history

A woman’s wallet returned after 60 years

history / By / 1 April 2013

From AP’s “Woman gets wallet back after 60 years” (7 February 2007):

CEDAR RAPIDS, Iowa – Joan Martinek Barnes never imagined she would see her wallet again after she lost it at McKinley High School 60 years ago.

But the red alligator grain wallet turned up Monday when a building engineer tracked down a broken hot water pipe. It was found on top of an air duct in a basement storage room that once housed girls lockers.

Barnes, now 75 and living in San Antonio, said her wallet was lost when her coat was stolen during the winter of 1947-48. …

The wallet didn’t have any cash in it when it was found, but did contain a $4 activity pass, a student ID card, and a membership card for the YMCA’s teen club.

It also contained two black-and-white photos — one of a girl who could be Barnes and another showing a young man in an Army Air Force uniform, possibly someone she was dating.

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. …

Problems with ID cards

security / By / 8 September 2011

From Bruce Schneier’s Crypto-Gram of 15 April 2004:

My argument may not be obvious, but it’s not hard to follow, either. It centers around the notion that security must be evaluated not based on how it works, but on how it fails.

It doesn’t really matter how well an ID card works when used by the hundreds of millions of honest people that would carry it. What matters is how the system might fail when used by someone intent on subverting that system: how it fails naturally, how it can be made to fail, and how failures might be exploited.

The first problem is the card itself. No matter how unforgeable we make it, it will be forged. And even worse, people will get legitimate cards in fraudulent names. …

Not that there would ever be such thing as a single ID card. Currently about 20 percent of all identity documents are lost per year. An entirely separate security system would have to be developed for people who lost their card, a system that itself is capable of abuse. …

But the main problem with any ID system is that it requires the existence of a database. In this case it would have to be an immense database of private and sensitive information on every American—one widely and instantaneously accessible from airline check-in stations, police cars, schools, and so on.

The security risks are enormous. Such a database would be a kludge of existing databases; databases that are incompatible, full of erroneous data, and unreliable. …

What good would it have been to know the names of Timothy McVeigh, the Unabomber, or the DC snipers before they were arrested? Palestinian suicide bombers generally have no history of terrorism. The goal is here is to know someone’s intentions, and their identity has very little to do with that.

How changes in glass changed working conditions

business, history, science, technology / By / 13 June 2011

From Nicholas Carr’s “(re)framed” (Rough Type: 3 June 2011):

I’m reminded of an interesting passage in the book Glass: A World History:

As we have seen, one of the rapid developments in glass technology was the making of panes of window glass, plain and coloured, which was particularly noticeable in the northern half of Europe [after the twelfth century]. One very practical effect of this was on working conditions. In the cold and dark northern half of Europe people could now work for longer hours and with more precision because they were shielded from the elements. The light poured in, yet the cold was kept out. Prior to glass only thin slivers of horn or parchment were used and the window spaces were of necessity much smaller and the light admitted, dimmer.

Saul Bass changed how audiences view movie credits

art, history / By / 5 April 2011

From Christian Annyas’s “Saul Bass Title Sequences“:

“PROJECTIONISTS – PULL CURTAIN BEFORE TITLES”.

This is the text of a note that was stuck on the cans when the reels of film for “The Man With the Golden Arm” arrived at US movie theatres in 1955.

Until then the credits were referred to as ‘popcorn time.’ Audiences resented them and projectionists only pulled back the curtains to reveal the screen once they’d finished.
Saul Bass’ powerful title sequence for “The Man With the Golden Arm” changed the way directors and designers would treat the opening titles.

…

“For the average audience, the credits tell them there’s only three minutes left to eat popcorn. I take this ‘dead’ period and try to do more than simply get rid of names that filmgoers aren’t interested in. I aim to set up the audience for what’s coming; make them expectant.” — SAUL BASS

David Pogue’s insights about tech over time

business, history, technology / By / 28 November 2010

From David Pogue’s “The Lessons of 10 Years of Talking Tech” (The New York Times: 25 November 2010):

As tech decades go, this one has been a jaw-dropper. Since my first column in 2000, the tech world has not so much blossomed as exploded. Think of all the commonplace tech that didn’t even exist 10 years ago: HDTV, Blu-ray, GPS, Wi-Fi, Gmail, YouTube, iPod, iPhone, Kindle, Xbox, Wii, Facebook, Twitter, Android, online music stores, streaming movies and on and on.

…

With the turkey cooking, this seems like a good moment to review, to reminisce — and to distill some insight from the first decade in the new tech millennium.

Things don’t replace things; they just splinter. I can’t tell you how exhausting it is to keep hearing pundits say that some product is the “iPhone killer” or the “Kindle killer.” Listen, dudes: the history of consumer tech is branching, not replacing.

…

Things don’t replace things; they just add on. Sooner or later, everything goes on-demand. The last 10 years have brought a sweeping switch from tape and paper storage to digital downloads. Music, TV shows, movies, photos and now books and newspapers. We want instant access. We want it easy.

…

Some people’s gadgets determine their self-esteem. … Today’s gadgets are intensely personal. Your phone or camera or music player makes a statement, reflects your style and character. No wonder some people interpret criticisms of a product as a criticism of their choices. By extension, it’s a critique of them.

…

Everybody reads with a lens. … feelings run just as strongly in the tech realm. You can’t use the word “Apple,” “Microsoft” or “Google” in a sentence these days without stirring up emotion.

…

It’s not that hard to tell the winners from the losers. … There was the Microsoft Spot Watch (2003). This was a wireless wristwatch that could display your appointments and messages — but cost $10 a month, had to be recharged nightly and wouldn’t work outside your home city unless you filled out a Web form in advance.

…

Some concepts’ time may never come. The same “breakthrough” ideas keep surfacing — and bombing, year after year. For the love of Mike, people, nobody wants videophones!

…

Teenagers do not want “communicators” that do nothing but send text messages, either (AT&T Ogo, Sony Mylo, Motorola V200). People do not want to surf the Internet on their TV screens (WebTV, AOLTV, Google TV). And give it up on the stripped-down kitchen “Internet appliances” (3Com Audrey, Netpliance i-Opener, Virgin Webplayer). Nobody has ever bought one, and nobody ever will.

Forget about forever — nothing lasts a year. Of the thousands of products I’ve reviewed in 10 years, only a handful are still on the market. Oh, you can find some gadgets whose descendants are still around: iPod, BlackBerry, Internet Explorer and so on.

But it’s mind-frying to contemplate the millions of dollars and person-years that were spent on products and services that now fill the Great Tech Graveyard: Olympus M-Robe. PocketPC. Smart Display. MicroMV. MSN Explorer. Aibo. All those PlaysForSure music players, all those Palm organizers, all those GPS units you had to load up with maps from your computer.

Everybody knows that’s the way tech goes. The trick is to accept your
gadget’s obsolescence at the time you buy it…

Nobody can keep up. Everywhere I go, I meet people who express the same reaction to consumer tech today: there’s too much stuff coming too fast. It’s impossible to keep up with trends, to know what to buy, to avoid feeling left behind. They’re right. There’s never been a period of greater technological change. You couldn’t keep up with all of it if you tried.

Unix: An Oral History

business, history, technology / By / 24 November 2010

From ‘s “Unix: An Oral History” (: ):

Multics

Gordon M. Brown

…

[Multics] was designed to include fault-free continuous operation capabilities, convenient remote terminal access and selective information sharing. One of the most important features of Multics was to follow the trend towards integrated multi-tasking and permit multiple programming environments and different human interfaces under one operating system.

…

Moreover, two key concepts had been picked up on in the development of Multics that would later serve to define Unix. These were that the less important features of the system introduced more complexity and, conversely, that the most important property of algorithms was simplicity. Ritchie explained this to Mahoney, articulating that:

The relationship of Multics to [the development of Unix] is actually interesting and fairly complicated. There were a lot of cultural things that were sort of taken over wholesale. And these include important things, [such as] the hierarchical file system and tree-structure file system – which incidentally did not get into the first version of Unix on the PDP-7. This is an example of why the whole thing is complicated. But any rate, things like the hierarchical file system, choices of simple things like the characters you use to edit lines as you’re typing, erasing characters were the same as those we had. I guess the most important fundamental thing is just the notion that the basic style of interaction with the machine, the fact that there was the notion of a command line, the notion was an explicit shell program. In fact the name shell came from Multics. A lot of extremely important things were completely internalized, and of course this is the way it is. A lot of that came through from Multics.

The Beginning

Michael Errecart and Cameron Jones

Files to Share

…

The Unix file system was based almost entirely on the file system for the failed Multics project. The idea was for file sharing to take place with explicitly separated file systems for each user, so that there would be no locking of file tables.

…

A major part of the answer to this question is that the file system had to be open. The needs of the group dictated that every user had access to every other user’s files, so the Unix system had to be extremely open. This openness is even seen in the password storage, which is not hidden at all but is encrypted. Any user can see all the encrypted passwords, but can only test one solution per second, which makes it extremely time consuming to try to break into the system.

…

The idea of standard input and output for devices eventually found its way into Unix as pipes. Pipes enabled users and programmers to send one function’s output into another function by simply placing a vertical line, a ‘|’ between the two functions. Piping is one of the most distinct features of Unix …

Language from B to C

… Thompson was intent on having Unix be portable, and the creation of a portable language was intrinsic to this. …

Finding a Machine

Darice Wong & Jake Knerr

… Thompson devoted a month apiece to the shell, editor, assembler, and other software tools. …

Use of Unix started in the patent office of Bell Labs, but by 1972 there were a number of non-research organizations at Bell Labs that were beginning to use Unix for software development. Morgan recalls the importance of text processing in the establishment of Unix. …

Building Unix

Jason Aughenbaugh, Jonathan Jessup, & Nicholas Spicher

…

The Origin of Pipes

The first edition of Thompson and Ritchie’s The Unix Programmer’s Manual was dated November 3, 1971; however, the idea of pipes is not mentioned until the Version 3 Unix manual, published in February 1973. …

…

Software Tools

…

grep was, in fact, one of the first programs that could be classified as a software tool. Thompson designed it at the request of McIlroy, as McIlroy explains:

One afternoon I asked Ken Thompson if he could lift the regular expression recognizer out of the editor and make a one-pass program to do it. He said yes. The next morning I found a note in my mail announcing a program named grep. It worked like a charm. When asked what that funny name meant, Ken said it was obvious. It stood for the editor command that it simulated, g/re/p (global regular expression print)….From that special-purpose beginning, grep soon became a household word. (Something I had to stop myself from writing in the first paragraph above shows how firmly naturalized the idea now is: ‘I used ed to grep out words from the dictionary.’) More than any other single program, grep focused the viewpoint that Kernighan and Plauger christened and formalized in Software Tools: make programs that do one thing and do it well, with as few preconceptions about input syntax as possible.

…

eqn and grep are illustrative of the Unix toolbox philosophy that McIlroy phrases as, “Write programs that do one thing and do it well. Write programs to work together. Write programs that handle text streams, because that is a universal interface.” This philosophy was enshrined in Kernighan and Plauger’s 1976 book, Software Tools, and reiterated in the “Foreword” to the issue of The Bell Systems Technical Journal that also introduced pipes.

…

Ethos

Robert Murray-Rust & Malika Seth

…

McIlroy says,

This is the Unix philosophy. Write programs that do one thing and do it well. Write programs to work together. Write programs that handle text streams because, that is a universal interface.

…

The dissemination of Unix, with a focus on what went on within Bell Labs

Steve Chen

…

In 1973, the first Unix applications were installed on a system involved in updating directory information and intercepting calls to numbers that had been changed. This was the first time Unix had been used in supporting an actual, ongoing operating business. Soon, Unix was being used to automate the operations systems at Bell Laboratories. It was automating the monitoring, involved in measurement, and helping to rout calls and ensure the quality of the calls.

…

There were numerous reasons for the friendliness the academic society, especially the academic Computer Science community, showed towards Unix. John Stoneback relates a few of these:

Unix came into many CS departments largely because it was the only powerful interactive system that could run on the sort of hardware (PDP-11s) that universities could afford in the mid ’70s. In addition, Unix itself was also very inexpensive. Since source code was provided, it was a system that could be shaped to the requirements of a particular installation. It was written in a language considerably more attractive than assembly, and it was small enough to be studied and understood by individuals. (John Stoneback, “The Collegiate Community,” Unix Review, October 1985, p. 27.)

…

The key features and characteristics of Unix that held it above other operating systems at the time were its software tools, its portability, its flexibility, and the fact that it was simple, compact, and efficient. The development of Unix in Bell Labs was carried on under a set of principles that the researchers had developed to guide their work. These principles included:

(i) Make each program do one thing well. To do a new job, build afresh rather than complicate old programs by adding new features.

(ii) Expect the output of every program to become the input to another, as yet unknown, program. Don’t clutter output with extraneous information. Avoid stringently columnar or binary input formats. Don’t insist on interactive input.

(iii) Design and build software, even operating systems, to be tried early, ideally within weeks. Don’t hesitate to throw away the clumsy parts and rebuild them.

(iv) Use tools in preference to unskilled help to lighten a programming task, even if you have to detour to build the tools and expect to throw some of them out after you’ve finished using them.”

(M.D. McIlroy, E.N. Pinson, and B.A. Tague “Unix Time-Sharing System Forward,” The Bell System Technical Journal, July-Aug 1088 vol 57, number 6 part 2. P. 1902)

The widespread corruption at the heart of Greek culture

business, history, law, politics / By / 24 November 2010

From Michael Lewis’s “Beware of Greeks Bearing Bonds” (Vanity Fair: 1 October 2010):

In just the past decade the wage bill of the Greek public sector has doubled, in real terms—and that number doesn’t take into account the bribes collected by public officials. The average government job pays almost three times the average private-sector job. The national railroad has annual revenues of 100 million euros against an annual wage bill of 400 million, plus 300 million euros in other expenses. The average state railroad employee earns 65,000 euros a year. Twenty years ago a successful businessman turned minister of finance named Stefanos Manos pointed out that it would be cheaper to put all Greece’s rail passengers into taxicabs: it’s still true. “We have a railroad company which is bankrupt beyond comprehension,” Manos put it to me. “And yet there isn’t a single private company in Greece with that kind of average pay.” The Greek public-school system is the site of breathtaking inefficiency: one of the lowest-ranked systems in Europe, it nonetheless employs four times as many teachers per pupil as the highest-ranked, Finland’s. Greeks who send their children to public schools simply assume that they will need to hire private tutors to make sure they actually learn something. There are three government-owned defense companies: together they have billions of euros in debts, and mounting losses. The retirement age for Greek jobs classified as “arduous” is as early as 55 for men and 50 for women. As this is also the moment when the state begins to shovel out generous pensions, more than 600 Greek professions somehow managed to get themselves classified as arduous: hairdressers, radio announcers, waiters, musicians, and on and on and on. The Greek public health-care system spends far more on supplies than the European average—and it is not uncommon, several Greeks tell me, to see nurses and doctors leaving the job with their arms filled with paper towels and diapers and whatever else they can plunder from the supply closets.

…

A handful of the tax collectors, however, were outraged by the systematic corruption of their business; it further emerged that two of them were willing to meet with me. The problem was that, for reasons neither wished to discuss, they couldn’t stand the sight of each other. This, I’d be told many times by other Greeks, was very Greek.

…

Tax Collector No. 1—early 60s, business suit, tightly wound but not obviously nervous—arrived with a notebook filled with ideas for fixing the Greek tax-collection agency. He just took it for granted that I knew that the only Greeks who paid their taxes were the ones who could not avoid doing so—the salaried employees of corporations, who had their taxes withheld from their paychecks. The vast economy of self-employed workers—everyone from doctors to the guys who ran the kiosks that sold the International Herald Tribune—cheated (one big reason why Greece has the highest percentage of self-employed workers of any European country). “It’s become a cultural trait,” he said. “The Greek people never learned to pay their taxes. And they never did because no one is punished. No one has ever been punished. It’s a cavalier offense—like a gentleman not opening a door for a lady.”

The scale of Greek tax cheating was at least as incredible as its scope: an estimated two-thirds of Greek doctors reported incomes under 12,000 euros a year—which meant, because incomes below that amount weren’t taxable, that even plastic surgeons making millions a year paid no tax at all. The problem wasn’t the law—there was a law on the books that made it a jailable offense to cheat the government out of more than 150,000 euros—but its enforcement. “If the law was enforced,” the tax collector said, “every doctor in Greece would be in jail.” I laughed, and he gave me a stare. “I am completely serious.” One reason no one is ever prosecuted—apart from the fact that prosecution would seem arbitrary, as everyone is doing it—is that the Greek courts take up to 15 years to resolve tax cases. “The one who does not want to pay, and who gets caught, just goes to court,” he says. Somewhere between 30 and 40 percent of the activity in the Greek economy that might be subject to the income tax goes officially unrecorded, he says, compared with an average of about 18 percent in the rest of Europe.

The easiest way to cheat on one’s taxes was to insist on being paid in cash, and fail to provide a receipt for services. The easiest way to launder cash was to buy real estate. Conveniently for the black market—and alone among European countries—Greece has no working national land registry. “You have to know where the guy bought the land—the address—to trace it back to him,” says the collector. “And even then it’s all handwritten and hard to decipher.”

…

On he went, describing a system that was, in its way, a thing of beauty. It mimicked the tax-collecting systems of an advanced economy—and employed a huge number of tax collectors—while it was in fact rigged to enable an entire society to cheat on their taxes.

…

Tax Collector No. 2—casual in manner and dress, beer-drinking, but terrified that others might discover he had spoken to me—also arrived with a binder full of papers, only his was stuffed with real-world examples not of Greek people but Greek companies that had cheated on their taxes. He then started to rattle off examples (“only the ones I personally witnessed”). The first was an Athenian construction company that had built seven giant apartment buildings and sold off nearly 1,000 condominiums in the heart of the city. Its corporate tax bill honestly computed came to 15 million euros, but the company had paid nothing at all. Zero. To evade taxes it had done several things. First, it never declared itself a corporation; second, it employed one of the dozens of companies that do nothing but create fraudulent receipts for expenses never incurred and then, when the tax collector stumbled upon the situation, offered him a bribe. The tax collector blew the whistle and referred the case to his bosses—whereupon he found himself being tailed by a private investigator, and his phones tapped. In the end the case was resolved, with the construction company paying 2,000 euros. “After that I was taken off all tax investigations,” said the tax collector, “because I was good at it.”

…

The Greek state was not just corrupt but also corrupting. Once you saw how it worked you could understand a phenomenon which otherwise made no sense at all: the difficulty Greek people have saying a kind word about one another. Individual Greeks are delightful: funny, warm, smart, and good company. I left two dozen interviews saying to myself, “What great people!” They do not share the sentiment about one another: the hardest thing to do in Greece is to get one Greek to compliment another behind his back. No success of any kind is regarded without suspicion. Everyone is pretty sure everyone is cheating on his taxes, or bribing politicians, or taking bribes, or lying about the value of his real estate. And this total absence of faith in one another is self-reinforcing. The epidemic of lying and cheating and stealing makes any sort of civic life impossible; the collapse of civic life only encourages more lying, cheating, and stealing. Lacking faith in one another, they fall back on themselves and their families.

The structure of the Greek economy is collectivist, but the country, in spirit, is the opposite of a collective. Its real structure is every man for himself. Into this system investors had poured hundreds of billions of dollars. And the credit boom had pushed the country over the edge, into total moral collapse.

…

The Vatopaidi monastery, along with 19 others, was built in the 10th century on a 37-mile-long-by-6-mile-wide peninsula in northeast Greece, called Mount Athos. Mount Athos now is severed from the mainland by a long fence, and so the only way onto it is by boat, which gives the peninsula the flavor of an island. And on this island no women are allowed—no female animals of any kind, in fact, except for cats. The official history ascribes the ban to the desire of the church to honor the Virgin; the unofficial one to the problem of monks hitting on female visitors. The ban has stood for 1,000 years.

…

The ferry chugs for three hours along a rocky, wooded, but otherwise barren coastline, stopping along the way to drop monks and pilgrims and guest workers at other monasteries. The sight of the first one just takes my breath away. It’s not a building but a spectacle: it’s as if someone had taken Assisi or Todi or one of the other old central-Italian hill towns and plopped it down on the beach, in the middle of nowhere. Unless you know what to expect on Mount Athos—it has been regarded by the Eastern Orthodox Church for more than a millennium as the holiest place on earth, and it enjoyed for much of that time a symbiotic relationship with Byzantine emperors—these places come as a shock. There’s nothing modest about them; they are grand and complicated and ornate and obviously in some sort of competition with one another. In the old days, pirates routinely plundered them, and you can see why: it would be almost shameful not to, for a pirate.

…

Otherwise the experience was sensational, to be recommended to anyone looking for a taste of 10th-century life. Beneath titanic polished golden chandeliers, and surrounded by freshly cleaned icons, the monks sang; the monks chanted; the monks vanished behind screens to utter strange incantations; the monks shook what sounded like sleigh bells; the monks floated by waving thuribles, leaving in their wake smoke and the ancient odor of incense. Every word that was said and sung and chanted was Biblical Greek (it seemed to have something to do with Jesus Christ), but I nodded right along anyway. I stood when they stood, and sat when they sat: up and down we went like pogos, for hours. The effect of the whole thing was heightened by the monks’ magnificently wild beards. Even when left to nature, beards do not all grow in the same way. There are types: the hopelessly porous mass of fuzz; the Osama bin Laden/Assyrian-king trowel; the Karl Marx bird’s nest. A surprising number of the monks resembled the Most Interesting Man in the World from the Dos Equis commercial. (“His beard alone has experienced more than a lesser man’s entire body.”)

…

For most of the 1980s and 1990s, Greek interest rates had run a full 10 percent higher than German ones, as Greeks were regarded as far less likely to repay a loan. There was no consumer credit in Greece: Greeks didn’t have credit cards. Greeks didn’t usually have mortgage loans either.

…

But this question of whether Greece will repay its debts is really a question of whether Greece will change its culture, and that will happen only if Greeks want to change. I am told 50 times if I am told once that what Greeks care about is “justice” and what really boils the Greek blood is the feeling of unfairness. Obviously this distinguishes them from no human being on the planet, and ignores what’s interesting: exactly what a Greek finds unfair. It’s clearly not the corruption of their political system. It’s not cheating on their taxes, or taking small bribes in their service to the state. No: what bothers them is when some outside party—someone clearly different from themselves, with motives apart from narrow and easily understood self-interest—comes in and exploits the corruption of their system.

Matthew Arnold’s 4 words that describe Homer

art, history, language & literature, on writing / By / 24 November 2010

From Edwin Frank & Andrew McCord’s interview of Robert Fagles in “The Art of Translation No. 2” (The Paris Review: Summer 1999, No. 151):

I think it’s through that effort, trying to turn Homer into poetry, that we just may come a little closer to Matthew Arnold’s unforgettable touchstones—Homer is simple, direct, swift, and above all, noble.

Robert Fagles on the dramatic sense of Homer

art, history, language & literature, on writing / By / 24 November 2010

From Edwin Frank & Andrew McCord’s interview of Robert Fagles in “The Art of Translation No. 2” (The Paris Review: Summer 1999, No. 151):

As I read Homer, he’s a remarkable combination of the timeless, immortal phrase, and of the timely, too, and he’s meant to be heard, not read. “Homer makes us Hearers”—in Pope’s fine formulation—“and Virgil leaves us Readers.” The Iliad is more than half dialogue, direct discourse; the Odyssey more than two-thirds. Both are very dramatic poems, in other words, filled with many voices. It’s as if Homer were a ventriloquist, projecting his voice into the voices of dozens of people living within his poems. That’s one of the most important things to capture—if you can—the dramatic sense that he conveys. Whole books (Books Nine and Twenty-four of the Iliad, Nineteen and Twenty-three of the Odyssey, the reunion of the king and queen) could be lifted out of the text and placed directly on a stage. They’re plays waiting to be performed.

Shelby Foote on the poor writing by academic historians

art, history, language & literature, on writing / By / 24 November 2010

From Carter Coleman, Donald Faulkner, & William Kennedy’s interview of Shelby Foote in “The Art of Fiction No. 158” (The Paris Review: Summer 1999, No. 151):

Now it sounds as if I’m making an all-out attack against academic historians. I am making some attack on them for their lack of concern about learning how to write. It is as if they thought it an onerous waste of time, which they might better spend doing research rather than learning how to write. The result sometimes is a prose that’s so dismal that the footnotes are not an interruption but just a welcome relief.

Shelby Foote on how Faulkner one-upped Clark Gable

art, language & literature / By / 24 November 2010

From Carter Coleman, Donald Faulkner, & William Kennedy’s interview of Shelby Foote in “The Art of Fiction No. 158” (The Paris Review: Summer 1999, No. 151):

You’ve heard that thing about Faulkner and Clark Gable haven’t you? Howard Hawks was taking Faulkner out on a quail shoot and came by to pick him up a little before dawn to get to where they were going by first light. Clark Gable was in the car, and Faulkner in the backseat. As they rode along, Gable and Hawks got to talking. Gable said, You know, you’re a well-read man, Howard. I’ve always been meaning to do some reading. I never have really done it. What do you think I ought to read? And Hawks said, Why don’t you ask Bill back there. He’s a writer, and he’ll be able to tell you. Gable said, Do you write, Mr. Faulkner? Faulkner said, Yes, Mr. Gable. What do you do?

Philip Larkin on modernism

art, history, language & literature, on writing / 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):

It seems to me undeniable that up to this century literature used language in the way we all use it, painting represented what anyone with normal vision sees, and music was an affair of nice noises rather than nasty ones. The innovation of “modernism” in the arts consisted of doing the opposite. I don’t know why, I’m not a historian. You have to distinguish between things that seemed odd when they were new but are now quite familiar, such as Ibsen and Wagner, and things that seemed crazy when they were new and seem crazy now, like Finnegans Wake and Picasso.

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.

Ray Bradbury on Edgar Rice Burroughs

art, history, language & literature, on writing, science / 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):

But as it turns out—and I love to say it because it upsets everyone terribly—[Edgar Rice] Burroughs is probably the most influential writer in the entire history of the world.

INTERVIEWER Why do you think that?

BRADBURY By giving romance and adventure to a whole generation of boys, Burroughs caused them to go out and decide to become special. That’s what we have to do for everyone, give the gift of life with our books. Say to a girl or boy at age ten, Hey, life is fun! Grow tall! I’ve talked to more biochemists and more astronomers and technologists in various fields, who, when they were ten years old, fell in love with John Carter and Tarzan and decided to become something romantic. Burroughs put us on the moon. All the technologists read Burroughs. I was once at Caltech with a whole bunch of scientists and they all admitted it. Two leading astronomers—one from Cornell, the other from Caltech—came out and said, Yeah, that’s why we became astronomers. We wanted to see Mars more closely.

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.

Anthony Burgess on satire

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

From John Cullinan’s interview of Anthony Burgess in “The Art of Fiction No. 48” (The Paris Review: Spring 1973, No. 56):

Satire is a difficult medium, ephemeral unless there’s tremendous vitality in the form itself—like Absalom and Achitophel, Tale of a Tub, Animal Farm: I mean, the work has to subsist as story or poetry even when the objects of the satire are forgotten.

The Hacker Ethic

history, language & literature, technology / By / 31 July 2010

From Steven Levy’s Hackers: Heroes of the Computer Revolution (Penguin Books: 2001): 40-46:

Still, even in the days of the TX-0 [the late 1950s], the planks of the platform were in place. The Hacker Ethic:

  • Access To Computers — And Anything Which Might Teach You Something About The Way The World Works — Should Be Unlimited And Total. Always Yield To The Hands-On Imperative!
  • All Information Should Be Free.
  • Mistrust Authority — Promote Decentralization. The last thing you need is a bureaucracy. Bureaucracies, whether corporate, government, or university, are flawed systems, dangerous in that they cannot accommodate the exploratory impulse of true hackers. Bureaucrats hide behind arbitrary rules (as opposed to the logical algorithms by which machines and computer programs operate): they invoke those rules to consolidate power, and perceive the constructive impulse of hackers as a threat.
  • Hackers Should Be Judged By Their Hacking, Not Bogus Criteria Such As Degrees, Age, Race, Or Position. This meritocratic trait was not necessarily rooted in the inherent goodness of hacker hearts–it was mainly that hackers cared less about someone’s superficial characteristics than they did about his potential to advance the general state of hacking, to create new programs to admire, to talk about that new feature in the system.
  • You Can Create Art And Beauty On A Computer.
  • Computers Can Change Your Life For The Better.
  • Like Aladdin’s Lamp, You Could Get It To Do Your Bidding.

Luther & Poe both complained about too many books

art, business, history, on writing, technology / By / 23 July 2010

From Clay Shirky’s “Does The Internet Make You Smarter?” (The Wall Street Journal: 5 June 2010):

In the history of print … complaints about distraction have been rampant; no less a beneficiary of the printing press than Martin Luther complained, “The multitude of books is a great evil. There is no measure of limit to this fever for writing.” Edgar Allan Poe, writing during another surge in publishing, concluded, “The enormous multiplication of books in every branch of knowledge is one of the greatest evils of this age; since it presents one of the most serious obstacles to the acquisition of correct information.”