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The biology, as astonishing as it is, does not tell us what it will mean. -Stephan Helmreich, “Homo Microbis” (2014, 4)
Within microbiome research, the human body can be recast as a host of microbial ecologies, a “supraorganism” or “holobiont.” From this comes new ways of understanding and treating digestive diseases as well as illnesses associated with brain functioning, like depression and Alzheimer’s. This research reflects the increasing emphasis in the life sciences on “life as process” (Dupre and O’Malley 2007, Dupre 2020), and in the social sciences on the body as “biosocial” (Niehwöhner and Lock 2018). We take up these insights and examine one way that these ontologies of body and environment circulate in public ways by analyzing how the human body is depicted in relation to microbes and environments through public visualizations of the human microbiome.
Despite the fact that the human microbiome is made of up non-humans and should raise questions about human exceptionality, the human microbiome circulates in the media primarily in relation to human health. How to care for health through attending to the human microbiome has become a wellness topic circulating in popular news media, from science journalism to lifestyle and wellness magazines and websites. There are soaps, foods, and food preparation methods that are microbiome-friendly. There are direct-to-consumer tests that will offer personalized, if not precise, nutrition recommendations. There are magazine articles advising readers on how to care and optimize their various microbiomes, from stomach to skin to vagina. How are bodies, microbes, and environments portrayed as the relational entities that they are for public audiences?
We explore two prominent visual themes in the public visualizations of the microbiome. First, the representations of boundaries of the human body in relation to microbial bodies. This means paying attention to how the microbial worlds within, and the environment outside, the body are visually constituted. This is to visually contextualize the ubiquitous headline or textual hook about the human microbiome: that within the human body, microbial cells outnumber human cells. The scale of difference has oscillated as research accumulates and has ranged from estimates of a ratio of 100 microbial cells to 1 human cell, to 10:1 to 3:1, and most recently resting closer to a ratio of 1.3:1 (Saey 2016). Second, we consider how differences (racial, gendered, in physical ability/fitness) were represented. Our focus on public media follows Adele Clarke’s analysis of the role of the media in the assemblages of “healthscapes” (2010, 105-06) and shows how the microbiome becomes part of expansive processes of biomedicalization (Clarke et al 2010) that normalize directions of health care and individual responsibility. The media is not only central to the proliferation of concepts of health, but also generates and reproduces expectations of how the world should work in regard to health (Briggs and Hallin 2016).
We argue that the visualizations of the microbiome in the popular media depict it as a friendly frontier within the bounded human body. Through pictures and the news article headlines that accompany them, the human microbiome is presented as having silently cared for the body until its potential was recently discovered by scientists. This depiction suggests that the human body’s health is the purpose of the microbiome itself and of scientific research into its mechanisms. The human body, with the guidance of experts, becomes a site in which one can attune themselves to their microbiome’s unique composition through experiments in diet, skin care, nutritional supplements, and nutraceuticals. Ultimately, the microbiome becomes another part of the human body that can be known through biomedicine with the ends of optimizing human health. As such, we are critical of the science communication but also see it as embedded in social and political processes that exceed it, meaning that the future for more-than-human flourishing that some narratives of microbiome science hope for will take a great deal of work to realize in a world of the financialization of microbial life.
Our visual discourse analysis is based on publicly circulating images we compiled from online news articles about the human microbiome. In so doing, we aimed to capture a part of the microbiome’s place in the contemporary healthscape. Our database spans across all forms of online news, from traditional to specialist, reflecting the accessibility of media in the current age. We collected these articles by following Google Alerts set up to catch the keywords “microbiome” and “direct-to-consumer microbiome test.” We have focused our visual analysis on images featured in articles for a generalized audience—like a health news site detailing steps readers can take in their daily lives to improve their health—rather than those speaking to experts—like a health news site informing practitioners about new treatments and developments in the field. We compiled this data in the fall of 2019, from September 7th, 2019 to January 20th, 2020, unknowingly doing so just before the COVID-19 pandemic began and people the world over were compelled to be aware of a new microbe harmful to human health. Throughout this article, we focus in-depth on several images which reflect or contest the makeup of our larger collection of 152 images.
With few exceptions, the human bodies portrayed in these articles are all white, able-bodied, and fit (Figure 1). The link between fitness and the human microbiome is strongly emphasized in the media, visually and textually, echoing the portrayal of able-bodiedness and weight loss as ideals by direct-to-consumer microbiome tests, as Dryden has also found in gut microbiome therapies (2023). The majority of the photos featuring people show them alone. If not alone, then the images depict humans in a clinical setting of medical professionals or scientists alongside a patient. Very few images feature people together in non-medical settings.
Figure 1: A close up on a white person’s bare torso with hands cradling a slim stomach (Image taken from iStock, Peopleimages)
Figure 2: Illustration of microbes in the shape of two human bodies coded as female and male (Shuttershock, lanatoma)
There are important translations occurring in these images, notably that of scale, a particular challenge for visualizing the connection between humans and their microbiomes as the average human is well over a million times greater in size than a single microbe. Even the width of a single human hair is seventy-five times greater than an average microbe. The relationship between the two across this vast space is visually affirmed by truncating the human body and enlarging the microbes, portraying them as closer in scale. Related images show enlarged microbes that render the silhouette of a human body (Figure 2). Notably, even in this abstracted state, the microbes privilege sexual dimorphism and gender stereotypes: the microbes representing a woman are identifiable as such because they are positioned to imply the wearing of a skirt, much like the dualistic symbols used to denote gender on public washrooms stalls. In contrast to the solitude of the human body among microbes, microbes are always represented in plenty; there is no solitary microbe, only solitary humans.
Of all the images we analyzed, only two showed microbes engaged in activity, and they offer a striking contradiction. One image features two microbes fighting each other, equipped with anachronistic armour and weapons[1]; the other image features three microbes with stick arms and legs meditating harmoniously in a stomach.[2] These images represent differing public metaphors for understanding the microbiome. One is antagonistic, portraying the supposed need to attack and destroy to survive, while the other shows harmony as the desired state and solution. The microbiome is a potential site for human intervention and control in service to one’s health, but it is also a slippery research subject that requires large data sets and whose implications are emergent and nascent, despite what the landscape of wellness products would have consumers believe. The microbiome challenges contemporary health management practices but is still trying to be understood through these practices (Wolf-Meyer 2017).
The microbes in our database images are made friendly by their bright colouring. This makes them approachable, perhaps to counteract their daunting plenitude, association with germs that impede health, and integrality to scatological functions. Only one image of a microbe from our data set was not digitally rendered and colourized; all the others were turned into bright colours. Images of diverse microbiomes used an array of aesthetically pleasing colours to differentiate between the different microbes. This colourizing continues outside of our dataset. For instance, on the front page of APC Microbiome Ireland’s (a research centre at University College Cork) website for World Microbiome Day, microbes are caricatured into bright, grotesquely smiling little monsters reminiscent of the characters from Monsters Inc. or the pill-shaped yellow Minions (similar to Figure 3). This representation maintains the otherness of the microbe to the human—some have only one eye, others have horns, all are oddly shaped—while also bringing the microbe closer to the human—the mere fact that they have eyes, smiling mouths, waving arms, and bipedal legs. The translation between human and microbe is emphasizing commonality and aestheticizing difference in a familiar and palatable way. The microbes are not quite anthropomorphized, but recognized as distinct yet potentially friendly. Microbes—these infinitesimal organisms that have only the most basic similarities to humans—are being translated into human conceptions of what life looks like and how the human can optimize it through proper management and care regimes.
Figure 5: Banner from APC Irelands’ World Microbiome Day (Image taken from Shuttershock, curiosity)
These visual representations of microbes contribute to narratives that strongly associate the microbiome with actively managing human health. Microbiome science also challenges narratives of dangerous microbes as disease causing pathogens to be systematically eradicated. Because the microbe of the microbiome’s ecology challenges such narratives, it is rendered visually relatable and appealing through the methods of representation detailed above. While people are mostly pictured alone in these representations, they are also frequently pictured in clinical settings. The individualism of healthy practices is thus bridged through the figure of the expert, the scientist or doctor.
Penny Ironstone (2019) writes that the human microbiome is associated with a liberatory micropolitics because it potentially challenges biomedical models of health, providing “post-Pasteurian models” (Paxson 2008) or “post-antibiotic futures” (Sariola 2021). But while certain people, such as fermentation specialists (e.g. Hey in press; Widmer 2021), draw on human-microbial relations to critique biomedicine, even capitalism, in favor of new futures, the optimism of new relations between humans and microbes is conveyed slightly differently in biomedical and wellness narratives.
There is an almost unimaginably large amount of microbial life that humans move through in their daily lives, and that moves through humans. Although the microbiome’s promise in the health sciences, and to a lesser extent in the social sciences, circulates with much hope for new experiences of the body and new kinds of politics, the visual depictions to date rather replicate other aspects of biomedicalization: the microbiome is visualized as a scientized entity to be harnessed by the human host to optimize wellness. This is in the scaling translations of microbes to seem closer to human, as well as in the way that microbes are depicted in relation to the boundaries of the human body and not to microbes in surrounding environments, such as soils. This is also in the depiction of friendly microbes that resemble children’s cartoons. The visualizations of the microbes in the service of the human host render the “human microbiome” as something that can become “my microbiome.” This rendering lends itself well to precision wellness possibilities. The visualizations do not disrupt other common naturalizing categories associated with the body: the bodies in the healthscape of the microbiome centre whiteness, able bodies, and heteronormative gender binaries.
The microbiome sciences and the social scientists who engage with them (e.g. Benezra 2020, 2023) hold promise for reimagining the body and illness in ways that might decentre the human. While this work is crucially necessary for grappling with health and social issues of the broader late or post-industrial context, the images of the microbiome in the current biomedicalized healthscape only take us a short way there.
[1] https://www.eurekalert.org/news-releases/569226
[2] https://thevarsity.ca/2019/09/30/the-promise-of-the-human-microbiome-in-cancer-research/
Benezra, Amber. 2020. “Race in the Microbiome.” Science, Technology, & Human Values 45(5): 877–902. https://doi.org/10.1177/0162243920911998.
Benezra, Amber, 2023. Gut Anthro: An Experiment in Thinking with Microbes. Minneapolis: University of Minnesota Press.
Briggs, Charles L., and Daniel C. Hallin. 2016. Making Health Public: How News Coverage Is Remaking Media, Medicine, and Contemporary Life. London: Routledge.
Clarke, Adele. E. 2010. “From the Rise of Medicine to Biomedicalization: U.S. Healthscapes and Iconography, circa 1890–Present.” In Biomedicalization: Technoscience, Health, and Illness in the U.S., edited by Adele E. Clarke, Laura Mamo, Jennifer Ruth Fosket, Jennifer R. Fishman, and Janet K. Shim, 104–146. Durham: Duke University Press.
Clarke, Adele E., Laura Mamo, Jennifer Ruth Fosket, Jennifer R. Fishman, and Janet K. Shim, eds. 2010. Biomedicalization: Technoscience, Health, and Illness in the U.S. Durham: Duke University Press.
Dryden, Jane. 2023. “The Gut Microbiome and the Imperative of Normalcy.” International Journal of Feminist Approaches to Bioethics 16:1, 131-162
Dupré, John, and Maureen A. O’Malley. 2007. “Metagenomics and biological ontology.” Studies in History and Philosophy of Biological and Biomedical Science 38 (4):834–846.
Dupré, John. 2020. “Life as Process.” Epistemology and Philosophy of Science 57 (2):96–113. https://doi.org/10.5840/eps202057224.
Hey, Maya. (in press). “Communicating with the Microbial Other: How the Material Practices of Fermentation Connect Humans and Microbes in Polylogue.” Global Media Journal: Canada Edition.
Ironstone, Penny. 2019. “Me, my self, and the multitude: Microbiopolitics of the human microbiome.” European Journal of Social Theory 22 (3):325–341.
Niehwöhner, Jörg, and Margaret Lock. 2018. “Situating local biologies: Anthropological perspectives on environment/human entanglements.” BioSocieties 13:681–697. https://doi.org/10.1057/s41292-017-0089-5.
Paxson, Heather. 2008. “Post-Pasteurian Cultures: The Microbiopolitics of Raw-Milk Cheese in the United States.” Cultural Anthropology 23 (1):15–47.
Saey, Tina. 2016. “Body’s bacteria don’t outnumber human cells so much after all.” Science News. January 8, 2016. https://www.sciencenews.org/article/bodys-bacteria-dont-outnumber-human-cells-so-much-after-all.
Sariola, Salla. 2021. “Fermentation in Post-antibiotic Words: Tuning in to Sourdough Workshops in Finland.” Current Anthropology 62 (S24):S388–398.
Widmer, Alexandra. 2021. “Positioning Human Microbiome DTC Tests: On the Search for Health, Data and Alternatives Amid the Financialisation of Life.” Medicine, Anthropology, Theory 8(2): online. https://doi.org/10.17157/mat.8.2.5127.
Wolf-Meyer, Matthew J. 2017. “Normal, Regular, and Standard: Scaling the Body through Fecal Microbial Transplants: Normal, Regular, and Standard.” Medical Anthropology Quarterly 31 (3): 297–314. https://doi.org/10.1111/maq.12328.
If wonder springs from the quality of attention we pay to things and joy springs from our capacity for presence with wonder, then the quality of our attention shapes the quality of our lives. It is a dangerous falsehood that to find wonder in reality is to relinquish our realism — rather, this attentive gladness, this fluency in the native poetry of the universe, may be the truest realism we have.
That is what Robert Louis Stevenson (November 13, 1850–December 3, 1894) explores in some breathtaking passages from his long essay “The Lantern-Bearers,” found in his 1892 collection of personal writings Across the Plains (public library | free ebook).
Stevenson writes:
There is one fable that touches very near the quick of life, — the fable of the monk who passed into the woods, heard a bird break into song, hearkened for a trill or two, and found himself at his return a stranger at his convent gates; for he had been absent fifty years, and of all his comrades there survived but one to recognize him. It is not only in the woods that this enchanter carols, though perhaps he is native there. He sings in the most doleful places. The miser hears him and chuckles, and his days are moments. With no more apparatus than an evil-smelling lantern, I have evoked him on the naked links. All life that is not merely mechanical is spun out of two strands, — seeking for that bird and hearing him. And it is just this that makes life so hard to value, and the delight of each so incommunicable. And it is just a knowledge of this, and a remembrance of those fortunate hours in which the bird has sung to us, that fills us with such wonder when we turn to the pages of the realist. There, to be sure, we find a picture of life in so far as it consists of mud and of old iron, cheap desires and cheap fears, that which we are ashamed to remember and that which we are careless whether we forget; but of the note of that time-devouring nightingale we hear no news.
Half a century before Anaïs Nin contemplated the elusive nature of joy, he adds:
The ground of a man’s joy is often hard to hit. It may hinge at times upon a mere accessory, like the lantern; it may reside… in the mysterious inwards of psychology… It has so little bond with externals… that it may even touch them not, and the man’s true life, for which he consents to live, lie together in the field of fancy…. In such a case the poetry runs underground. The observer (poor soul, with his documents!) is all abroad. For to look at the man is but to court deception. We shall see the trunk from which he draws his nourishment; but he himself is above and abroad in the green dome of foliage, hummed through by winds and nested in by nightingales. And the true realism were that of the poets, to climb after him like a squirrel, and catch some glimpse of the heaven in which he lives. And the true realism, always and everywhere, is that of the poets: to find out where joy resides, and give it a voice far beyond singing.
For to miss the joy is to miss all. In the joy of the actors lies the sense of any action. That is the explanation, that the excuse… for no man lives in the external truth among salts and acids, but in the warm, phantasmagoric chamber of his brain, with the painted windows and the storied wall.
Complement with poet Ross Gay on the discipline of delight and René Magritte on the courage of joy, then revisit Hermann Hesse on the life-magnifying value of the little joys.
For a decade and half, I have been spending hundreds of hours and thousands of dollars each month composing The Marginalian (which bore the unbearable name Brain Pickings for its first fifteen years). It has remained free and ad-free and alive thanks to patronage from readers. I have no staff, no interns, no assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If this labor makes your own life more livable in any way, please consider lending a helping hand with a donation. Your support makes all the difference.
The Marginalian has a free weekly newsletter. It comes out on Sundays and offers the week’s most inspiring reading. Here’s what to expect. Like? Sign up.
If you have zero interest in the blues — the very foundation of American music — I can’t promise you a gripping tale. But if you have even a passing awareness of Robert Johnson, or the impossibly rich tradition that descended from his scant recordings, then you won’t be able to tear yourself away. Discovery, dispute, and deceit: from those three chords Michael Hall composes an unforgettable tune.
On April 4, Mack’s manuscript, Biography of a Phantom, was finally published, more than five decades after he started it. But it’s very different from the pages I held in my hands back in 2016. In parts of the book, Mack’s presence outweighs Johnson’s—and not to Mack’s benefit. By the last page, Mack has become the villain of his own life’s work.
Mack’s favorite Dickinson poem begins, “This is my letter to the World that never wrote to me.” If you’re familiar with the poem, you know that it ends, “Judge tenderly—of Me.” As Mack’s friend, I’m going to try to do that for him. Though he made it really hard, because a lot of what I thought I knew about Mack was all wrong.
In his sixth-and-lastly LOTR post, Adam Roberts graciously responds to my recent attempts to correct his errors, and this leads him into some fascinating territory, e.g. “the lack, or apparent lack, of the death penalty in Middle Earth.”
I can think of two examples in LOTR of a death penalty having been decreed, and they come close together: those who wander in Ithilien without the permission of the Lord Steward of Gondor, and those who come to Henneth Annûn, the Forbidden Pool, are alike to be killed. Yet Faramir overrides both decrees, in the full knowledge that his decisions, if his father hears about them, could cost him his own life. What underlies those decisions he explains to Sam, when the young hobbit rashly challenges Faramir’s treatment of Frodo:
‘Patience!’ said Faramir, but without anger. ‘Do not speak before your master, whose wit is greater than yours. And I do not need any to teach me of our peril. Even so, I spare a brief time, in order to judge justly in a hard matter. Were I as hasty as you, I might have slain you long ago. For I am commanded to slay all whom I find in this land without the leave of the Lord of Gondor. But I do not slay man or beast needlessly, and not gladly even when it is needed. Neither do I talk in vain. So be comforted. Sit by your master, and be silent!’
That is, Faramir has internalized the very standards that, as Adam notes, Gandalf articulates in the second chapter of the whole novel, “The Shadow of the Past”: the sovereignty (among moral imperatives) of pity and mercy. Gandalf on Bilbo: “It was Pity that stayed his hand. Pity, and Mercy: not to strike without need.” Faramir is indeed what his father accuses him of being: “a wizard’s pupil.”
“Sovereignty” is a key concept here, as Carl Schmitt realized when he said that the sovereign is whoever or whatever can “declare the state of exception.” Faramir assumes a local sovereignty when he overrides the death penalty in these two cases — as, by the way, do Eomer (when he allows Aragorn, Gimli, and Legolas to ride free in the Mark rather than bring them back to Theoden) and Háma, the doorward of Theoden, whose charge is to deprive visitors of their weapons:
‘The staff in the hand of a wizard may be more than a prop for age,’ said Háma. He looked hard at the ash-staff on which Gandalf leaned. ‘Yet in doubt a man of worth will trust to his own wisdom. I believe you are friends and folk worthy of honour, who have no evil purpose. You may go in.’
So you can see that one of the great themes in the middle two books of the novel is the necessity of wisdom — of prudential judgment that overrides the letter of the law. In the Nicomachean Ethics Aristotle says that any law is necessarily deficient because of its generality, so wise rulers will need to develop the virtue of ἐπιείκεια (epieikeia), a word impossible to translate: in many contexts it means clemency, gentleness, or, yes, mercy, but Aristotle seems to mean something broader: perhaps discretion is the best one-word translation. But discretion will typically, for Aristotle, involve relaxing or modulating the demands of the law. In any case, again and again in LOTR the success of our heroes depends on their encountering people in power who manifest such ἐπιείκεια.
But what is the origin of the laws they they thus relax? It seems that in every case they arise from personal decrees by rulers. (Denethor speaks and it is so.) Because the Shire doesn’t have a ruler, the hobbits who live there seem to depend not on law at all but rather custom. The law in any sense recognizable to us — an entity like the Code of Hammurabi or the Mosaic law — doesn’t appear to exist in Middle-Earth.
And I wonder if this absence of Law-as-such is related to the (oft-noted) absence of Religion-as-such. Our word religion comes from the Latin religio which in turn probably comes from religare, to bind. To be “religious” is to bind oneself to certain beliefs and practices. But in this context to bind is a reverberant notion: we may well think of the One Ring as the One Religion and One Law of Middle-Earth in the Third Age. It is noteworthy that most of the various decrees which good men exercise their ἐπιείκεια to relax were created in response to the increasing power and ambition of Mordor. Those who act wisely in this book seem to be aware, perhaps not quite consciously, that decrees made in order to respond to Mordor will likely be tainted by Mordor’s logic of power. Eomer and Háma and especially Faramir seem to intuit another logic, a greater logic of ἐπιείκεια that comes not from the decrees of the sovereign but rather … well, from where?
When I teach The Lord of the Rings I take my students through the book’s oddly pervasive use, in certain circumstances, of the passive voice. Gandalf tells Frodo that he and Bilbo were meant to find the Ring; Frodo asks, “Why was I chosen?” — by whom, we wonder; Elrond tells the council gathered at Rivendell that they were called there (“though I did not call you.”) There are many more examples. Says Gandalf, “Behind that” — Bilbo’s finding of the Ring — “there was something else at work, beyond any design of the Ring-maker.” But what? No one seems to know, though perhaps Gandalf does know and is reluctant (or forbidden) to say. But whatever it is, it seems to whisper of the sovereignty of mercy above that of legal decree. It shows us a world in which penalties of death are declared, but are then abrogated by the wise and kind. A world in which Schmitt’s “state of exception” is indeed instituted, but not by the power-hungry — rather, by the merciful, no matter what it costs them.
One of the most persistent critiques frequently lobbed at the modern era of filmmaking is that Hollywood is in the middle of a creativity crisis. The rise of mega blockbusters-with budgets starting at $200 million- and the success of the Marvel cinematic universe has created a false perception among disgruntled cinephiles and industry professionals alike that auteurs have suddenly become an endangered species in Tinseltown. — Read the rest
Dougal Robertson (January 29, 1924–September 22, 1991) was still a teenager, the youngest of a Scottish music teacher’s eight children, when he joined the British Merchant Navy. After a Japanese attack on a steamship during WWII killed his wife and young son, he left the navy and moved to Hong Kong, where he eventually met and married a nurse.
Together, they began a new life as dairy farmers in the English countryside, on a farm without electricity or running water. Eventually, they had a daughter, then a son, then a pair of twins.
After nearly two decades on the farm, the family had an unorthodox idea for how to best educate their children, how to show them what a vast and wondrous place the world is, full of all kinds of different people and all kinds of different ways of living: They sold everything they had, bought a schooner, and set out to sail around the world, departing on January 27, 1971.
After more than a year at sea, just after sailing through the Panama Canal to begin their Pacific crossing, killer whales attacked the schooner 200 miles off the coast of Galapagos, sinking it in less than a minute. They piled into the inflatable life-raft, managed to grab a piece of sail from the water, and rigged it to the 9-foot dinghy they had on board to use it as a tugboat for the raft now housing six human beings.
Suddenly, they were a tiny speck in Earth’s largest ocean, enveloped by the vast open emptiness of infinite horizons. With no nautical instruments or charts, powered only by their makeshift sail, they had no hope of reaching land. Their only chance was rescue by a passing vessel. Given the immensity of the Pacific Ocean, it was an improbability bordering on a miracle.
Seventeen days into their life as castaways, the raft deflated. All they had now was the narrow fiberglass dinghy, its rim barely above the water’s edge with all the human cargo.
By that blind resilience life has of resisting non-life, they persisted, eating turtle meat and sweet flying fish that landed in the bottom of the boat, drinking rainwater and turtle blood. Storms lashed them. Whales menaced them. Thirst and hunger subsumed them. Their bodies were covered in salt-water sores. Enormous ships passed within sight, missing their cries for help. But they pressed on, hoping against hope, toiling in every conceivable way to keep the spark of life aflame.
After 37 days as castaways, chance smiled upon them — a Japanese fishing boat spotted their distress flare and came to their rescue. Their tongues were so swollen from dehydration that they could hardly thank their saviors.
Throughout it all, Dougal kept a journal in case they lived — an act itself emblematic of that touching and tenacious optimism by which they survived. He later drew on it to publish an account of the experience, then distilled his learnings in Sea Survival: A Manual (public library).
Nested amid the rigorously practical advice is a poetic sentiment that applies not only to survival at sea but to life itself — a soulful prescription for what it takes to live through those most trying periods when you feel like a castaway from life, beyond the reach of salvation, depleted of hope.
He writes:
I have no words to offer which may comfort the reader who is also a castaway, except that rescue may come at any time but not necessarily when you expect it; and that even if you give up hope, you must never give up trying, for, as the result of your efforts, hope may well return and with justification.
Echoing Einstein’s views on free will and personal responsibility, he adds:
You can expect good and bad luck, but good or bad judgment is your prerogative, as is good or bad management.
This simple advice reads like a Zen koan, to be rolled around the palate of the mind, releasing richer and richer meaning, deeper and deeper assurance each time.
Complement with John Steinbeck on the true meaning and purpose of hope, Jane Goodall on its deepest wellspring, and some thoughts on hope and the remedy for despair from Nick Cave and Gabriel Marcel, then zoom out to the civilizational scale and revisit Road to Survival — that wonderful packet of wisdom on resilience from the forgotten visionary who shaped the modern environmental movement.
Thanks, Nina
For a decade and half, I have been spending hundreds of hours and thousands of dollars each month composing The Marginalian (which bore the unbearable name Brain Pickings for its first fifteen years). It has remained free and ad-free and alive thanks to patronage from readers. I have no staff, no interns, no assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If this labor makes your own life more livable in any way, please consider lending a helping hand with a donation. Your support makes all the difference.
The Marginalian has a free weekly newsletter. It comes out on Sundays and offers the week’s most inspiring reading. Here’s what to expect. Like? Sign up.
C. Denise Okafor, assistant professor of biochemistry and molecular biology and of chemistry at Pennsylvania State University has been selected as a recipient of the 2023 Marion Milligan Mason Award for Women in the Chemical Sciences from the American Association for the Advancement of Science.
The Mason Award commemorates the late chemist Marion Tuttle Milligan Mason, who wanted to support the advancement of women in the chemical sciences. The Mason Award is a highly competitive award that attracts applications from the very best early-career female chemists across the country. First awarded in 2015, the Mason Award has funded the research of 18 scientists who represent a diverse range of specialties within the chemical sciences.
Dr. Okafor’s research combines computational and experimental investigations to develop a fundamental understanding of how protein function is regulated. She investigates the structural mechanisms of signaling and regulation in protein complexes and uses simulations to determine how conformational dynamics of proteins are altered in different functional states.
Prior to joining the faculty at Penn State in 2020, Dr. Okafor was a postdoctoral researcher at the Emory University School of Medicine in Atlanta from 2015 to 2019.
Dr. Okafor earned a bachelor’s degree in biomedical chemistry at Oral Roberts University in Tulsa, Oklahoma. She holds a master’s degree in chemistry and a Ph.D. in biochemistry from the Georgia Institute of Technology.
Two of the biggest Nordic brands have united to bring us the BASTUA collection, launching globally in March 2023. The limited-edition series of 26 products, created by home furnishings giant IKEA and iconic printmaker Marimekko, brings together Nordic design and self-care rituals. From furniture to glassware to textiles, vibrant patterns reflect nature back at you.
“Collaborating with Marimekko was a natural choice for IKEA as we are both committed to enabling a better everyday life at home, and with the BASTUA collection, it begins with focusing on wellness first,” says Henrik Most, Creative Leader at IKEA. “The collaboration encapsulates the sensations of endless summers and the simple and aesthetic beauty of Nordic nature in furniture and accessories for the home.”
“BASTUA” describes a sauna in Småland, the region in southern Sweden where IKEA was founded. Self-care and Nordic sauna were the starting points of the collection that’s meant to be used when relaxing outdoors in warm weather or simply winding down at the end of a long day.
The launch of BASTUA marks the first time that Marimekko has designed prints exclusively for a brand collaboration. “Capturing the essence of Marimekko’s Finnish roots and its connection to the historic origins of sauna culture was a fundamental part of the design journey and the creation of the BASTUA prints,” says Rebekka Bay, Creative Director at Marimekko. When gathering inspiration from nature, the brand gravitated towards the large, decorative rhubarb leaves that are often found growing near saunas in Finland. You’ll find it throughout the collection, including on the ever-popular FRAKTA bag.
Within the BASTUA collection lies furniture, glassware, and textiles that include robes and towels – and even the first-ever sauna bucket – among other items. These are all things one might traditionally use when enjoying a sauna, or right before or after the ritual. You’ll find elements that can be used during a meal, a place to sit and feel grounded, and even a candle infused with the scents of elderflower, rhubarb, and sweet vanilla.
BASTUA’s furniture pieces are inspired by classic Nordic design. A side table offers a clever feature: the collection’s patterned trays fit perfectly on the top. You may even want to pull up the coordinating bench to enjoy a relaxing moment of Zen.
“Nordic furniture design has always been characterized by clean lines and simple constructions that focus on function” says Mikael Axelsson, Designer at IKEA. “The BASTUA side table is my take on this heritage, as it is made of birch veneer and with a high edge that keeps things in place.”
The BASTUA collection feels like a perfect partnership, neither pattern nor design overshadows the other. It’s a wonderful marriage between two brands that complement one another in harmony.
To learn more about BASTUA, visit ikea.com.
“This isn’t a bunch of Black people in a pool,” remarks Nic Askew, the coach of the all-Black swim team at Howard University. “It’s young Black men and women succeeding in a sport that, for years, has shut them out of this experience.” For Sports Illustrated, Robert Sanchez spends time with Askew, a 44-year-old Howard alum and record-setting swimmer who agreed to take over the university’s swimming program. An inspiring coach, Askew has slowly but steadily breathed life into the program, creating, reports Sanchez, “arguably the most electric collegiate swimming environment in the U.S.”
Today, Black Americans are 5.5 times more likely to drown than white ones, and historically, racism has made pools across the U.S. — and swimming as both a sport and leisurely activity — less accessible to Black communities. While other HBCUs have cut programs over the decades, Howard’s swim program still stands, and stands proudly.
Askew is a font of positivity, a never-ending seeker of the good that’s just around the corner. It’s an attitude that dates to his time two decades ago as a record-setting swimmer and all-conference tennis player at Howard. “He always wants to know what’s next,” says King, Askew’s former teammate, who once starred as a distance freestyler. “And he’s bringing you with him.” Askew often talks about overflowing cups, about using his cup to fill others’, about the big idea he has for the Bison pool, about the team’s schedule, about winning, about the idea that America’s only all-Black college swim team could become a touchstone for underserved communities across the country.
Last week, we headed to Las Vegas to check out the 10th edition of the Kitchen and Bath Industry Show (KBIS) and we are still reeling from everything we saw! Did you catch our live coverage on Instagram? From fixtures to surfaces, ovens to wash basins, showers to closets, we got to see the latest products and collections from legacy and emerging brands coming out this year and beyond. If you missed out on attending, registration for the 2024 show is not yet opened but you can sign up here to be notified first thing. Until then, here is the best of KBIS 2023 to get you excited for next year’s festivities:
We’re not sure about you but we are still into the sage green trend, so this bathtub from Marmite made us stop mid-track. Look how thin the edges are!
Tech was a major component of the show and this smart garden by Natufia showed us how easy it is to cultivate and grow your green thumb, even if the season outdoors are less than ideal. If you don’t have any balcony or garden space, this would be a great alternative.
Another option for growing your own garden indoors is with LG’s “tiiun mini,” which allows you to grow just enough to enhance the dishes you whip up using fresh herbs. We love that this takes up very minimal space on a counter top.
Colors, colors, colors! There was no shortage of color options at this year’s show and that included wash basins. The rainbow of hues we saw (like these from Ruvati) made us question why we would ever choose white or stainless steel again!
We love a matte black fixture and this one at the Brizo booth called out to us for its clean, architectural lines. We also checked out the Jason Wu for Brizo Kitchen Collection (below) and it reminded us of our Friday Five with Wu here.
Kohler announced that it was bringing back two of their six most popular heritage colors for a production and we got to see all six up close. The colors were put to a vote and the winning hues were Spring Green and Peachblow! We love both and could see them in a colorfully bold, statement-making bath space.
Speaking of heritage collections, Bertazonni’s ranges made us wish for one in our own homes. Between the Professional line (above) and Heritage line (below), which would you choose?
We’ve written about Samsung’s Bespoke collection before (see here, here, and here) but seeing it in real life solidified our love for the series. The fridge color blocking is especially pretty in person and such a refreshing alternative to stainless steel.
Konkretus is a new-to-us brand but we love what this under-the-radar brand is doing and making. The booth showcased a monolithic concrete tub in beautiful bubble gum pink hue but it was the natural textures of the tub that really stood out to us. The brand offers a curated selection of colors to choose from if pink isn’t your thing.
This is what happens when fashion inspires the kitchen space! Cafe Appliances displayed various mood boards that these kitchen vignettes were created from and we love how unapologetically bold and colorful the results were. We especially love this eclectic pink/purple kitchen and the tropical beach vibes of this second kitchen.
Bath fixtures are something you should really see in person because photos don’t do them justice. The Central Park West series was a collaboration between Kallista and Robert A.M. Stern Architects and instantly elevates a bath space. Be sure not to drop that handheld shower head on your foot – it’s heavy but that makes it feel so much more substantial and luxurious!
With Smeg, we love how you can go bold with color or minimalist with classic stainless steel.
Finally, all the hardware at Emtek makes us want to change out every door and cabinet in our own home. Above, it looks like we’re looking inside a jewelry box with the various materials! Below is Emtek’s predictions for 2023’s colors and finish trends – which one is your favorite?
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Microbes are “active engineers” in Earth’s rock-to-life cycle, research shows.
The name “critical zone” may give off 1980s action thriller vibes, but it’s the term scientists use to refer to the area of Earth’s land surface responsible for sustaining life. A relatively small portion of the planetary structure, it spans from the bedrock below groundwater all the way up to the lower atmosphere.
“Think of it as Earth’s skin,” says Jon Chorover, head of the department of environmental science in the University of Arizona College of Agriculture and Life Sciences. “It’s sometimes termed the zone where rock meets life.”
Most people—even geologists—don’t typically think about rock as the foundation of life or the way life may alter rock, but that cuts to the heart of critical zone science, Chorover says.
A relatively new framework for approaching Earth sciences, the critical zone aligns researchers across disciplines to better understand how the delicate web of physical, chemical, and biological processes come together to form Earth’s life-support system.
As a biogeochemist, the whole-system approach is a way of thinking that comes naturally to Chorover, who has spent much of his career working to unravel the ways in which chemical and mineral weathering drives the evolution of everything from the soil microbiome to the carbon cycle.
Together with Qian Fang, a postdoctoral researcher from Peking University in Beijing, Chorover recently published the results of nearly 10 years of data collected at the Santa Catalina-Jemez River Basin Critical Zone Observatory, which spans a gradient of elevation and climates on rock basins in northern New Mexico and Southern Arizona.
Their findings in Nature Communications, according to Chorover, provide a “smoking gun” link between the activities of carbon-consuming microbes and the transformation of rock to life-sustaining soil in the critical zone.
In the past, measuring something like mineral weathering often wasn’t that exciting—imagine researchers breaking off chunks of rock and watching it dissolve in beakers back at the lab. But viewing that process in a natural ecological system is a different story.
At the Santa Catalina-Jemez River Basin Critical Zone Observatory, towers that measure the exchange of water between the forest and atmosphere, soil probes that read the transfer of energy and gases, and a host of other in-environment instrumentation offer scientists a firsthand view of the complex systems within the critical zone.
The site is part of a larger National Science Foundation Critical Zone Observatory program, which unlike traditional brick-and-mortar observatories provides a network of regional ecological environments rigged with scientific instrumentation across the United States.
Temperature, moisture, and gas sensors at the site collect measurements every 15 minutes, and after compiling and correlating the data, “What we found was a strong relationship between the rate at which the rock was weathering to form soil and the activities of the microbiome in the subsurface,” says Chorover, a principal investigator at the Catalina-Jemez observatory.
“Minerals, microorganisms, and organics are among the most important components in Earth’s surface,” Fang says. “They interact with each other constantly to provide all terrestrial life with nutrients, energy, and suitable living environments.”
These minerals in the critical zone are continuously attacked by microorganisms, organic acids, and water, Fang explains. As the minerals break down, microbes in the soil consume the new organic matter and transform it into material that feeds plants and other microorganisms, while releasing carbon dioxide.
Previous studies suggest that microbial decomposition of soil organic matter can be fueled when more “fresh” organics—such as plant matter—are introduced to the soil system. This process is called the “priming effect” by soil scientists. However, the relationship between mineral weathering and microbial priming remains unclear.
“Our study shows, for the first time, how these essential soil processes are coupled, and these two processes continuously influence soil formation, CO2 emission, and global climate,” Fang says. “The linkages may even be associated with long-term elemental cycling and rapid turnover of soil carbon and nutrients on Earth.”
While it is easy to perceive the success of plants and microorganisms as lucky environmental circumstance, Chorover says this study proves even the smallest parts of the critical zone have a substantial role to play.
“It shows that life is not simply a passive passenger on the trajectory of critical zone evolution, but actually an active engineer in determining the direction and path of how the Earth’s skin evolves,” Chorover says.
Source: University of Arizona
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