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I’m just back from France, where my direct experience of riots and looting was non-existent, although I had walked past a Montpellier branch of Swarkowski the day before it ceased to be. My indirect experience was quite extensive though, since I watched the talking heads on French TV project their instant analysis onto the unfolding anarchy. Naturally, they discovered that all their existing prejudices were entirely confirmed by events. The act that caused the wave of protests and then wider disorder was the police killing of Nahel Merzouk, 17, one of a succession of such acts of police violence against minorites. Another Arab kid from a poor area. French police kill about three times as many people as the British ones do, though Americans can look away now.
One of the things that makes it difficult for me to write blogs these days is the my growing disgust at the professional opinion-writers who churn out thought about topics they barely understand, coupled with the knowledge that the democratization of that practice, about twenty years ago, merely meant there were more people doing the same. And so it is with opinion writers and micro-bloggers about France, a ritual performance of pre-formed clichés and positions, informed by some half-remembered French history and its literary and filmic representations (Les Misérables, La Haine), and, depending on the flavour you want, some some Huntingtonian clashing or some revolting against structural injustice. Francophone and Anglophone commentators alike, trapped in Herderian fantasies about the nation, see these events as a manifestation of essential Frenchness that tells us something about that Frenchness and where it is heading to next. Rarely, we’ll get a take that makes some comparison to BLM and George Floyd.
I even read some (British) commentator opining that what was happening on French estates was “unimaginable” to British people. Well, not to this one, who remembers the wave of riots in 1981 (wikipedia: “there was also rioting in …. High Wycombe”) and, more recently, the riots in 2011 that followed the police shooting of a young black man, Mark Duggan, and where protest against police violence and racism soon spilled over into country-wide burning and looting, all to be followed by a wave of repression and punitive sentencing, directed by (enter stage left) Keir Starmer. You can almost smell the essential Frenchness of it all.
There is much to despair about in these French evenements. Police racism is real and unaddressed, and the situation people, mostly from minorities, on peripheral sink estates, is desperate. Decades of hand-wringing and theorizing, together with a few well-meaning attempts to do something have led nowhere. Both politicians and people need the police (in its varied French forms) to be the heroic front line of the Republican order against the civilizational enemy, and so invest it with power and prestige – particularly after 2015 when there was some genuine police heroism and fortitude during the Paris attacks – but then are shocked when “rogue elements” employ those powers in arbitrary and racist violence. But, no doubt, the possibility of cracking a few black and Arab heads was precisely what motivated many of them to join up in the first place.
On the other side of things, Jean-Luc Mélenchon and La France Insoumise are quite desperate to lay the mantle of Gavroche on teenage rioters excited by the prospect of a violent ruck with the keufs, intoxicated by setting the local Lidl on fire and also keen on that new pair of trainers. (Fun fact: the Les Halles branch of Nike is only yards from the fictional barricade where Hugo had Gavroche die.) There may be something in the riots as inarticulate protest against injustice theory, but the kids themselves were notably ungrateful to people like the LFI deputy Carlos Martens Bilongo whose attempts to ventriloquise their resistance were rewarded with a blow on the head. Meanwhile, over at the Foxisant TV-station C-News, kids looting Apple stores are the vanguard of the Islamist Great Replacement, assisted by the ultragauche. C-News even quote Renaud Camus.
Things seem to be calming down now, notably after a deplorable attack on the home of a French mayor that left his wife with a broken leg after she tried to lead her small children to safety. As a result, the political class have closed ranks in defence of “Republican order” since “democracy itself” is now under threat. I think one of the most tragic aspects of the last few days has been the way in which various protagonists have been completely sincere and utterly inauthentic at the same time. The partisans of “Republican order” and “democracy” perform the rituals of a system whose content has been evacuated, yet they don’t realise this as they drape tricolours across their chests. With political parties gone or reduced to the playthings of a few narcissistic leaders, mass absention in elections, the policy dominance of a super-educated few, and the droits de l’homme at the bottom of the Mediterranean, what we have is a kind of zombie Republicanism. Yet the zombies believe, including that all French people, regardless of religion or race, are true equals in the indivisible republic. At the same time, those cheering on revolt and perhaps some of those actually revolting, sincerly believing in the true Republicanism of their own stand against racism and injustice, even as the kids pay implicit homage to the consumer brands in the Centres Commerciaux. But I don’t want to both-sides this: the actual fighting will die down but there will be war in the Hobbesian sense of a time when the will to contend by violence is sufficiently known, until there is justice for boys like Nahel and until minorities are really given the equality and respect they are falsely promised in France, but also in the UK and the US. Sadly, the immediate prospect is more racism and more punishment as the reaction to injustice is taken as the problem that needs solving.
The-Promise-Walker-Henry-Scott-Tuke-Oil-Painting
nathannobis
Henry Scott Tuke's painting "The Promise" (1888).
For Slate, Stephen Lurie covers what’s known as Dawn to Dusk to Dawn, an ultramarathon in which participants run as many laps as they can around a 400 meter track in 24 hours. “D3,” as it’s known, takes place in Pennsylvania and is one of the oldest 24-hour races in the world. This past May, it attracted 36 participants aged 16-82.
Most people do not run. Most people who run do not run long distances. Most people who run long distances do not run extremely long distances. And most people who run extremely long distances do not decide to do so on a 400-meter track for 24 hours straight. But this year, at least 36 people did, enough to fill the high school track field in Sharon Hills where D3 was held in mid-May.
This was originally published at The Rumpus on April 24, 2017.
By mid-morning, it was so hot her breath felt as if it were being drawn back into her. She took the tin washbasin out to the front yard, filled it with cold water, and shampooed her hair. If she turned her head, she could watch her reflection in the kitchen window as she leaned over the tub. Her hips seemed so wide in that position, tapering down from the wraparound skirt to legs that were girl-like. She watched her hair turn from yellow to brown with the wetness.
Around noon, with her hair now sticking to the back of her neck with perspiration, she heard the screen door slam once, then again. It was odd for him to come home in the middle of the day.
She went to the kitchen but he was already gone. This was the way he did things. She looked at the kitchen table for a box, some sign of the gift she was sure he would sneak in and leave her just as he had every anniversary. She heard his truck backing down the dirt drive. There was no chance she’d catch up with him.
This time of day, the sun came in through the slatted windows and settled on the yellow linoleum in stripes. Now she saw it. There lay her gift, basking in the sunlight. A gray-green lizard the size of a shoe. It stood so still she thought it was fake. A joke he had played on her, like the time he told her he was fixing the kitchen faucet and put a gag faucet where the real one had been. She remembered how she ducked and screamed, thinking she would be splashed with water when the new faucet came off in her hands.
But this was not plastic. He had tied a long piece of thick string from one of the lizard’s ankles to the kitchen table. Around the neck was a thin yellow crinkly ribbon that she had seen him pull out of the junk drawer the day before. She had suspected it was to wrap her gift. The ribbon was tied sideways around the animal’s neck in a bow. The lizard squinted as it turned its head slowly to look around the room. Its bulgy, liquid eyes scared her. She moved and the thin plates of skin on its back stood up. Now it turned its head swiftly and the scales rippled as if it were shivering.
She heard herself sigh, rubbed her hands on her skirt, and walked toward the white pine cupboards, making a full circle around the lizard’s body. It watched her. She found an aluminum pie pan under the sink and grabbed the pitcher of cold water from the refrigerator. She put the pan on the floor, poured the water in, and inched it over to the animal with a broom, backing away quickly and waiting to see if it would drink. The lizard sat on its squat legs and narrowed its lids into slits like cat’s-eye marbles. It appeared to be asleep.
Throughout the day, she kept going to the kitchen to check on it, afraid it might get loose in the house. In the late afternoon, she stood a distance away and threw a leaf of Bibb lettuce by the pie pan. She didn’t want anything to do with it, but she didn’t want it to starve. The creature, startled, was set into motion, skittering back and forth, first in one direction, then another, yanking itself back again and again by the string. For a while, she took a seat across from it, leaning forward. I’m sorry, I’m sorry, she said.
She finished cleaning the house and had no choice now but to come back to the kitchen. She had to clear out everything to wash the floor, which meant moving the tables and chairs and putting it somewhere. Outside was where she wanted it. She could tell him it escaped, ran away. But that wouldn’t be honest and if they had promised each other anything when they married, it was honesty. Letting his gift run away, or rather, pushing his gift out the door, wouldn’t be a white lie. It would be flat-out deception.
She moved the chairs into the hallway and tried to untie the string, cursing him for making a knot she couldn’t undo. She went to the junk drawer, took out the scissors and, grasping the string, clipped it quickly and led the lizard toward the kitchen door, then the porch, like a dog on a leash. When she opened the screen door, the lizard tried to run back inside, as if it were afraid of the outdoors. She pulled it along, but it planted all four paws firmly on the floor. Its nails made a pitiful sound on the linoleum, then became stuck on the doorjamb. She gave a tug and over it rolled, like a child’s toy truck. Another tug, and it was up again and furious and ran towards her. It followed her the whole length of the porch until she scooted over the banister and tied it to one of the posts. She walked around to the back of the house and let herself in.
What a gift, she thought. Her present for him was wrapped and put away in a bedroom drawer days before he suggested they skip gifts this year. She had bought him a new jacket and white shirt. She undid the ribbon to look at them, then replaced the clothes and surrounded them with tissue paper. They looked so nice she took the shirt out again and held it up to her cheek. It felt so crisp and cool.
When the day had cooled, she bathed and changed into a fresh cotton dress and lifted her hair away from her neck to pin it up.
*
“What’s it doing out there?” he said when he came home. “Don’t you like it?”
On the table, she had put a candle and the gift box in navy blue paper and the good dishes, but he didn’t look at those.
“What’s it doing?” she said absently, for she had taken him to mean that the thing was doing something interesting or different and that she should go and look.
The lizard stood very still, as if it might be dead. The bow was gone.
“Why’d you put it out there?” he said.
“Because it belongs out there,” she said as she closed the screen door.
From the heat, his black hair had separated into individual strands, making him look older and scraggly.
“You didn’t like it,” he said and began to follow her around the kitchen.
She retrieved his favorite pasta dish from the oven and the salad from the refrigerator and he followed right behind. Their bodies made a shadow on the yellow floor that looked like the silhouette of two shy, hesitant boxers in a ring.
“Oh, I like it,” she said. She was intent on getting the dinner ready and didn’t look at him. “I like it just fine. You didn’t pay any money for it, did you?”
His face looked tight.
She motioned toward the window with her cooking mitt. “It’s just that there’s a million of them out there, and it’s a shame to throw away good money after one.”
“I bought it, all right? Cheap. From a guy at work. I thought you’d like it. I thought you’d think it was funny.”
“I do think it’s funny. I laughed.”
“It’s really neat,” he said, trying to convince her. “It looks prehistoric or something.”
She made him sit through dinner before opening his package.
She expected him to say, I thought we agreed, but he didn’t. Instead, he looked eager, put his glass down, and said, “Well, let’s see what this is.”
He seemed stunned for a moment when he saw the clothes and then whistled low as he lifted them out of the box. He felt the material, ran his fingers down the length of the lapel, and smiled at her. “This is a good one. But what‘s it for? God knows there’s nowhere around here to wear this.” And then he laughed and said, eyes crinkling, “What have you got up your sleeve? I think you must be up to something, baby doll.”
“They’re interview clothes. You’ll need something nice to interview in if you try to get transferred back home or if you go to another company. Isn’t that why we came here? So you’d have a better job after this one? The next step up, you said.”
He went back to examining the jacket, rose half out of his chair and sat down again.
“Isn’t it?” she repeated and motioned with the back of her hand to the open bedroom door. “Try it on.”
He was standing now. He had the jacket on and went to the mirror, looking at himself this way and that, sizing up every angle.
“I told you,” he said. “I’ve got to put in a couple of years first before I’d even try to move on. You don’t just go looking for another job when you’ve hardly been here. You have to pay your dues.” He ran his hand through his hair. “I was hoping that once you were here for a while, you’d like it.”
“What’s there to like?” she said. She began biting some ragged skin on her bottom lip. She fingered the rim of her glass. She knew her voice sounded bitter but she didn’t care. “You told me about the place. Patience, you said. You’d have to be brain-dead to have this much patience. To want to live here. You’d have to be a fool.”
He stepped in front of her. “I’m a fool then,” he said, sticking his hands in his pockets.
“You’re a fast learner. Everyone has always told you that. You’ll find another job. You don’t have to stay at that place.”
“You don’t want me to blow what I have, do you? If they get wind of me applying other places it won’t look good. And if I go in there now and ask the boss for a transfer back to where I came from, they’d die laughing. There are other guys, ahead of me, willing to pay their dues.”
She thought of those other men and what they and their wives must be like to be so patient, so accepting. She found herself wondering, for the first time since they had been together, what other kinds of men she could have married. Maybe I should have waited, she thought. And then she thought, I’ve heard about this. This is how things change.
“You act as if I don’t know what I’m talking about,” he said. “They said I’d have to wait two years for a transfer. At least two years.”
“Oh, great,” she said, fingering the glass again. “I’ll be dead in two years in a place like this.”
He smiled at her. “There she is. My melodramatic sweetheart.”
He removed his jacket and draped it neatly over his chair. He stepped behind her and put his arms around her.
“Look,” he said. “Baby doll. This is nothing. We’ll laugh about this later. It’ll be a story. Like a joke about how many miles we walked to school when we were kids.”
She looked through the window to where there was a thin stream of orange light across the horizon and nothing more. Some people might think the sight was beautiful. To her it had become barren.
“Let’s eat,” she said. “It’s getting cold.”
And in the end, after they had finished dinner and lain together and after she waited for the movements of his body to cause hers to shiver, she turned on her side and closed her eyes. He put his hand on her hip and said in a whisper, “Baby doll? You still awake?”
She was in the lazy space between wakefulness and sleep and, so, didn’t answer. She thought she heard the animal stumbling off the porch, down the steps, and into the night, finally free.
Before she dreamed, an image came to her of the liquid eyes. As she began to fall asleep, her body jerked, quick and hard. She felt as if she were jumping straight up into darkness.
***
Rumpus original art by Aubrey Nolan.
Enlarge / Pictured: Apple's 2022 Studio Display. (credit: Andrew Cunningham)
In the subscribers-only section of his weekly newsletter, Bloomberg reporter Mark Gurman (who has reported accurately on new Apple hardware in the past) claims that Apple will introduce an external Mac monitor that can act as a smart home display when a Mac goes to sleep or is shut down.
The feature would be available on at least one monitor in an upcoming lineup that will likely include successors to Apple's Pro Display XDR and Studio Display. The newsletter didn't go into much detail about the upcoming displays beyond the smart home feature.
Like the Studio Display, a new monitor with smart home capabilities would run on a chip first seen in the iPhone. The Studio Display contains Apple's A13 chip—the same seen in the iPhone 11 line of smartphones. The upcoming smart display could potentially run on the A16 seen in the iPhone 14 Pro, since that device introduced a similar always-on display feature to Apple's smartphone lineup.
The forecasted rain held off, the poor air quality caused by Canadian wildfires had abated, and the world’s largest Pride parade stepped off without incident in New York City on the final Sunday in June.
It’s grown quite a bit since the last Sunday of June 1970, when Christopher Street Liberation Day March participants paraded from Sheridan Square to Central Park’s Sheep Meadow.
Seeking to commemorate the one year anniversary of the Stonewall Uprising, when a police raid touched off a riot at the Greenwich Village gay bar, the event’s planners took inspiration from the organized resistance to the Vietnam War and Annual Reminders, a yearly call for equality from the Philadelphia-based Eastern Regional Conference of Homophile Organizations.
Parade co-organizer Craig Rodwell imagined a more freewheeling public event involving larger numbers than Annual Reminders, something that could “encompass the ideas and ideals of the larger struggle in which we are engaged—that of our fundamental human rights.”
In the lead up to the parade, Gay Liberation Front News reported that society stacked the deck against openly gay individuals, an observation echoed by a marcher in lesbian activist Lilli M. Vincenz‘s documentary footage, above:
At first I was very guilty, and then I realized that all the things that are taught you, not only by society but by psychiatrists are just to fit you in a mold and I’ve just rejected the mold. And when I rejected the mold, I was happier.
Look carefully for placards from various participating groups, including the Mattachine Societies of Washington and New York, Lavender Menace, the Gay Activists Alliance, a church, and gay student groups at Rutgers and Yale.
Estimates place the crowd at anywhere from 3,000 to 20,000. In addition to marchers, the parade drew plenty of onlookers, some voicing support like a uniformed soldier stationed at Fort Dix who says “Great, man, do your thing!”. Others came prepared to voice their vigorous opposition.
“He’s a closet queen and you can find him in Howard Johnson’s any night,” a marcher cracks when asked his opinion of a counter demonstrator brandishing a sign invoking Sodom and Gomorrah.
Presumably the second part of this marcher’s comment was not intended to signify that the gent in question had a powerful attraction to the venerable Times Square diner’s fried clams, but rather its upstairs neighbor, the all-male Gaiety strip club.
Compared to the flashy festive costumes and booming club music that have become a staple of this millennia’s Pride Marches, 1970’s proceedings were a comparatively modest affair. Marchers chanted in unison, processing uptown in street clothes – hippie-style duds of the period with a couple of square suits and fedoras in the mix.
A clean cut young man in a windbreaker and natty star-spangled tie expressed frank disappointment that Mayor John Lindsay and other political figures had kept their distance.
Younger readers may be taken aback to hear Vincenz asking him how long he had been gay, but gratified when he responds, “I was born homosexual, it’s beautiful.”
By the time the marchers reached the Sheep Meadow, a number of men had shed their shirts. The parade morphed into a pastoral celebration in which revelers can be seen playing Ring Around the Rosie, plucking weeds to decorate each other’s hair, and attempting to break the record for longest kiss.
A man whose bib overalls have been customized with iron-on letters arranged to spell out Stud Farm expresses regret that he spent so many years in the closet.
Co-organizer Foster Gunnison Jr.’s wish was for every queer participant to leave the parade with “a new feeling of pride and self-confidence … to raise the consciences of participating homosexuals-to develop courage, and feelings of dignity and self-worth.”
That first parade’s marshal, Mark Segal, cofounder of Gay Liberation Front, summed it up on the 50th anniversary of the original event:
The march was a reflection of us: out, loud and proud.
Enjoy a glimpse of 2023’s New York City Pride March here.
Via Kottke
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– Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto and Creative, Not Famous Activity Book. Follow her @AyunHalliday.
Even though it's often employed innocently, there's an inherent element of tragedy in the phrase "ahead of their time" when it's associated with unsung or overlooked geniuses in a field. If one is "ahead of their time," odds are they'll never live to see the impact their existence inspired or receive the adulation they so richly deserve. — Read the rest
Over the years, I have reviewed most of the popular TWSBI fountain pen models there are. For an overview:
I know I lack the “GO”-model with the spring in above list – but it is sitting here in the review stack, to be reviewed for you, soon.
Another model I haven’t yet tried was the “Eco-T”, which is basically similar (or the same as) the Eco, but with a triangular grip section similar to the one of the Lamy Safari.
I always wanted to review this pen, and see what it is all about. Finally I got around to it!
Before we hop into the review, I would like to take the opportunity to thank Nomadostore for supporting the review of this pen. You can also buy all kinds of TWSBI products in their webshop (no affiliate – just a friendly pointer).
The video is, as always, preceded by some quick facts. Again, I hope the review is helpful and that you enjoy watching it!
Click on the photos to enlarge.
The post Video-Review: TWSBI Eco-T Saffron appeared first on Scrively - note taking & writing.
As part of my annual mid-year review, I always take a look at the blog statistics and see what type of content readers have enjoyed. The five posts featured here are the ones from 2023 that either received the most traffic and/or comments (relative, of course, to how recently some of them were posted). In terms of overall popular content, our posts on Hierarchies of Fountain Pen Friendly Paper, Picking a Workhorse Pen, and Fountain Pen Inks for Everyday Writing continue to be popular among T.G.S. readers, especially those new to fountain pens.
Many thanks for all your support and readership! For additional installments of our 2023 Mid-Year Recap, check out this post on my own personal favorite posts (with minimal overlap), as well as the favorite new product releases from the Curated Shop.
Workhorse Pens: Considerations and Pitfalls of High Capacity Pocket Fountain Pens. It’s extremely interesting to me that this particular post is among the most popular new content from the first six months of the year. The TWSBI Diamond Mini and Vac-Mini, as well as smaller Opus 88 pens, get very little attention, generally in favor of their larger counterparts. TWSBI at least has started paying some attention to the Diamond Mini, with the recently released Mini AL Grape.
Schon DSGN Full-Size Fountain Pen with Monoc Nib. Well, this is timely, because Schon DSGN announced recently (and posted pics last night) that they are working on anodized versions of their in-house Monoc nib. These look absolutely stunning. Follow them on Instagram to learn more and see what might be coming down the pipeline!
Ark of Pens (Guest Post from R.B. Lemberg). We had an outstanding response to the first T.G.S. Guest Post in a while, where R.B. went through their personal pen collecting story and discussed how they came to the hobby and collecting in general.
Triangular Grip Pens: Love ‘em or Leave ‘em? Nontraditional fountain pen sections are a love/hate proposition. Either people love the added structure intended to “guide” their fingers into writing position, or it simply doesn’t work for them. Personally, I’ve come to appreciate the slightly rounded triangular shape of the TWSBI ECO-T, and the Safari and AL-Star have never bothered me all that much. I never could use those molded “pencil grips” though….
Fountain Pen Basics: Five Best Practices for Fountain Pen Users. This post sparked the most comments, all of which I enjoyed reading! Everyone uses and cares for their pens in different ways - there really is no “right” or “wrong” way (other than anything that results in a puddle of ink in your bag, pen case, or pocket). I’ve made an effort to do more “Fountain Pens 101-style” posts, since I know we have a lot of readers who are coming to fountain pens for the first time this year!
The Gentleman Stationer is supported entirely by purchases from the T.G.S. Curated Shop and pledges via the T.G.S. Patreon Program. We greatly appreciate your support! If you’ve been considering the Patreon, now is a great time to join, as we are preparing to launch a new exclusive fountain pen release, and are in the middle of the Patrons-exclusive “Gently Used” sale.
This extraordinary profile of Clarence and Ginni Thomas—he a Supreme Court justice, she among other things an avid supporter of the January 6 insurrection—is a masterclass in everything from mustering archival material to writing the hell out of a story:
There is a certain rapport that cannot be manufactured. “They go on morning runs,” reports a 1991 piece in the Washington Post. “They take after-dinner walks. Neighbors say you can see them in the evening talking, walking up the hill. Hand in hand.” Thirty years later, Virginia Thomas, pining for the overthrow of the federal government in texts to the president’s chief of staff, refers, heartwarmingly, to Clarence Thomas as “my best friend.” (“That’s what I call him, and he is my best friend,” she later told the House Select Committee to Investigate the January 6th Attack on the United States Capitol.) In the cramped corridors of a roving RV, they summer together. They take, together, lavish trips funded by an activist billionaire and fail, together, to report the gift. Bonnie and Clyde were performing intimacy; every line crossed was its own profession of love. Refusing to recuse oneself and then objecting, alone among nine justices, to the revelation of potentially incriminating documents regarding a coup in which a spouse is implicated is many things, and one of those things is romantic.
“Every year it gets better,” Ginni told a gathering of Turning Point USA–oriented youths in 2016. “He put me on a pedestal in a way I didn’t know was possible.” Clarence had recently gifted her a Pandora charm bracelet. “It has like everything I love,” she said, “all these love things and knots and ropes and things about our faith and things about our home and things about the country. But my favorite is there’s a little pixie, like I’m kind of a pixie to him, kind of a troublemaker.”
A pixie. A troublemaker. It is impossible, once you fully imagine this bracelet bestowed upon the former Virginia Lamp on the 28th anniversary of her marriage to Clarence Thomas, this pixie-and-presumably-American-flag-bedecked trinket, to see it as anything but crucial to understanding the current chaotic state of the American project. Here is a piece of jewelry in which symbols for love and battle are literally intertwined. Here is a story about the way legitimate racial grievance and determined white ignorance can reinforce one another, tending toward an extremism capable, in this case, of discrediting an entire branch of government. No one can unlock the mysteries of the human heart, but the external record is clear: Clarence and Ginni Thomas have, for decades, sustained the happiest marriage in the American Republic, gleeful in the face of condemnation, thrilling to the revelry of wanton corruption, untroubled by the burdens of biological children or adherence to legal statute. Here is how they do it.
Is it ever possible to reconcile clashing visions of national memory?
The post Socialist Nostalgia, Cuban State Power appeared first on Public Books.
In this gorgeous essay for Vittles, the poet Seán Hewitt recalls weekend nature walks in England and his grandfather’s lessons on the wonders of foraged food. Inspired by the abundant hawthorns in Dublin’s Phoenix Park, Hewitt writes about making his own hawthorn gin.
When the hawthorns were all done and the gin was in the jar, I put it into the cupboard, then checked on it every week, turning it, watching the colours darken. Now I’ve learned to leave it in peace, and I don’t turn it that often anymore. I just bide my time until December when, on some foggy, cold evening – when it feels like winter has begun – I take it out of the cupboard.
The main difference between sloe and hawthorn gin is that, where sloe gin is fruity and sweet and mixes well with tonic or soda, hawthorn gin is like a dark sherry, perfect for winter. It has a velvety texture, a rich smoothness. I also like that, unlike sloe gin, you can’t buy it anywhere, so hawthorn gin becomes a secret, shared thing between friends, a preservation of summer pulled into winter.
The earliest known works of Japanese art date from the Jōmon period, which lasted from 10,500 to 300 BC. In fact, the period’s very name comes from the patterns its potters created by pressing twisted cords into clay, resulting in a predecessor of the “wave patterns” that have been much used since. In the Heian period, which began in 794, a new aristocratic class arose, and with it a new form of art: Yamato-e, an elegant painting style dedicated to the depiction of Japanese landscapes, poetry, history, and mythology, usually on folding screens or scrolls (the best known of which illustrates The Tale of Genji, known as the first novel ever written).
This is the beginning of the story of Japanese art as told in the half-hour-long Behind the Masterpiece video above. It continues in 1185 with the Kamakura period, whose brewing sociopolitical turmoil intensified in the subsequent Nanbokucho period, which began in 1333. As life in Japan became more chaotic, Buddhism gained popularity, and along with that Indian religion spread a shift in preferences toward more vital, realistic art, including celebrations of rigorous samurai virtues and depictions of Buddhas. In this time arose the form of sumi-e, literally “ink picture,” whose tranquil monochromatic minimalism stands in the minds of many still today for Japanese art itself.
Japan’s long history of fractiousness came to an end in 1568, when the feudal lord Oda Nobunaga made decisive moves that would result in the unification of the country. This began the Azuchi-Momoyama period, named for the castles occupied by Nobunaga and his successor Toyotomi Hideyoshi. The castle walls were lavishly decorated with large-scale paintings that would define the Kanō school. Traditional Japan itself came to an end in the long, and military-governed Edo period, which lasted from 1615 to 1868. The stability and prosperity of that era gave rise to the best-known of all classical Japanese art forms: kabuki theatre, haiku poetry, and ukiyo-e woodblock prints.
With their large market of merchant-class buyers, ukiyo-e artists had to be prolific. Many of their works survive still today, the most recognizable being those of masters like Utamaro, Hokusai, and Hiroshige. Here on Open Culture, we’ve previously featured Hokusai’s series Thirty-Six Views of Mount Fuji as well as its famous installment The Great Wave Off Kanagawa. As Japan opened up to the west from the middle of the nineteenth century, the various styles of ukiyo-e became prime ingredients of the Japonisme trend, which extended the influence of Japanese art to the work of major Western artists like Degas, Manet, Monet, van Gogh, and Toulouse-Lautrec.
The Meiji Restoration of 1868 opened the long-isolated Japan to world trade, re-established imperial rule, and also, for historical purposes, marked the country’s entry into modernity. This inspired an explosion of new artistic techniques and movements including Yōga, whose participants rendered Japanese subject matter with European techniques and materials. Born early in the Shōwa era but still active in her nineties, Yayoi Kusama now stands (and in Paris, at enormous scale in statue form) as the most prominent Japanese artist in the world. The rich psychedelia of her work belongs obviously to no single culture or tradition — but then again, could an artist of any other country have come up with it?
Related content:
Download 215,000 Japanese Woodblock Prints by Masters Spanning the Tradition’s 350-Year History
How to Paint Like Yayoi Kusama, the Avant-Garde Japanese Artist
The Entire History of Japan in 9 Quirky Minutes
The History of Western Art in 23 Minutes: From the Prehistoric to the Contemporary
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
Archaeologists digging in Pompeii have unearthed a fresco containing what may be a “distant ancestor” of the modern pizza. The fresco features a platter with wine, fruit, and a piece of flat focaccia. According to Pompeii archaeologists, the focaccia doesn’t have tomatoes and mozzarella on top. Rather, it seemingly sports “pomegranate,” spices, perhaps a type of pesto, and “possibly condiments”–which is just a short hop, skip and a jump away to pizza.
Found in the atrium of a house connected to a bakery, the finely-detailed fresco grew out of a Greek tradition (called xenia) where gifts of hospitality, including food, are offered to visitors. Naturally, the fresco was entombed (and preserved) for centuries by the eruption of Mt. Vesuvius in 79 A.D.
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Fans of American football remember well the rise and fall of Adam “Pacman” Jones, but not many expected to see him bounce back. Zak Keefer delivers my favorite kind of redemption feature in this profile of Jones, who’s now mentoring the sons of his late friend and teammate Chris Henry. The story starts with Jones’ tears; it might end with yours.
“Y’all need to uproot and move up here with us,” he urged Loleini Tonga, the boys’ mother. “We’ll help you out.”
So that’s what they did. Pacman Jones, once the NFL’s cautionary tale for reckless behavior, made Chris Henry’s family part of his own. They moved in with him in Cincinnati, where he drives the boys to school and picks them up after practice, where he trains them in the offseason, where he pushes Slim’s two sons the same way he once pushed their father, passing on the lessons learned from the opportunity they both almost threw away.
“I’ll tell you this,” Jones says, getting a bit heated. “I’ll be damned if these kids make the same mistakes I did.”
No, it’s not the first time a national magazine has sent a writer thousands of miles to write a cover-the-waterfront story about the largest state in the U.S. But with California more of a symbol than a state, Joe Hagan manages to coax a few sharp edges out of the well-worn trope, combining marquee politicians with some surprising characters (comic Shang Yeng, Abbot Elementary writer Brittani Nichols, a firearm instructor to the stars) to help compensate for the most eye-roll-inducing dinner party ever committed to print. A commendable piece of macro reporting that’s sure to infuriate everyone.
Octavia E. Butler was asked, seven years after the publication of her uncannily predictive 1993 novel, Parable of the Sower, whether her visions of an environmentally ravaged Los Angeles, circa 2024, where the elite barricade themselves in walled fortresses surrounded by poverty-stricken encampments of drug addicts and illiterate poor, was something she really believed would happen.
“I didn’t make up the problems,” replied the writer, who grew up in Pasadena. “All I did was look around at the problems we’re neglecting now and give them about 30 years to grow into full-fledged disasters.”
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