Hello Again to All That

… A land whose… mountainous terrain renders it all but impossible to conquer. American soldiers deployed to the country as recently as last night had trouble articulating what their mission there was, short of making it home in one piece.

(The Editors, “A War Without Winners Winds Down,” NYTimes, 2-29-20)

Stan is a suffix from Persian and Urdu meaning “place of.” This stan is a place of poppy fields, fractious crags, and lofty tribes; a limestone cave-land that has swallowed and excreted its invaders for millennia.

Eighteen years, two trillion dollars, thirty-five-hundred troops — lapsed, spent, dead.

Words fluted on the wind: “We didn’t know what we were doing.”
(Army General Douglas Lute).

(c) 2020 JMN

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Alert the Media

A TikTok celebrity hailing from Gen Z complains of being confused with millenials.

“Just because you’re so old you can’t remember the difference, doesn’t mean it’s OK to lump us altogether,” she said.

(Poppy Noor, “So Gen Z-ers hate millennials now? A handy guide to the generation wars,” theguardian.com, 6-22-20)

Wait. Did I say alert the media? These ARE the media!

The least not-OK thing about this forgettable puff of tiktokery in The Guardian is the shit-eating photograph used to illustrate it.

In the same issue, however, the newspaper redeems itself from Poppy’s folly with this photograph illustrating the prettiest word of the day: “noctilucent.”

And with this photograph illustrating the prettiest whimsy of the day: a concert for plants in Barcelona.

(c) 2020 JMN

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Geography & Poetry

The Darbuk-Shyok-Daulat Beg Old road in Ladakh has 37 bridges over snow-fed rivers in spate during summer melt. It leads to Karakoram Pass where, on 15 June two-thousand-and-twenty, Chinese warriors ambushed Indian warriors with rocks, staves & nail-studded clubs, tossing dead & dying over cliffs into the Galwan River.

It’s the stuff of hoary epic: In the frigid barrens of the Karakoram, two ancient civilizations go mano a mano contesting the Aksai Chin, an alkaline desert that abuts Xinjiang province, where Mother Earth demos her end.

I’m brought to consider the perennial terror that poetry, besotted with love & death, milks from the human condition in sulfurous spate; how bloody life imitates hoary art over and over and over.

(Ajai Shukla, “How China and India Came to Lethal Blows,” NYTimes, 6-19-20)

(c) 2020 JMN

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Nigerian English

Lexicographers at the Oxford English Dictionary have updated the dictionary with 29 Nigerian words, recognizing Nigeria’s “unique and distinctive contribution to English as a global language.”

The former British colony’s 200 million people speak more than 250 languages, according to this article. English is the official language.

The OED has described most of the 29 new entries as “either borrowings from Nigerian languages or unique Nigerian coinages”.

Here are a few of my favorite new entries:

severally: on several occasions; repeatedly
next tomorrow: the day after tomorrow
barbing salon: a barber-shop
chop-chop: bribery and corruption in public life
to rub minds: to consider a matter jointly; to consult and work together

The article recommends adoption of the following two terms:

akara: deep-fried balls of ground beans
moi-moi: steamed and flavored cakes of ground beans

“[They are] things I have heard called ‘bean cake’ and ‘bean puddle’, neither of which sounded right to me,” writes the author.

(Nduka Orjinmo, “War of words as Nigerian English recognised by OED,” BBC, 3-1-20)

(c) 2020 JMN

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The Opposite of Death

The sweetest, life-affirming eruption of ebullience I’ve encountered today comes from Jon Stewart. The subject is his learning to play drums in middle age.

[Interviewer] Do you make sure to practice your rudiments and paradiddles?

I have a teacher, and I do my paradiddles and my rudiments, and then we throw a James Brown song on there. Suddenly I’m Stubblefield. [NYTimes note: The drum legend Clyde Stubblefield was a key — maybe the key — component of James Brown’s band from 1965 to 1970.] When I get my left foot to do a thing independent of my right hand — it’s the opposite of death [my bolding]. You don’t get that feeling as much when you’re older. I also get to be present in my life. When I became less myopically focused, things became more fulfilling.

(David Marchese, “Jon Stewart Is Back to Weigh In,” NYTimes, 6-15-20)

(c) 2020 JMN

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The Corona Open, 2020

This gallery contains 1 photo.

(c) 2020 JMN

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New Artist in Town

I like this picture.

(Adam Popescu, “There’s a New Artist in Town. The Name Is Biden,” NYTimes, 2-28-20)

(c) 2020 JMN

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Bret Stephens Loses His Own Argument

The NYTimes published, then repudiated, an Op-Ed piece by a Republican senator urging deployment of active-duty troops to quell looting and rioting that intruded upon mostly peaceful protests. Bret Stephens disagrees with the politician’s incitement, but says it was proper for the NYTimes to publish it.

Stephens does not stick his landing, I’m afraid.

The value of Cotton’s Op-Ed … lies in the fact that Cotton is a leading spokesman for a major current of public opinion… To claim that his argument is too repugnant for publication is to write off half of America…

We… have an obligation to keep undeniably hateful ideas, like Holocaust denial or racism, out of the editorial pages [my bolding]… But serious journalism… cannot survive in an atmosphere in which modest intellectual risk-taking or minor offenses against new ideological orthodoxies risk professional ruin.

(Bret Stephens, “What the Times Got Wrong,” NYTimes, 6-12-20)

Stephens says there are “undeniably hateful ideas, like Holocaust denial or racism” that should be banned from the editorial pages. But what if, say, half of America denied the Holocaust? Would a leading spokesman for this “major current of public opinion” then be entitled to a serious editorial platform? That seems like a slippery slope. Half of America, after all, defended slavery.

(c) 2020 JMN

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Opening Up a Melon

My enduring affection for Spain gets periodic boosts from ceremonies such as this.

On June 6, 2020, a group of Spaniards staged a reenactment of Velazquez’s famous “Surrender of Breda” to commemorate the event itself in the Dutch war of independence as well as the painter’s 421st birthday on June 5.

It was staged a day after the anniversaries, outside the mid-16th-century house where Velázquez was born, and which is being turned into a learning centre and museum dedicated to the artist and his life.

Masks were worn and numbers of persons kept to a minimum in respect for the coronavirus.

Enrique Bocanegra, a journalist and author, is behind a project to restore Velazquez’s birthplace after being inspired by a visit to William Shakespeare’s home in Stratford-upon-Avon.

“We’re just waiting for permission to start the restoration works and we’re hoping to begin later this month,” said Bocanegra. “We’re going to start with the roof but the problem with renovating a 16th-century house is that it’s like opening up a melon – you just never know what you’re going to find inside.”

(Sam Jones, “Veláquez painting brought to life by historical reenactment group in Seville,” theguardian.com, 6-7-20)

(c) 2020 JMN

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Horror of the Underseen

Violence and gore, revolting and horrific in real life, are revolting and banal in the movies. What’s horrifying is how hard it is to find good horror in entertainment. Edward Tew chainsaws cleanly through the halitosis:

A lot of genre film-makers lazily assume that violence and gore will scare people the most but it never seems to work that way. Atmosphere, dread and the power of suggestion are much more disturbing and this underseen movie deftly uses all three to palm-sweating effect. It feels grounded in reality by refusing to go over the top.

“Creep” is a 2014 film from Blumhouse with Patrick Brice and Mark Duplass. It’s on Netflix in the U.S. and UK.

(Edward Tew, “My streaming gem: why you should watch Creep,” theguardian.com, 6-8-20)

(c) 2020 JMN

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