From the Books, for International Women’s Day

This is a repost from a couple of years ago. I chose to repost this, about a book by astronomer Sara Seager, because it has lodged in my brain since I read it.

I generally try to avoid reading grief memoirs, for various reasons that mainly boil down to…well, I’ve had enough grief in my life already and I know that more is on the way someday*, and it’s a subject I don’t much enjoy plumbing any more than I have to. But sometimes I find a grief memoir that piques my interest and I read it anyway. Smallest Lights is such a book, and I am very glad that I read it. It’s so much more than a grief memoir, really. It’s about science and love and life and death and love again and parenthood and dealing with autism.

The Smallest Lights in the Universe, Sara Seager

It’s also beautifully written.

Not every planet has a star. Some aren’t part of a solar system. They are alone. We call them rogue planets.

Because rogue planets aren’t the subjects of stars, they aren’t anchored in space. They don’t orbit. Rogue planets wander, drifting in the current of an endless ocean. They have neither the light nor the heat that stars provide. We know of one rogue planet, PSO J318.5-22–right now, it’s up there, it’s out there–lurching across the galaxy like a rudderless ship, wrapped in perpetual darkness. Its surface is swept by constant storms. It likely rains on PSO J318.5-22, but it wouldn’t rain water there. Its black skies would more likely unleash bands of molten iron.

It can be hard to picture, a planet where it rains liquid metal in the dark, but rogue planets aren’t science fiction. We haven’t imagined them or dreamed them. Astrophysicists like me have found them. They are real places on our celestial maps. There might be thousands of billions of more conventional exoplanets–planets that orbit stars other than the sun–in the Milky Way alone, circling our galaxy’s hundreds of billions of stars. But amid that nearly infinite, perfect order, in the emptiness between countless pushes and pulls, there are also the lost ones: rogue planets. PSO J318.5-22 is as real as Earth.

There were days when I woke up and couldn’t see much difference between there and here.

Sara Seager is an astrophysicist at MIT whose main body of work involves exoplanets, their discovery around other stars, and analyzing them for signs of life. Among other things, if you wonder how on Earth (literally!) we can look for life on planets lightyears away that nobody in our lifetime (or, likely, in our great-grandchildrens’ lifetimes) will ever see directly, this book will give you some hints as to how that search is currently going. (It involves ingenious analysis of light coming from those planets. It really is amazing, when you think about it, the degree to which light energy is the main carrier of information in this universe of ours.)

In her book, Seager discusses her own work and the degree to which her work has shaped her personal life, and how her personal life has shaped her work in return. Her first husband was a man of considerable energy, whom she met on a canoeing trip; their courtship progressed on more canoeing trips all over the place. But he developed cancer, which eventually killed him at a terribly and unfairly young age. Thus this brilliant astrophysicist, whose work is an important part of the current growth of human knowledge of our universe, finds herself a single parent attending meetings of the local widow’s club, figuring out the nature of this new world she’s been thrust into. It’s the cruelest of ironies, I suppose, that this woman whose life’s work is understanding the universe and seeking other worlds suddenly finds herself in a new world, one that’s familiar to people who have known deep grief, where everything is the same and yet everything is deeply different.

Throughout Seager’s book, I found myself frequently hit in the heart by some of her observations:

:: Everybody dies instantly. It’s the dying that happens either quickly or over a long period of time. Mike spent a long time dying: eighteen months separated his diagnosis and his death.

:: There have been lessons I have chosen not to teach. Not all knowledge is power; not all things are worth knowing. Max and Alex [her sons] never saw Mike’s body. They did not see him leave the house.

:: [On the Widow’s club] All of our children had become friends. They didn’t gather because their fathers had died; they gathered because it was fun. There is a reason every children’s book is written from the perspective of the child. Children don’t care about adult concerns. We think of children as helpless when they are the embodiment of resilience, more impervious to outside forces than we could ever be again. Despite their suffering, our kids still knew pure joy.

:: Sometimes you need darkness to see. Sometimes you need light.

:: I don’t think it’s an accident that there’s a mirror at the heart of every telescope. If we want to find another Earth, that means we want to find another us. We think we’re worth knowing. We want to be a light in somebody else’s sky. And so long as we keep looking for each other, we will never be alone.

I love that last one (which actually closes the book, so apologies for the ‘spoiler’). Seager casts loneliness not in terms of presence but in terms of action: we’re only truly lonely when we accept that we are alone and stop seeking others to enrich our lives. True loneliness, really being alone, comes of a permanent turning inward, of looking down and not up. And really, how else would someone who loves the stars see things?

The Smallest Lights in the Universe is a wonderful book that stands in stark contrast, it seems to me, to the view of science as cold and mechanical and mathematical, an enterprise that somehow forgets about emotion and wonder. No less a genius than Walt Whitman expressed this view, in “When I Heard the Learn’d Astronomer”. But the numbers and the proofs surely don’t have to get in the way of the wonder; rather they inform it and give it focus. Science is not an impediment to love and life. Science is a part of those things. Sara Seager’s book shows us how.

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Something for Roger (on Thursday!)

On the occasion of his 71st birthday, here are The Beatles as channeled through the instrument that was Joe Cocker:

May Roger have another 71 trips around the sun in store, at least!

 

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DUCK!!!

They call this fabric “duck”. I don’t know why, but they do. Duck is a canvas fabric made out of cotton, and the way it’s made it’s a lot tougher than, say, denim. And it can be a lot tougher. Apparently duck fabric has a grading system, with the lowest number indicating the heaviest and thickest duck cotton out there; that’s what you’d make sales for a yacht out of. At the upper end of the number scale is the lighter duck, for “light clothing”. Somewhere in the middle falls the duck used to make tough workwear like your Carhartt jackets and these Dickies overalls!

I just got these super-cheaply off eBay, and I like them a lot, even though they’re still really raw, which means they’re still really stiff and scratchy. They’re super comfortable, though (of course they are, they’re overalls!), and a new color in the palette is always nice.

Some more detail photos:

 

I only have three pairs in this shade of brown duck: these Dickies, a pair of Carhartts, and a pair by Berne. I also have a dark brown pair of duck Carhartts and a pair of black duck Carhartts.

Oh, and apparently it’s called “duck” from the original Dutch work doek, which refers to the fabric the Dutch sailors used for their clothes. The more you know!

 

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A Small Haul

This year I have imposed a new rule: I will buy no books until our annual trip to Ithaca in the fall. I really really need to read up on my own library! I will make a couple of exceptions for special events, like Nickel City Con in June, where I’ll most likely want to buy some graphic novels. But other than that, I’m not buying books until October.

Unless, of course, something really unusual happens, like, say…the folks at Taschen offering a sale in which a bunch of their titles are 85% off.

Taschen makes gorgeous books. They are the creme de la creme of the “coffee table book”, just stunning volumes on many topics (mostly the arts) that are amazing objects in themselves, as well as just being high-quality all the way around. And the prices align with that quality: it’s not unusual for a Taschen book to cost hundreds of dollars (here’s a case in point). So when I got the email that Taschen was having a huge sale, I had to look. I consoled myself with the knowledge that they probably wouldn’t be marking down any titles that I actually wanted, but at least I could look, right?

Ahem.

Something like $150 later, the box containing these arrived. And that box was heavy. That James Bond book? That one alone probably weighs at least twenty pounds. The Audrey Hepburn book is also a weighty tome. I had to get the Star Wars book, obviously, especially since I already own the companion volume that chronicles the Original Trilogy. And what budding photographer doesn’t need a nice history of photography? Especially one that is produced under the auspices of the George Eastman House, a museum in Rochester that is devoted to photography (and a place I did not even know about)?

Another thing I’ve noticed about my book-selection tendencies nowadays is that I’m leaning more heavily toward books that are beautiful in themselves as well as selecting for content. More on that later sometime, though….

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Tone Poem Tuesday

One of Leonard Bernstein’s main self-appointed missions in life was the advancement of new American music. As comfortable as he was in the orchestral repertoire all the way back to Mozart, Bernstein saw it as his duty to stand up for modern music as well, and particularly modern American music at that. He felt strongly that it was essential for American concert music to move beyond the rigidity of the forms already over a century old that sprang largely from the Germanic symphonic approach, and that American music was, in terms of a nationalistic school, actually in its infancy, roughly on par with where that old Germanic tradition had been not at the end of the 19th century, but at the end of the 18th.

One composer Bernstein championed was William Schuman, an academic and arts administrator who was overwhelmed as a young man by a Toscanini-led concert of the New York Philharmonic; at that concert he decided to be a composer. Over his long life (1910-1992), Schuman generated a large body of work, much of which is highly-regarded.

This piece, the American Festival Overture, was written for a Boston Symphony Orchestra concert of American music led in 1939 by Serge Koussevitzky. Bernstein would later lead this work frequently, and include it in recordings, such as this by the Los Angeles Philharmonic. (The performance of Copland’s Appalachian Spring from this same album is simply the best recording of that wonderful piece I’ve ever heard.)

Of this piece, Schuman himself wrote:

“The first three notes of this piece will be recognized some listeners as the “call to play” of boyhood days. In New York City it is yelled on the syllables “Wee-Awk-Eee” to get the gang together for a game or festive occasion of some sort. This call very naturally suggested itself for a piece of music being composed for a very festive occasion. From this it should not be inferred that the Overture is program music. In fact, the idea for the music came to mind before the origin of the theme was recalled. The development of this bit of “folk material” then, is along purely musical lines.

“The first section of the work is concerned with the material discussed above and the ideas growing out of it. This music leads to a transition section and the subsequent announcement by the violas of a Fugue subject. The entire middle section is given over to this Fugue. The orchestration is at first for strings alone, later for woodwinds alone and finally, as the Fugue is brought to fruition, by the strings and woodwinds in combination. This climax leads to the final section of the work, which consists of opening materials paraphrased and the introduction of new subsidiary ideas. The tempo of the work, save the last measure, is fast.”

(from WiseMusicClassical)

Here is the American Festival Overture by William Schuman, with Leonard Bernstein conducting the Los Angeles Philharmonic Orchestra.

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What is that cat-shaped object on the wall?

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My culinary curiosity has limits….

While discoursing about food over on Threads earlier, I learned that in some Chinese eateries–probably the ones in bigger cities, with proper Chinatowns–you can order a plate of duck tongues.

Yup.

I had no idea this existed. Apparently this is what they look like:

I’m generally of the “I’ll try anything once” camp, but…I can’t tell a lie, these do not look appetizing to me. If someone at the table ordered them and offered me one, I think I’d be like, “Cut a bite off one for me.”

However, I do very much like the look of that dipping sauce! Now that intrigues me.

Moving on….

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Something for Thursday

CCR:

Here’s what I don’t understand about this song: “It was down in Louisiana, just about a mile from Texarakana.” Huh? According to what I’ve found on Google, Texarkana is roughly 35 miles away from the Louisiana state line. (Although things get weird if you phrase the search wrong, because there is actually a State Line, Louisiana, which is all the way on the other side of the state, so it’s something like 300 miles from Texarkana.)

Still, this is a great song. It’s CCR, after all.

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Domestic Bliss

In which I attempt to share a video I took with my phone: Carla and Remy, deciding to battle for supremacy of…The Wife’s lap.

Yup, this is what goes on here sometimes. (No one was hurt…and eventually Remy left and Carla came over to sit with me, anyway!)

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Tone Poem Tuesday

Reinhold Gliere was a Russian composer who lived long enough to stop being a Russian composer and become a Soviet one. He was born in 1875 and lived to 1956, almost exactly contemporary with Joseph Stalin. As the last living exemplar of nationalist Russian classical music, Gliere was able to avoid the various artistic purges and seemingly random shifts in taste handed down by Stalin.

Gliere is, admittedly, not always my cup of tea. Some years ago the Buffalo Philharmonic performed his Third Symphony, a gigantic work purporting to tell the life of a particular Russian hero (“Ilya Muromets”), a work that apparently has its devotees. I couldn’t get through the whole thing. Gliere and I are not on the same page, apparently…but I do like this particular orchestral poem quite a bit. Called The Sirens, it seems to me to have very little Russian character at all; to me this is much more the sound world of French impressionism. I hear, in this piece, not the echoes of the Tchaikovsky’s and the Balakirevs and the Borodins of the world, but rather the Debussys and the Ravels. The work shimmers and seems at times to be approaching a melody without quite getting there, in what must be a simulation of what the sailors heard in those voices luring them off their ships.

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