shall still have a book, though as different from our current ones as ours are different from old manuscripts on parchment, and as the first Shakespeare folio of 1623 is different from the last Penguin edition. Yet, up to now e-books have not proved to be commercially successful as their inventors hoped. … E-books will probably prove to be useful for consulting information, as happens with dictionaries or special documents. …

Indeed, there are a lot of new technological devices that have not made previous ones obsolete. Cars run faster than bicycles, but they have not rendered bicycles obsolete, and no new technological improvements can make a bicycle better than it was before. The idea that a new technology abolishes a previous one is frequently too simplistic. Though after the invention of photography painters did not feel obliged to serve any longer as craftsmen reproducing reality, this did not mean that Daguerre’s invention only encouraged abstract painting. There is a whole tradition in modern painting that could not have existed without photographic models: think, for instance, of hyper-realism. Here, reality is seen by the painter’s eye through the photographic eye. This means that in the history of culture it has never been the case that something has simply killed something else. Rather, a new invention has always profoundly changed an older one. …

The computer creates new modes of production and diffusion of printed documents. …

Today there are new hypertextual poetics according to which even a book-to-read, even a poem, can be transformed to hypertext. At this point we are shifting to question two, since the problem is no longer, or not only, a physical one, but rather one that concerns the very nature of creative activity, of the reading process, and in order to unravel this skein of questions we have first of all to decide what we mean by a hypertextual link. …

In order to understand how texts of this genre can work we should decide whether the textual universe we are discussing is limited and finite, limited but virtually infinite, infinite but limited, or unlimited and infinite.

First of all, we should make a distinction between systems and texts. A system, for instance a linguistic system, is the whole of the possibilities displayed by a given natural language. A finite set of grammatical rules allows the speaker to produce an infinite number of sentences, and every linguistic item can be interpreted in terms of other linguistic or other semiotic items—a word by a definition, an event by an example, an animal or a flower by an image, and so on and so forth. …

Grammars, dictionaries and encyclopaedias are systems: by using them you can produce all the texts you like. But a text itself is not a linguistic or an encyclopaedic system. A given text reduces the infinite or indefinite possibilities of a system to make up a closed universe. If I utter the sentence, ‘This morning I had for breakfast…’, for example, the dictionary allows me to list many possible items, provided they are all organic. But if I definitely produce my text and utter, ‘This morning I had for breakfast bread and butter’, then I have excluded cheese, caviar, pastrami and apples. A text castrates the infinite possibilities of a system. …

Take a fairy tale, like Little Red Riding Hood. The text starts from a given set of characters and situations—a little girl, a mother, a grandmother, a wolf, a wood—and through a series of finite steps arrives at a solution. Certainly, you can read the fairy tale as an allegory and attribute different moral meanings to the events and to the actions of the characters, but you cannot transform Little Red Riding Hood into Cinderella. … This seems trivial, but the radical mistake of many deconstructionists was to believe that you can do anything you want with a text. This is blatantly false. …

Now suppose that a finite and limited text is organised hypertextually by many links connecting given words with other words. In a dictionary or an encyclopaedia the word wolf is potentially connected to every other word that makes up part of its possible definition or description (wolf is connected to animal, to mammal to ferocious, to legs, to fur, to eyes, to woods, to the names of the countries in which wolves exist, etc.). In Little Red Riding Hood, the wolf can be connected only with the textual sections in which it shows up or in which it is explicitly evoked. The series of possible links is finite and limited. How can hypertextual strategies be used to ‘open’ up a finite and limited text?

The first possibility is to make the text physically unlimited, in the sense that a story can be enriched by the successive contributions of different authors and in a double sense, let us say either two-dimensionally or three-dimensionally. By this I mean that given, for instance, Little Red Riding Hood, the first author proposes a starting situation (the girl enters the wood) and different contributors can then develop the story one after the other, for example, by having the girl meet not the wolf but Ali Baba, by having both enter an enchanted castle, having a confrontation with a magic crocodile, and so on, so that the story can continue for years. But the text can also be infinite in the sense that at every narrative disjunction, for instance, when the girl enters the wood, many authors can make many different choices. For one author, the girl may meet Pinocchio, for another she may be transformed into a swan, or enter the Pyramids and discover the treasury of the son of Tutankhamen. …

AT THIS POINT one can raise a question about the survival of the very notion of authorship and of the work of art, as an organic whole. And I want simply to inform my audience that this has already happened in the past without disturbing either authorship or organic wholes. The first example is that of the Italian Commedia dell’arte, in which upon a canovaccio, that is, a summary of the basic story, every performance, depending on the mood and fantasy of the actors, was different from every other so that we cannot identify any single work by a single author called Arlecchino servo di due padroni and can only record an uninterrupted series of performances, most of them definitely lost and all certainly different one from another.

Another example would be a jazz jam session. … What I want to say is that we are already accustomed to the idea of the absence of authorship in popular collective art in which every participant adds something, with experiences of jazz-like unending stories. …

A hypertext can give the illusion of opening up even a closed text: a detective story can be structured in such a way that its readers can select their own solution, deciding at the end if the guilty one should be the butler, the bishop, the detective, the narrator, the author or the reader. They can thus build up their own personal story. Such an idea is not a new one. Before the invention of computers, poets and narrators dreamt of a totally open text that readers could infinitely re-compose in different ways. Such was the idea of Le Livre, as extolled by Mallarmé. Raymond Queneau also invented a combinatorial algorithm by virtue of which it was possible to compose, from a finite set of lines, millions of poems. In the early sixties, Max Saporta wrote and published a novel whose pages could be displaced to compose different stories, and Nanni Balestrini gave a computer a disconnected list of verses that the machine combined in different ways to compose different poems. …

All these physically moveable texts give an impression of absolute freedom on the part of the reader, but this is only an impression, an illusion of freedom. The machinery that allows one to produce an infinite text with a finite number of elements has existed for millennia, and this is the alphabet. Using an alphabet with a limited number of letters one can produce billions of texts, and this is exactly what has been done from Homer to the present days. In contrast, a stimulus-text that provides us not with letters, or words, but with pre-established sequences of words, or of pages, does not set us free to invent anything we want. …

At the last borderline of free textuality there can be a text that starts as a closed one, let us say, Little Red Riding Hood or The Arabian Nights, and that I, the reader, can modify according to my inclinations, thus elaborating a second text, which is no longer the same as the original one, whose author is myself, even though the affirmation of my authorship is a weapon against the concept of definite authorship. …

A BOOK OFFERS US A TEXT which, while being open to multiple interpretations, tells us something that cannot be modified. … Alas, with an already written book, whose fate is determined by repressive, authorial decision, we cannot do this. We are obliged to accept fate and to realise that we are unable to change destiny. A hypertextual and interactive novel allows us to practice freedom and creativity, and I hope that such inventive activity will be implemented in the schools of the future. But the already and definitely written novel War and Peace does not confront us with the unlimited possibilities of our imagination, but with the severe laws governing life and death. …

Some great gross parasites

science, security, weird / By / 21 March 2011

Parasitoid Wasps

From Charles Q. Choi’s “Web-manipulating wasps” (Live Science: 2 March 2011):

Although parasites harm their hosts, they don’t usually kill them, if only to keep themselves alive. Not so with parasitoids, which ultimately destroy and often consume their hosts. Parasitoid wasps, which inspired the monster in the movie “Alien,” lay their eggs inside their victims, with the offspring eventually devouring their way out. A number of the species control their host’s minds in extraordinary ways — the larvae of the wasp Hymenoepimecis argyraphaga, which infests the spider Plesiometa argyra, makes their victims spin unusual webs especially well-suited for supporting their cocoons.

From Charles Q. Choi’s “Male-killing bacteria” (Live Science: 2 March 2011):

The genus of bacteria known as Wolbachia infests a whopping 70 percent of the world’s invertebrates, and has evolved devious strategies to keep spreading. In female hosts, the germ can hitch a ride to the next generation aboard the mother’s eggs, and since males are essentially useless for the bacteria’s survival, the parasite often eliminates them to increase the rate of females born, by either killing male embryos outright or turning them into females.

From Charles Q. Choi’s “Head-bursting fungus” (Live Science: 2 March 2011):

Dead ant zombified by fungus

Credit: David P. Hughes

In a bizarre death sentence, the fungus Ophiocordyceps unilateralis turns carpenter ants into the walking dead. The fungus prefers the undersides of leaves of plants growing on the forest floor. That’s where temperature, humidity and sunlight are ideal for the fungus to grow and reproduce and infect more victims. The parasite gets the insects to die hanging upside down, and then erupts a long stalk from their heads with which it sprinkle its spores to other ants. Fossil evidence recently suggested this fungus has zombified ants for millions of years.

From Charles Q. Choi’s “Tongue-eating crustacean” (Live Science: 2 March 2011):

The crustacean Cymothoa exigua has the dubious and unsettling honor of being the only parasite known to replace an organ. It enters through the gills of the spotted rose snapper, attaching to the base of the fish’s tongue, where it drinks its blood. The bloodsucking causes the tongue to eventually wither away, at which point the crustacean attaches itself to the tongue stub, acting as the fish’s tongue from then on.

Philip Larkin on achieving happiness

art, language & literature, religion / By / 19 November 2010

From Robert Phillips’s interview of Philip Larkin in “The Art of Poetry No. 30” (The Paris Review: Summer 1982, No. 84):

INTERVIEWER Do you feel happiness is unlikely in this world?

LARKIN Well, I think if you’re in good health, and have enough money, and nothing is bothering you in the foreseeable future, that’s as much as you can hope for. But “happiness,” in the sense of a continuous emotional orgasm, no. If only because you know that you are going to die, and the people you love are going to die.

Ray Bradbury on an encounter that changed his life

art, history, language & literature / By / 19 November 2010

From Sam Weller’s interview of Ray Bradbury in “The Art of Fiction No. 203” (The Paris Review: Spring 2010, No. 192):

Circuses and carnivals were always passing through Illinois during my childhood and I was in love with their mystery. One autumn weekend in 1932, when I was twelve years old, the Dill Brothers Combined Shows came to town. One of the performers was Mr. Electrico. He sat in an electric chair. A stagehand pulled a switch and he was charged with fifty thousand volts of pure electricity. Lightning flashed in his eyes and his hair stood on end.

The next day, I had to go the funeral of one of my favorite uncles. Driving back from the graveyard with my family, I looked down the hill toward the shoreline of Lake Michigan and I saw the tents and the flags of the carnival and I said to my father, Stop the car. He said, What do you mean? And I said, I have to get out. My father was furious with me. He expected me to stay with the family to mourn, but I got out of the car anyway and I ran down the hill toward the carnival.

It didn’t occur to me at the time, but I was running away from death, wasn’t I? I was running toward life. And there was Mr. Electrico sitting on the platform out in front of the carnival and I didn’t know what to say. I was scared of making a fool of myself. I had a magic trick in my pocket, one of those little ball-and-vase tricks—a little container that had a ball in it that you make disappear and reappear—and I got that out and asked, Can you show me how to do this? It was the right thing to do. It made a contact. He knew he was talking to a young magician. He took it, showed me how to do it, gave it back to me, then he looked at my face and said, Would you like to meet those people in that tent over there? Those strange people? And I said, Yes sir, I would. So he led me over there and he hit the tent with his cane and said, Clean up your language! Clean up your language! He took me in, and the first person I met was the illustrated man. Isn’t that wonderful? The Illustrated Man! He called himself the tattooed man, but I changed his name later for my book. I also met the strong man, the fat lady, the trapeze people, the dwarf, and the skeleton. They all became characters.

Mr. Electrico was a beautiful man, see, because he knew that he had a little weird kid there who was twelve years old and wanted lots of things. We walked along the shore of Lake Michigan and he treated me like a grown-up. I talked my big philosophies and he talked his little ones. Then we went out and sat on the dunes near the lake and all of a sudden he leaned over and said, I’m glad you’re back in my life. I said, What do you mean? I don’t know you. He said, You were my best friend outside of Paris in 1918. You were wounded in the Ardennes and you died in my arms there. I’m glad you’re back in the world. You have a different face, a different name, but the soul shining out of your face is the same as my friend. Welcome back.

Now why did he say that? Explain that to me, why? Maybe he had a dead son, maybe he had no sons, maybe he was lonely, maybe he was an ironical jokester. Who knows? It could be that he saw the intensity with which I live. Every once in a while at a book signing I see young boys and girls who are so full of fire that it shines out of their face and you pay more attention to that. Maybe that’s what attracted him.

When I left the carnival that day I stood by the carousel and I watched the horses running around and around to the music of “Beautiful Ohio,” and I cried. Tears streamed down my cheeks. I knew something important had happened to me that day because of Mr. Electrico. I felt changed. He gave me importance, immortality, a mystical gift. My life was turned around completely. It makes me cold all over to think about it, but I went home and within days I started to write. I’ve never stopped.

Seventy-seven years ago, and I’ve remembered it perfectly. I went back and saw him that night. He sat in the chair with his sword, they pulled the switch, and his hair stood up. He reached out with his sword and touched everyone in the front row, boys and girls, men and women, with the electricity that sizzled from the sword. When he came to me, he touched me on the brow, and on the nose, and on the chin, and he said to me, in a whisper, “Live forever.” And I decided to.

Kurt Vonnegut on the conventions found in plots

art, language & literature, on writing / By / 19 November 2010

From David Hayman, David Michaelis, George Plimpton, & Richard Rhodes’s interview of Kurt Vonnegut in “The Art of Fiction No. 64” (The Paris Review: Spring 1977, No. 69):

INTERVIEWER Let’s talk about the women in your books.

VONNEGUT There aren’t any. No real women, no love.

INTERVIEWER Is this worth expounding upon?

VONNEGUT It’s a mechanical problem. So much of what happens in storytelling is mechanical, has to do with the technical problems of how to make a story work. Cowboy stories and policeman stories end in shoot-outs, for example, because shoot-outs are the most reliable mechanisms for making such stories end. There is nothing like death to say what is always such an artificial thing to say: “The end.” I try to keep deep love out of my stories because, once that particular subject comes up, it is almost impossible to talk about anything else. Readers don’t want to hear about anything else. They go gaga about love. If a lover in a story wins his true love, that’s the end of the tale, even if World War III is about to begin, and the sky is black with flying saucers.

John Steinbeck on finishing a book

art, language & literature, on writing / By / 19 November 2010

From Nathaniel Benchley’s interview of John Steinbeck in “The Art of Fiction No. 45” (The Paris Review: Fall 1969, No. 48):

I truly do not care about a book once it is finished. Any money or fame that results has no connection in my feeling with the book. The book dies a real death for me when I write the last word. I have a little sorrow and then go on to a new book which is alive. The rows of my books on the shelf are to me like very well embalmed corpses. They are neither alive nor mine. I have no sorrow for them because I have forgotten them…

John Steinbeck on Ernest Hemingway

art, history, language & literature / By / 19 November 2010

From Nathaniel Benchley’s interview of John Steinbeck in “The Art of Fiction No. 45” (The Paris Review: Fall 1969, No. 48):

The first thing we heard of Ernest Hemingway’s death was a call from the London Daily Mail, asking me to comment on it. And quite privately, although something of this sort might be expected, I find it shocking. He had only one theme—only one. A man contends with the forces of the world, called fate, and meets them with courage.

Gerard Manley Hopkins’ “Spring and Fall”

art, commonplace book, language & literature / By / 10 September 2010

Gerard Manley Hopkins’ “Spring and Fall” (1880)

To a young child

Margaret, are you grieving
Over Goldengrove unleaving?
Leaves, like the things of man, you
With your fresh thoughts care for, can you?
Ah! as the heart grows older
It will come to such sights colder
By and by, nor spare a sigh
Though worlds of wanwood leafmeal lie;
And yet you will weep know why.
Now no matter, child, the name:
Sorrow’s springs are the same.
Nor mouth had, no nor mind, expressed
What heart heard of, ghost guessed:
It is the blight man was born for,
It is Margaret you mourn for.

How male water striders blackmail females into sex

science / By / 16 August 2010

From Ed Yong’s “Male water striders summon predators to blackmail females into having sex” (Discover: 10 August 2010):

Water strider sex begins unceremoniously: the male mounts the female without any courtship rituals or foreplay. She may resist but if she does, he starts to actively strum the water surface with his legs. Each vibration risks attracting the attention of a hungry predator, like a fish or backswimmer (above). And because the female is underneath, she will bear the brunt of any assault. By creating dangerous vibes, the male intimidates the female into submitting to his advances. Faint heart, it is said, never did win fair lady.

A male water strider doesn’t have to go through the hardships of pregnancy and he plays no role in raising the next generation. It’s a theme that echoes throughout the animal kingdom and it means that the best strategy for him is to mate with as many females as possible. After all, he has plenty of sperm to go around. A female, however, has a limited supply of eggs and mating opportunities. When she has sex, it has to count, so it suits her to be choosy. And she has the right equipment for the job.

Last year, Chang Han and Piotr Jablonski from Seoul National University found that female red-backed water striders (Gerris gracilicornis) can block their vaginas with hard genital shields. This defence is important because once the male manages to insert his penis, he can inflate it to make him harder to throw off. The female’s only hope is to prevent him from getting through in the first place.

Hyper-violent males can sometimes wear the female down but some opt for a subtler approach – they tap intricate rhythms on the water with their legs. When Han and Jablonski discovered these rituals last year, they suggested that the males might be trying to demonstrate their quality, by tapping out the most consistent rhythms. Now, they have another explanation – the tapping is a form of blackmail, a way of coercing sex from the female with the threat of death.

The duo studied the preferences of the backswimmer – a predatory bug that floats upside-down at the water’s surface and listens out for the vibrations of potential prey. When given a choice between a silent male water strider and a mating pair with a tapping male, the backswimmer always headed towards the vibrating duo. And since these predators attack from below, the female was always the one who was injured while the male strode off to tap another day.

The backswimmer menace is so potent that after a few minutes of tapping from the male, the female relents by opening her genital shield. If she had been previously attacked by predators, she gave in almost instantly. And only when she relented did the male stop his threatening taps.

…

The battle of the sexes between male and female water striders has led to a whole suite of adaptations and counter-adaptations. Some males have evolved special grasping structures to give them a better hold of females, while females have responded by evolving spines and other defences to weaken their grip. Females evolved their impregnable genital shields, which males have countered with a behaviour that makes females more likely to lower their defences.

To be honest, the female water strider has an easy time of it. In other insects, where females have evolved an upper hand in the war of the sexes, males have developed even more extreme counter-strategies. Look no further than the common bedbug – the male bypasses the female’s genitals altogether and stabs his sharp penis straight into the female’s back, a technique known appropriately as traumatic insemination.

There, on the Darkened Deathbed by John Masefield

art, commonplace book, language & literature, religion / By / 7 June 2010

This is pretty much what I think happens when we die, and unfortunately, what happens eventually after we die.

There, on the darkened deathbed, dies the brain
That flared three several times in seventy years;
It cannot lift the silly hand again,
Nor speak, nor sing, it neither sees nor hears.
And muffled mourners put it in the ground
And then go home, and in the earth it lies,
Too dark for vision and too deep for sound,
The million cells that made a good man wise.
Yet for a few short years an influence stirs,
A sense or wraith or essence of him dead,
Which makes insensate things its ministers
To those beloved, his spirit’s daily bread;
Then that, too, fades; in book or deed a spark
Lingers, then that, too, fades; then all is dark.

Why we laugh

language & literature, science / By / 6 November 2009

From Gene Weingarten’s “The Peekaboo Paradox: The strange secrets of humor, fear and a guy who makes big money making little people laugh” (The Washington Post: 22 January 2006):

Even before they respond to a tickle, most babies will laugh at peekaboo. It’s their first “joke.” They are reacting to a sequence of events that begins with the presence of a familiar, comforting face. Then, suddenly, the face disappears, and you can read in the baby’s expression momentary puzzlement and alarm. When the face suddenly reappears, everything is orderly in the baby’s world again. Anxiety is banished, and the baby reacts with her very first laugh.

At its heart, laughter is a tool to triumph over fear. As we grow older, our senses of humor become more demanding and refined, but that basic, hard-wired reflex remains. We need it, because life is scary. Nature is heartless, people can be cruel, and death and suffering are inevitable and arbitrary. We learn to tame our terror by laughing at the absurdity of it all.

This point has been made by experts ranging from Richard Pryor to doctoral candidates writing tedious theses on the ontol-ogical basis of humor. Any joke, any amusing observation, can be deconstructed to fit. The seemingly benign Henny Youngman one-liner, “Take my wife . . . please!” relies in its heart on an understanding that love can become a straitjacket. By laughing at that recognition, you are rising above it, and blunting its power to disturb.

After the peekaboo age, but before the age of such sophisticated understanding, dwells the preschooler. His sense of humor is more than infantile but less than truly perceptive. He comprehends irony but not sarcasm. He lacks knowledge but not feeling. The central fact of his world — and the central terror to be overcome — is his own powerlessness.

Who would ever think that it was a good idea?

art, history, on writing, politics, true stories, weird / By / 10 August 2009
A typical full sheet of LSD blotter paper with...
Image via Wikipedia

Read this article about Paul Krassner’s experiences with the Manson Family & note the emphasis I’ve added – is this not the greatest sentence out of nowhere you’ve ever seen? How in the world did that ever seem like a good idea?

From Paul Krassner’s “My Acid Trip with Squeaky Fromme” (The Huffington Post: 6 August 2009):

Manson was on Death Row — before capital punishment was repealed (and later reinstated, but not retroactively) in California — so I was unable to meet with him. Reporters had to settle for an interview with any prisoner awaiting the gas chamber, and it was unlikely that Charlie would be selected at random for me.

In the course of our correspondence, there was a letter from Manson consisting of a few pages of gibberish about Christ and the Devil, but at one point, right in the middle, he wrote in tiny letters, “Call Squeaky,” with her phone number. I called, and we arranged to meet at her apartment in Los Angeles. On an impulse, I brought several tabs of acid with me on the plane.

A beheading in Saudi Arabia

law, politics, religion, security / By / 15 July 2009
Judith Beheading Holofernes, Oil on canvas, 19...
Image via Wikipedia

From Adam St. Patrick’s “Chop Chop Square: Inside Saudi Arabia’s brutal justice system” (The Walrus: May 2009):

This is Saudi Arabia, one of the last places on earth where capital punishment is a public spectacle. Decapitation awaits murderers, but the death penalty also applies to many other crimes, such as armed robbery, rape, adultery, drug use and trafficking, and renouncing Islam. There’s a woman on death row now for witchcraft, and the charge is based partly on a man’s accusation that her spell made him impotent. Saudi Arabia executed some 1,750 convicts between 1985 and 2008, yet reliable information about the practice is scarce. In Riyadh, beheadings happen at 9 a.m. any given day of the week, and there is no advance notice. There is also no written penal code, so questions of illegality depend on the on-the-spot interpretations of police and judges.

… The Saudi interpretation of the Koran discourages all forms of evidence other than confessions and eyewitness accounts in capital trials, on the theory that doing otherwise would leave too much discretion to the judge. But at any time until the sword strikes, a victim’s family can pardon the condemned — usually for a cash settlement of at least two million riyals ($690,000 or so) from the convict or his family.

…

Many who live to recount their experience in the Saudi justice system report that police promised freedom in exchange for a confession — or tortured them to get one.

In Riyadh, beheadings take place in a downtown public square equipped with a drain the size of a pizza box in its centre. Expatriates call it Chop Chop Square. … The job is a coveted one, often passed from father to son. In a Lebanese TV clip now on YouTube, a Saudi executioner shows off his swords and describes his approach: “If the heart is compassionate, the hand fails.”

All about freezing to death

education, science / By / 30 June 2009

Ice mask, C.T. Madigan / photograph by Frank Hurley
Creative Commons License photo credit: State Library of New South Wales collection

From Peter Stark’s “As Freezing Persons Recollect the Snow–First Chill–Then Stupor–Then the Letting Go” (Outside: January 1997):

There is no precise core temperature at which the human body perishes from cold. At Dachau’s cold-water immersion baths, Nazi doctors calculated death to arrive at around 77 degrees Fahrenheit. The lowest recorded core temperature in a surviving adult is 60.8 degrees. For a child it’s lower: In 1994, a two-year-old girl in Saskatchewan wandered out of her house into a minus-40 night. She was found near her doorstep the next morning, limbs frozen solid, her core temperature 57 degrees. She lived.

…

The cold remains a mystery, more prone to fell men than women, more lethal to the thin and well muscled than to those with avoirdupois, and least forgiving to the arrogant and the unaware.

…

Were you a Norwegian fisherman or Inuit hunter, both of whom frequently work gloveless in the cold, your chilled hands would open their surface capillaries periodically to allow surges of warm blood to pass into them and maintain their flexibility. This phenomenon, known as the hunter’s response, can elevate a 35-degree skin temperature to 50 degrees within seven or eight minutes.

Other human adaptations to the cold are more mysterious. Tibetan Buddhist monks can raise the skin temperature of their hands and feet by 15 degrees through meditation. Australian aborigines, who once slept on the ground, unclothed, on near-freezing nights, would slip into a light hypothermic state, suppressing shivering until the rising sun rewarmed them.

…

The exertion that warmed you on the way uphill now works against you: Your exercise-dilated capillaries carry the excess heat of your core to your skin, and your wet clothing dispels it rapidly into the night. The lack of insulating fat over your muscles allows the cold to creep that much closer to your warm blood.

Your temperature begins to plummet. Within 17 minutes it reaches the normal 98.6. Then it slips below.

At 97 degrees, hunched over in your slow search, the muscles along your neck and shoulders tighten in what’s known as pre-shivering muscle tone. Sensors have signaled the temperature control center in your hypothalamus, which in turn has ordered the constriction of the entire web of surface capillaries. Your hands and feet begin to ache with cold.

…

At 95, you’ve entered the zone of mild hypothermia. You’re now trembling violently as your body attains its maximum shivering response, an involuntary condition in which your muscles contract rapidly to generate additional body heat.

…

And after this long stop, the skiing itself has become more difficult. By the time you push off downhill, your muscles have cooled and tightened so dramatically that they no longer contract easily, and once contracted, they won’t relax. You’re locked into an ungainly, spread-armed, weak-kneed snowplow.

…

As you sink back into the snow, shaken, your heat begins to drain away at an alarming rate, your head alone accounting for 50 percent of the loss. The pain of the cold soon pierces your ears so sharply that you root about in the snow until you find your hat and mash it back onto your head.

But even that little activity has been exhausting. You know you should find your glove as well, and yet you’re becoming too weary to feel any urgency. You decide to have a short rest before going on.

An hour passes. at one point, a stray thought says you should start being scared, but fear is a concept that floats somewhere beyond your immediate reach, like that numb hand lying naked in the snow. You’ve slid into the temperature range at which cold renders the enzymes in your brain less efficient. With every one-degree drop in body temperature below 95, your cerebral metabolic rate falls off by 3 to 5 percent. When your core temperature reaches 93, amnesia nibbles at your consciousness.

…

In the minus-35-degree air, your core temperature falls about one degree every 30 to 40 minutes, your body heat leaching out into the soft, enveloping snow. Apathy at 91 degrees. Stupor at 90.

You’ve now crossed the boundary into profound hypothermia. By the time your core temperature has fallen to 88 degrees, your body has abandoned the urge to warm itself by shivering. Your blood is thickening like crankcase oil in a cold engine. Your oxygen consumption, a measure of your metabolic rate, has fallen by more than a quarter. Your kidneys, however, work overtime to process the fluid overload that occurred when the blood vessels in your extremities constricted and squeezed fluids toward your center. You feel a powerful urge to urinate, the only thing you feel at all.

By 87 degrees you’ve lost the ability to recognize a familiar face, should one suddenly appear from the woods.

At 86 degrees, your heart, its electrical impulses hampered by chilled nerve tissues, becomes arrhythmic. It now pumps less than two-thirds the normal amount of blood. The lack of oxygen and the slowing metabolism of your brain, meanwhile, begin to trigger visual and auditory hallucinations.

…

At 85 degrees, those freezing to death, in a strange, anguished paroxysm, often rip off their clothes. This phenomenon, known as paradoxical undressing, is common enough that urban hypothermia victims are sometimes initially diagnosed as victims of sexual assault. Though researchers are uncertain of the cause, the most logical explanation is that shortly before loss of consciousness, the constricted blood vessels near the body’s surface suddenly dilate and produce a sensation of extreme heat against the skin.

…

There’s an adage about hypothermia: “You aren’t dead until you’re warm and dead.”

At about 6:00 the next morning, his friends, having discovered the stalled Jeep, find him, still huddled inches from the buried log, his gloveless hand shoved into his armpit. The flesh of his limbs is waxy and stiff as old putty, his pulse nonexistent, his pupils unresponsive to light. Dead.

But those who understand cold know that even as it deadens, it offers perverse salvation. Heat is a presence: the rapid vibrating of molecules. Cold is an absence: the damping of the vibrations. At absolute zero, minus 459.67 degrees Fahrenheit, molecular motion ceases altogether. It is this slowing that converts gases to liquids, liquids to solids, and renders solids harder. It slows bacterial growth and chemical reactions. In the human body, cold shuts down metabolism. The lungs take in less oxygen, the heart pumps less blood. Under normal temperatures, this would produce brain damage. But the chilled brain, having slowed its own metabolism, needs far less oxygen-rich blood and can, under the right circumstances, survive intact.

Setting her ear to his chest, one of his rescuers listens intently. Seconds pass. Then, faintly, she hears a tiny sound–a single thump, so slight that it might be the sound of her own blood. She presses her ear harder to the cold flesh. Another faint thump, then another.

The slowing that accompanies freezing is, in its way, so beneficial that it is even induced at times. Cardiologists today often use deep chilling to slow a patient’s metabolism in preparation for heart or brain surgery. In this state of near suspension, the patient’s blood flows slowly, his heart rarely beats–or in the case of those on heart-lung machines, doesn’t beat at all; death seems near. But carefully monitored, a patient can remain in this cold stasis, undamaged, for hours.

…

In fact, many hypothermia victims die each year in the process of being rescued. In “rewarming shock,” the constricted capillaries reopen almost all at once, causing a sudden drop in blood pressure. The slightest movement can send a victim’s heart muscle into wild spasms of ventricular fibrillation. In 1980, 16 shipwrecked Danish fishermen were hauled to safety after an hour and a half in the frigid North Sea. They then walked across the deck of the rescue ship, stepped below for a hot drink, and dropped dead, all 16 of them.

…

The doctor rapidly issues orders to his staff: intravenous administration of warm saline, the bag first heated in the microwave to 110 degrees. Elevating the core temperature of an average-size male one degree requires adding about 60 kilocalories of heat. A kilocalorie is the amount of heat needed to raise the temperature of one liter of water one degree Celsius. Since a quart of hot soup at 140 degrees offers about 30 kilocalories, the patient curled on the table would need to consume 40 quarts of chicken broth to push his core temperature up to normal. Even the warm saline, infused directly into his blood, will add only 30 kilocalories.

Ideally, the doctor would have access to a cardiopulmonary bypass machine, with which he could pump out the victim’s blood, rewarm and oxygenate it, and pump it back in again, safely raising the core temperature as much as one degree every three minutes. But such machines are rarely available outside major urban hospitals.

…

You’d nod if you could. But you can’t move. All you can feel is throbbing discomfort everywhere. Glancing down to where the pain is most biting, you notice blisters filled with clear fluid dotting your fingers, once gloveless in the snow. During the long, cold hours the tissue froze and ice crystals formed in the tiny spaces between your cells, sucking water from them, blocking the blood supply. You stare at them absently.

“I think they’ll be fine,” a voice from overhead says. “The damage looks superficial. We expect that the blisters will break in a week or so, and the tissue should revive after that.”

If not, you know that your fingers will eventually turn black, the color of bloodless, dead tissue. And then they will be amputated.

…

You’ve seen that in the infinite reaches of the universe, heat is as glorious and ephemeral as the light of the stars. Heat exists only where matter exists, where particles can vibrate and jump. In the infinite winter of space, heat is tiny; it is the cold that is huge.

David Foster Wallace on TV, loneliness, & death

art, language & literature / By / 23 May 2009

From Larry McCaffery’s “Conversation with David Foster Wallace” (Dalkey Archive Press at the University of Illinois: Summer 1993):

One thing TV does is help us deny that we’re lonely. With televised images, we can have the facsimile of a relationship without the work of a real relationship. It’s an anesthesia of “form.” The interesting thing is why we’re so desperate for this anesthetic against loneliness. You don’t have to think very hard to realize that our dread of both relationships and loneliness, both of which are like sub-dreads of our dread of being trapped inside a self (a psychic self, not just a physical self), has to do with angst about death, the recognition that I’m going to die, and die very much alone, and the rest of the world is going to go merrily on without me.