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Holy Ghost by John Sanford: Chapter 19—
There may have been faster runs between Wheatfield and Fairmont, but the driver would have been pushing a Porsche.
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The Daily Poem for 17 November from the Paris Review…
I listened to the patter of sailors coasting on breakers,
to how the skittish engine chattered and stalled
and I want to say clamored, for that’s how close I was
to the motor humming. Oh I know, talk is cheap. Tawdry,
specious, a source of distance and misunderstanding, probative and
salacious: lustrous too, if I say so.
—Language by Ira Sadoff, Fall, 1996.
I think paused would have been a better word than stalled here, but what do I know.
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Ryan commented on yesterday’s post and I was reminded of Tim Jenison’s exploration of the works of Johannes Vermeer and his hypothesis that Vermeer painted using a camera obscura.
Years ago I shared—what I think was—the original video that would lead to Tim’s Vermeer with my father who was a painter. Sadly, I don’t seem to be able to find that video, so this will have to do.
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So, this morning I read The Mystery of the Havana Syndrome by Adam Entous and Jon Lee Anderson in this week’s The New Yorker. I was disappointed. The story is long, very long, on background and, for a tale reaching back to the lame-duck days of the Barack Hussein Obama’s presidency, so thin as to be transparent—in a bad way—on information as to what happened.
In my reading I noted two passages and a decent bit of wordplay.
First, was this:
The agency began to look for specialists in the U.S.
In early February, 2017, Michael Hoffer, a professor of otolaryngology at the University of Miami, received a call from a State Department doctor, who told him, “We have a problem.” Hoffer—who had worked with the military to treat head traumas, and had kept his security clearance—agreed to help. He soon saw one of the victims, and in the following months others flew to Miami. Hoffer ran a battery of tests, which confirmed that the C.I.A. officers had sustained serious injuries.
That led to the wordplay as doctors tried to determine what was happened and someone, unknown or unremembered, coined Immaculate Concussion.
Second—in the last column of the last page—came:
More likely, the cause was a device that emitted radio frequencies or electromagnetic pulses, which entered through the victims’ ears. (Structural variations within their heads could help explain why some heard sounds while others didn’t.) Inside the head, the energy could have caused “cavitation,” or bubbling, in the tiny fluid-filled passages of the inner ear, or in arterial blood.
I wrote a marginal note to myself wondering: Could the staff wear a TLD-like device that would sense high-frequency sound? Given all the research (and deployment?) of sonic weapons by our own services, I’m more than a bit incredulous that we don’t know what is used. I suspect that we’re keeping quiet so as to retain a strategic advantage here.
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While I’m running around doing weekend errands, I listen to WCPN. The show most likely to cause me to sit in parking lot has long been Ira Glass’ This American Life, which airs Sundays at 11 a.m. Whether he realized what he was going or not, Glass created the podcast the way Cervantes created the novel. So, when I heard that Serial, a child of TAL had come to Cleveland, I knew I had to listen. I was well pleased.
All of this is prelude to Binge Listening: How Podcasts Became a Seductive—and Sometimes Slippery—Mode of Storytelling in this week’s The New Yorker. Rebecca Mead roughly frames a medium clearly squirting out its cracks and topping its levees, like a podcast about solitary confinement in American prisons, prompted Mead to write:
Podcasting is a peculiarly intimate medium. Usually transmitted through headphones to a solitary listener, or played over the car stereo during a commute, an audio narrative can be immersive in a way that a radio playing in the background in a kitchen rarely is. Podcasts are designed to take up time, rather than to be checked, scanned, and rushed through: they are for those moments when you can’t be scrolling on your phone. For a digital medium, podcasts are unusual in their commitment to a slow build, and to a sensual atmosphere. At the conference table, people were eager to discuss ways in which audio could deepen the story, as well as the visceral experience of the listener. “When you read accounts of people in solitary, all they talk about is what it sounded like,” [TAL alumnus Adam] Sternbergh said. “There’s nothing to say about the visual experience. Once you have described what the room looks like, that’s that. Their whole world is an auditory world.”
Since listening to Season 3 of Serial, I’ve made a point of listening (at least partially) to a dozen or so other podcasts. None grabbed me. I’ll keep looking listening.
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There is much of Sir James Matthew Barrie in Hermann Hesse, both were betrayed by time and expectations and found refuge and solace in the only world they could control: fiction. Barrie created Peter Pan. Hesse breathed his life into Emil Sinclair and Siddhartha and Narcissus and Goldmund and Hans Giebernath and Harry Haller and The League and Joseph Knecht and me.
Adam Kirsch, in Hermann Hesse’s Arrested Development for The New Yorker, writes:
In America today, Hesse is usually regarded by highbrows as a writer for adolescents. Liking him is a good sign at age fifteen, a bad one by age twenty.
For many readers, Hesse’s novels are among the first serious fiction they encounter—a literary gateway drug. This was particularly so during the international Hesse craze of the nineteen-sixties, when the books became passports to the counterculture and Timothy Leary advised, “Before your LSD session, read Siddhartha and Steppenwolf.”
I read Steppenwolf first and then Siddhartha and then all the rest. I still have all my copies. I wonder what kind of sign is indicated by liking Hesse at 63? I wonder what this says about me:
The idea that one’s inner life is unusually dangerous and risky is one that most adults grow out of—partly because we get calmer with age, partly because we come to recognize the full reality of other people. But Hesse’s heroes are punk Peter Pans—they don’t grow up, and despise people who do, because they see maturation as a surrender to conformity and accommodation. Things that most people learn to put up with strike Harry Haller as the fetters of a living death:
Without really wanting to at all, they pay calls and carry on conversations, sit out their hours at desks and on office chairs; and it is all compulsory, mechanical and against the grain, and it could all be done or left undone just as well by machines; and indeed it is this never-ceasing machinery that prevents their being, like me, the critics of their own lives and recognizing the stupidity and shallowness, the hopeless tragedy and waste of the lives they lead.
Most people, in other words, are what Holden Caulfield, another favorite avatar of teen-age readers, called “phonies.” What torments Hesse is the difficulty of being authentic—of staying true to who you really are, despite the enormous pressures of alienation and conformity.
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Meditation has two aspects. The first is stopping. We run throughout our whole life, chasing after some idea of happiness. Stopping means to stop our running, our forgetfulness and our being caught in the past or the future. We come home to the present moment where life is available. The present moment contains every moment. Here we can touch our ancestors, our children and their children, even if they haven’t been born yet. We calm our body and our emotions through the practice of mindful breathing, mindful walking and mindful sitting. Shamatha [Sanskrit for “stopping.”] is also the practice of concentrating, so we can live deeply each moment of our life and touch the deepest level of our being. —Stopping: The First Aspect Of Meditation from How to Relax by Thich Nhat Hanh.
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The Merriam-Webster Word Of The Day is: susurrous, full of whispering sounds.
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Finally, a thought for today, an exercise in sortes vergilianae:
And she, with ceremony due, brought gifts
Of gold-inwoven robes and other things
The loom has richly made, and a Phrygian scarf
For the boy Ascanius, to whom she says
‘O you who are the image that survives,
The only one, of my Astyanax,
Accept these gifts from me, into your hands,
In testimony of of Andromache’s love,
Of Hector’s wife, the mother of his son.
—Book Three, page 92, line 697
This is how I began…