07 November 2009

"I've done my damndest to rip a reader's nerves to rags, I don't want him satisfied."


... and Steinbeck did an excellent job. 'The Grapes of Wrath' is epic, as you flip through the pages you become more and more engrossed with the migrant workers' lives, their suffering and their courage and strength. The noble Joad family and the people they meet along the way. You see the damage that industrialisation brought with it, but it's not the machines' fault, for machines were invented by people. Not to say that it shouldn't have happened, or that it was wrong, but it's important to be reminded of the sacrifices some people had to make when the industrialised capitalist machine started churning its wheels. Then the intercalary chapters, Steinbeck's staccato-esque writing style that naturally quickens your pace, sentence after sentence of simple despair and strong emotions, hunger and hope, hope and anger, the will to survive. I just finished the book last night and for a moment there I was inclined to start reading it all over again. Here's Chapter 21, one of the strongest chapters imho:


"The moving, questing people were migrants now. Those families which had lived on a little piece of land, who had lived and died on forty acres, had eaten or starved on the produce of forty acres, had now the whole West to rove in. And they scampered about, looking for work; and the highways were streams of people, and the ditch banks were lines of people. Behind them more were coming. The great highways streamed with moving people. There in the Middle- and Southwest had lived a simple agrarian folk who had not changed with industry, who had not formed with machines or known the power and danger of machines in private hands. They had not grown up in the paradoxes of industry. Their senses were still sharp to the ridiculousness of the industrial life. 
And then suddenly the machines pushed them out and they swarmed on the highways. The movement changed them; the highways, the camps along the road, the fear of hunger and the hunger itself, changed them. The children without dinner changed them, the endless moving changed them. They were migrants. And the hostility changed them, welded them, united them hostility that made the little towns group and arm as though to repel an invader, squads with pick handles, clerks and storekeepers with shotguns, guarding the world against their own people. In the West there was panic when the migrants multiplied on the highways. Men of property were terrified for their property. Men who had never been hungry saw the eyes of the hungry. Men who had never wanted anything very much saw the flare of want in the eyes of the migrants. And the men of the towns and of the soft suburban country gathered to defend themselves; and they reassured themselves that they were good and the invaders bad, as a man must do before he fights. They said, These goddamned Okies are dirty and ignorant. They're degenerate, sexual maniacs. These goddamned Okies are thieves. They'll steal anything. They've got no sense of property rights. 
And the latter was true, for how can a man without property know the ache of ownership? And the defending people said, They bring disease, they're filthy. We can't have them in the schools. They're strangers. How'd you like to have your sister go out with one of 'em? 
The local people whipped themselves into a mold of cruelty. Then they formed units, squads, and armed them armed them with clubs, with gas, with guns. We own the country. We can't let these Okies get out of hand. And the men who were armed did not own the land, but they thought they did. And the clerks who drilled at night owned nothing, and the little storekeepers possessed only a drawerful of debts. But even a debt is something, even a job is something. The clerk thought, I get fifteen dollars a week. S'pose a goddamn Okie would work for twelve? And the little storekeeper thought, How could I compete, with a debtless man? 
And the migrants streamed in on the highways and their hunger was in their eyes, and their need was in their eyes. They had no argument, no system, nothing but their numbers and their needs. When there was work for a man, ten men fought for it fought with a low wage. If that fella'll work for thirty cents, I'll work for twenty-five. 
If he'll take twenty-five, I'll do it for twenty. 
No, me, I'm hungry. I'll work for fifteen. I'll work for food. The kids. You ought to see them. Little boils, like, comin' out, an' they can't run aroun'. Give 'em some windfall fruit, an' they bloated up. Me. I'll work for a little piece of meat. 
And this was good, for wages went down and prices stayed up. The great owners were glad and they sent out more handbills to bring more people in. And wages went down and prices stayed up. And pretty soon now we'll have serfs again. 
And now the great owners and the companies invented a new method. A great owner bought a cannery. And when the peaches and the pears were ripe he cut the price of fruit below the cost of raising it. And as cannery owner he paid himself a low price for the fruit and kept the price of canned goods up and took his profit. And the little farmers who owned no canneries lost their farms, and they were taken by the great owners, the banks, and the companies who also owned the canneries. As time went on, there were fewer farms. The little farmers moved into town for a while and exhausted their credit, exhausted their friends, their relatives. And then they too went on the highways. And the roads were crowded with men ravenous for work, murderous for work. 
And the companies, the banks worked at their own doom and they did not know it. The fields were fruitful, and starving men moved on the roads. The granaries were full and the children of the poor grew up rachitic, and the pustules of pellagra swelled on their sides. The great companies did not know that the line between hunger and anger is a thin line. And money that might have gone to wages went for gas, for guns, for agents and spies, for blacklists, for drilling. On the highways the people moved like ants and searched for work, for food. And the anger began to ferment." 

04 November 2009

the lights are on, but there's no one home



standing in front of my house; waiting for the lights to go out.














20 October 2009

Is human evolution over?

The Large Chemistry lecture theatre in the main building of Cardiff University is packed with people - even the stairs are full. I luckily managed to acquire one of the last seats, and shortly beforehand one of the last glasses of red wine and a few peanuts, I might add.

On the screen a map of Utopia - as originally coined and pictured by Thomas More in 1516 - I suppose we're in for a pop science ride, but what else to expect in a lecture series called Darwin200? And after all, pop science can be really entertaining if it's done well.

While the speaker who's introducing Professor Steve Jones strikes me as a bit too nervous and generally mediocre (but then again that's usually the case), at least it becomes clear that Jones is not only a population geneticist extraordinaire, currently head of genetics at UCL (if you excuse the self-advertising), but also an established science writer and science communicator. Naturally, I feel sympathetic towards him right from the start, despite him looking rather blassé as the crowd starts clapping ferociously.

Instead of boring you with my account of the lecture, I suggest you take a look yourself. Chris coincidentaly found this video a few days back, of Jones giving the same lecture in Edinburgh, and while I haven't watched it, I suppose the content will be pretty much the same as today's lecture (maybe except for the regional Welsh jokes). I have to warn you though, while it's certainly an enjoyable lecture, I personally don't feel like he's answered his own question all too well. Jones is really a good speaker, but maybe he was trying to be too careful in his arguments, given that he was speaking to a lay audience..

21 September 2009

talk nerdy to me 1: science communication

Episode 1, in which Laura tells Chris about

This is our first try so bare with us, we know audio is messed up (content too).

40 min download.

19 June 2009

Elect the Dead

Don't you see their bodies burning?
Desolate and full of yearning
Dying of anticipation
Choking from intoxication

The first time I listened to Serj Tankien's debut solo album "Elect the Dead" I was taking a walk around my neighbourhood last December after a particularly vicious argument at home.

Why do we sit around and
break each other's hearts tonight?
Why do we dance around
the issues'till the morning light?
When we sit and talk
and tear each other's lives apart.
You were the one to tell me go...


I started out rather desperate, but within 5 minutes of listening to the album I began to run instead of walking in sadness, running rather fast for about 10 minutes (which, for me, was a big and unanticipated achievement - I'm anything but fit..) and feeling considerably more empowered afterwards.


Since then, Elect the Dead has been a staple on my mp3 player - every now and then there will be a moment when the music just fits. I'm not sure if the lyrics are political or deep or just pseudo-deep but it doesn't really matter. It's just great music.

She took my hand and I let her go
She broke her little bones
On the boulders below,
Took my hand and she ended it all,
Broke her little bones on the boulders below,
And while she fell, I smiled.

If you're familiar with System of a Down, you should most certainly give it a listen. It might be a bit less rock-heavy, a bit less angry, less shouting and such than you'd normally expect - but the voice is at least as intense as on Toxicity. Elect the Dead is somewhat more melodic, and makes for excellent listening if you're oscillating between sadness and rage.

Do you know that life is ending,
As we go, the dots connecting,
We had our chance to save the garden,
As it dies, our souls will harden,
With these words chastising your conscience
Were breaking through and praying for
transcendence.

09 June 2009

of wine and men

"A few weeks after Thanksgiving I went out to dinner with an old drinking pal named Edward, a man in his forties I knew from back in the Elaine days. Edward is well known in book- and magazine-publishing circles and he's arrogant in the name-dropping sense, full of self-conscious bravado. He's also somewhat lecherous, the kind of guy who touches you a little too much, and stares at different body parts - your mouth, your breasts - when he talks to you. This didn't really bother me much in the past. Edward had been one of a series of casual friends I'd targeted as different from my family, representing a more brash and boisterous style, so I'd always liked hanging out with him, or thought I did. We'd go out to dinner a couple of times a year, and he'd always take me to fancy restaurants, and I'd sit and sip my expensive wine and listen to him tell stories and numb away any discomfort his ogling generated with my drink.
This time, with me sober, he took me to Biba, an elegant restaurant in the Back Bay, and he sat right next to me in a banquette, instead of across the table, and every time his leg brushed against me, every time he touched my hair or my arm, I had to resist the urge to take up my fork and plunge it straight into his hand. I didn't have the nerve to move, or to ask him to move, and I certainly didn't have the courage to plunge my fork into his hand, so I just sat there, ate my food, watched him drink his wine, and felt genuinely ill at ease for ninety-three full minutes. I clocked it: Here I am, forty-seven minutes of discomfort; here I am, fifty-three minutes; here I am, ninety-three minutes.
On his fourth glass of wine Edward looked at me and said, "You are an incredible woman." He was staring at my chest and I could smell the wine on his breath and for an instant I had a feeling of concentrated rage, as though every moment I'd ever sat in a restaurant feeling objectified and powerless and leered at had coalesced into that one minute (...) That evening left me with a creepy feeling, as though I'd stepped back into old clothes and found them rubbing against me all wrong. I got home and took a shower. I haven't seen Edward since."

- Caroline Knapp

22 May 2009

Dark Nights of the Soul

Loving this album recently brought out by Sparklehorse (aka Danger Mouse (yea, the Gnarls Barkley dude..)) called Dark Nights of the Soul. I'm currently listening to it for the fourth time in a row and I love love love it. I foresee it being killed by virtue of repeat, but so be it...

Apart from the music, I'd like to draw your attention to the fact that the album is being sold in shape of a 100 page booklet featuring photographs by David Lynch and a blank CD-R. Yep, that's right. The artists that have contributed to the album trust interested listeners to locate a suitable download (torrent) source themselves. Now, it appears to be more PR stunt than altruism or forward-thinking, as there's some copyright issues going on between Danger Mouse and EMI. But still, it's a cool move. I hope there'll be a lot of revenue for the booklet from 'real' fans or people - unlike moi - who can afford to blow 50$ as a sign of gratitude.

Anyway, I'm not a music critic, but lots of the songs are really good. And they really grow on you too (or maybe that's the wine..). Revenge featuring the Flaming Lips is fantastic; Little girl sung by Julius Casablancas, Angel's Harp, and Pain by Iggy Pop, to mention a few. Also (to stay in line with trying to copy a series of blog posts I would highly recommend, namely Lyric's Snippet) there's a song featuring Jason Lytle, whose lyrics may not be the most complex ever - but were the easiest to understand and are hence replicated below:

everytime i'm with you
i am drunk
and you are too
well, what the hell
else are we
supposed to do

yea, everytime you come by
we get so trashed
stay up all night
well, it's all wrong
but it's all right
yea, it's alright

and everytime i'm with you
i'm fucked up
and you are too

well, what the hell
else are we
supposed to do

everytime everytime everytime everytime everytime everytime i'm with you
i guess it's true