My favorite story in [Alfred Döblin’s] Bright Magic is “The Other Man.” It begins when a Boston gynecologist named Dr. Converdon hires a blond secretary named Mery, who has “beautiful braids.” He sleeps with her and discovers, to his dismay, that she is a virgin. Converdon’s behavior becomes erratic and brutal. He forces Mery to dance in a cabaret so that other men can ogle her; Mery enjoys the performance, but he doesn’t allow her to do it again — instead, he marries her. Shortly thereafter, Converdon receives a letter from an acrobat named Wheatstren, declaring his love for Mery and advising Converdon to save everyone a lot of hassle by killing himself. After considering the matter, Converdon consents. Wheatstren tires of Mery and pimps her out at the racecourse and the theater. This is the last line: “She, however, praised him at every turn, because he offered her the greatest thing that there is on earth: considerable variety.” It’s a love story.
Döblin is a true master — a scientist and a mystic whose characters, battered by a senseless world, cling to what today we would call existence or integrity but what he would have called the soul. They are alternately crude and fragile, suckers and saints. They hope and dream in excess of reason but are tethered to solid ground. In the very funny “Traffic with the Beyond,” a society of spiritualists is duped by a murderer. The fable “Materialism,” written after the author’s conversion to Catholicism, tracks the havoc unleashed when nature, including bulls, the grass, and water, learns of the primacy of matter. “Everything we do is meaningless,” thinks the tiger. “How could I have been so blind. It’s chemical reactions and reflexes wherever you look. . . . I started a family and brought seven rascals into the world for this. It’s sobering. A waste of time.”
The cohort studies discussed by Gavin Francis often confirm what everyone already knows: that (statistically speaking) a person born into disadvantageous circumstances is likely to be disadvantaged through life (LRB, 2 June). The addition of DNA collection and analysis to these studies is a recent phenomenon, which Francis hopes will deliver a deeper understanding of the interplay between genes and environment. I suspect this will prove optimistic. We already know that the genetic contribution to most of the common chronic diseases – including stroke, type-2 diabetes, heart disease, osteoporosis, chronic lung disease, chronic kidney disease and dementia – is surprisingly small. Genetic studies in this area generate great masses of data and any number of ‘statistically significant’ results. Very often the effect of a particular genetic variation is small, there is no plausible explanation, and when different cohorts are examined the results can’t be reproduced. When genetic thinking is applied to such hard-to-define traits as personality, behaviour, lawlessness and intelligence, the danger is that great volumes of white noise will be generated. Yet, as Jonathan Latham and Allison Wilson have pointed out, politicians, corporations and researchers are all partial to research into genetic determinism: politicians because it reduces their responsibility for ill-health and social disadvantage; corporations because it diverts blame; and researchers because funding for this type of research is relatively easy to obtain.
University of Auckland
During and after the war, [Piaf’s] myth shifted again. Her collaboration with Asso was at an end and she started to work with new lyricists, notably Henri Contet and Michel Emer, whose style departed from the realist tradition. She read hundreds of songs before finding one that suited her persona, and even then, she worked for days with the composers and lyricists until every element in a song matched her character. ‘What we write for her is babble,’ Contet once said; ‘she turns it into cries, pleas and prayers.’ In No Regrets: The Life of Edith Piaf, Carolyn Burke describes Piaf’s working methods, sitting for hours at the grand piano, stopping only to eat steak covered with garlic and to drink mint sirop. Her composer Marguerite Monnot would arrive on a motorbike in the afternoons and they worked together for hours. Much as she respected Monnot, Piaf never allowed a composer complete control over the music, humming or playing until a tune felt right to her. As Looseley writes, ‘increasingly, the narrator-in-chief of the imagined Piaf was Piaf herself.’
Erykah Badu has spent much of the past few months working on the music for “Legends of Chamberlain Heights,” an animated series scheduled to make its début on Comedy Central this fall. She had a personal reason to take the job: one of the consulting producers of the show is Carl Jones, a former producer of “The Boondocks,” whom Badu is currently dating. “I had to interview alongside all these other composers,” she says. “Talked all kinds of shit. ‘Deadlines? No problem!’ ” But the network had every reason to hire her. Instead of paying exorbitant fees to license old recordings, it could simply hire a Grammy-winning, chart-topping singer to make some new ones.
So it was that Badu showed up, one afternoon, at a low-slung house in Dallas belonging to her friend Richard Escobedo, a producer also known as Picnictyme. She had invited a local keyboard player to come along; together, they were scheduled to record half a dozen snippets of music, each meant to evoke a specific mood—or, in some cases, a specific record that the producers didn’t want to pay for. The session was loose and laid-back, and Badu couldn’t help getting inspired to make each snippet better than it needed to be. As a rough cut of the cartoon played on the computer monitor for reference, Badu grew more interested in the beat, an old-fashioned hip-hop boom-bap, padded with a slouchy bass line. It reminded her of “My Block,” a classic track by the Houston rapper Scarface, so she FaceTimed him. He looked delighted to hear from her. “Get yo’ soup-can ass off my phone,” he exclaimed.
“Get yo’ gator-mouth ass off my phone,” she replied.
Unknown designer, c. 1966
From 216 words expressing well-being, happiness, and pleasure that were collected by Tim Lomas, a lecturer at the University of East London. Lomas’s paper “Towards a Positive Cross-cultural Lexicography” was published in January in The Journal of Positive Psychology.
Cafuné (Portuguese): to tenderly run one’s fingers through a loved one’s hair.
Gigil (Tagalog): the irresistible urge to pinch someone because they are loved.
Queesting (Dutch): to allow a lover access to one’s bed for chitchat.
Mbuki-mvuki (Bantu): to shed clothes and dance uninhibited.
Tyvsmake (Norwegian): to taste small pieces of food when nobody is watching.
Sobremesa (Spanish): when the food has finished but the conversation is still flowing.
Sólarfrí (Icelandic): when workers are granted unexpected time off to enjoy a sunny day.
Peiskos (Norwegian): to sit in front of a crackling fireplace and enjoy the warmth.
Gökotta (Swedish): to wake up early to hear the first birds sing.
Kukelure (Norwegian): to just sit and think about things while doing nothing at all.
P-Levis said: [January 30th, 2016 at 9:07 am]
Jean Dubuffet on Young Thug:
Our culture is based on complete trust in language (particularly written language) and on a belief in its capacity to translate and elaborate thought. Now this strikes me as a mistake. Language, I find, is a gross, extremely gross stenography, a system of highly rudimentary algebraic signs, damaging rather than serving thought. The spoken word, more concrete than writing, animated by the timbre and intonation of the voice, a bit of coughing, some grimaces, a whole range of mimicry, seems a lot more effective.