An extract from The Last Lost World

As I’ve men­tioned, I’m read­ing and enjoy­ing Pyne & Pyne’s The Last Lost World, inso­far as it isn’t a “pop­u­lar­iza­tion” of Pleis­tocene pale­on­tol­ogy so much as it is a use­ful and well-​​built con­struc­tion com­bin­ing aspects of lit­er­ary crit­i­cism and sci­ence report­ing to that field. That is, in this book we’re actu­ally talk­ing about nar­ra­tives, and sur­fac­ing the ten­sion in sci­en­tific dis­course between the cre­ation of gen­eral robust facts and obser­va­tions as opposed to the con­tin­u­ously multi-​​scaled dynam­ics of the actual world: the ways in which a “species” becomes “real” for example.

Mid-​​book, I find the fol­low­ing lovely lit­tle pas­sage. In a sense it says: per­haps finally we can pro­ceed mind­fully. Maybe that’s what I’m ask­ing for when I harp so much and often about the lack of sci­ence (and please, some­day, engi­neer­ing) books like this one: that it is time now to be mind­ful of our roles in the world we cre­ate or discover.

It was how that trans­fig­u­ra­tion had hap­pened [from Dar­win to Neo­dar­win­ism] that per­haps holds the most inter­est. In con­clud­ing the Ori­gin of Species Dar­win imag­ined “a tan­gled bank” over­flow­ing with liv­ing forms yet orga­nized by dis­cernible laws, and while full of “grandeur,” a scene that did not result from a pre­formed pat­tern. Yet as Ernst Cas­sirer has argued, “Man can­not escape from his own achieve­ment.” Darwin’s tan­gled bank has been replaced by a “tan­gled web of human expe­ri­ence” that weaves together lan­guage, myth, art, reli­gion, and all the other strands of humanity’s “sym­bolic net.” That pecu­liar capac­ity of human thought remade Darwin’s tan­gled bank into a shelf of braided nar­ra­tives in which the entwin­ing of genomic and geo­graphic data had to play out over a cul­tural land­scape: that was where, to con­tinue the anal­ogy, the selec­tion would take place. The revival of neo-​​Darwinian con­cepts, how­ever, too often brought with it a neo-​​Darwinian sci­en­tism that failed to apply to its own inform­ing con­ceits the per­spec­tive it demanded of oth­ers. In par­tic­u­lar, it made Dar­win­ian evo­lu­tion an act of spe­cial creation.

It was a sim­plis­tic nar­ra­tive that assumed that ideas could be dis­cov­ered out of data the way bones could be found in sand­stone or tuff, and it viewed the progress of bio­log­i­cal sci­ence (and archae­ol­ogy) in a way par­ti­sans scorned when oth­ers applied it to their own fields. They did not appre­ci­ate the extent to which their explana­tory ideas, even the the­ory of organic evo­lu­tion, had a long his­tory, and that, like Equ­uus cabal­lus within the equids or Homo sapi­ens among the hominins, the idea was not the intended end prod­uct towards which all research had trended but the selected sur­vivor of ancient stock, a prod­uct of hap­pen­stance, his­tor­i­cal con­tin­gency, and use­ful­ness. Dis­ci­pli­nary his­to­ries tended to be tele­o­log­i­cal, as nar­ra­tive must be; the his­tory of the idea of evo­lu­tion was thus orth­o­genic in ways the theory’s advo­cates denounced when applied to nature.

Dar­win­ian evo­lu­tion was less a spe­cial cre­ation, the spark of a divine insight, than it was the rough, imper­fect, best adapted, use­ful, and can­tan­ker­ous out­come of a tedious and often errant chron­i­cle of obser­va­tions and imag­in­ings. It was a pow­er­ful idea, and once dis­cov­ered, des­tined (so it seemed to many) to ram­ify across whole con­ti­nents of learn­ing. It offered a promised con­silience, which could seem the apex to which all prior study had tended. But such appar­ent inevitabil­ity was an inher­ent con­struct of nar­ra­tive, and just as an organism’s traits are not intrin­si­cally bet­ter or worse but bet­ter or more poorly adapted to its set­ting, so it is with ideas. The evo­lu­tion­ary par­a­digm achieved much of its power and reach because it tapped into very old tra­di­tions of thought. Far from being a rad­i­cal inno­va­tion with­out prece­dent, Dar­win­ian evo­lu­tion had itself evolved by fits and starts out of one of the hoari­est con­cepts in West­ern civ­i­liza­tion, the Great Chain of Being.

Some books I’ve been reading

Herein are described suc­cinctly, and with affil­i­ate links, some things I’ve got­ten recently to read. Said links are there, you know, in case you want them (because they’re good). Or in case you want any­thing else of the sort one gets from this large online retailer.

Just sayin’.

A per­sonal his­tory of OuLiPo, from a recent mem­ber. The result­ing first-​​person asyn­chro­nous faceted work is an hon­est biog­ra­phy and expla­na­tion of the constraint-​​players’ club, rang­ing from its pre­his­tory to future. Too many folks con­fus­edly con­sider OuLiPo to be a rather mathematically-​​tinted but oth­er­wise mun­dane facet of Sur­re­al­ism, or a more reasonable-​​seeming and obses­sively con­sis­tent ‘Pat­a­physics, but as Becker makes clear: it ain’t. And rightly not. A pleas­ant read, and to be frank a game-​​changer for the man­ner of read­ing among the sus­cep­ti­ble: Even now I think back and search for the oulip­ian con­straint Becker must have used in fram­ing the book….

Sure, Byron was weird. But the thing I’ve been learn­ing belat­edly about his­tory and the lives of all those old-​​timey writin’ lit­er­ary folks is how much of their lives is spelled out and yet remains opaque. I mean, I scan old mag­a­zines and as a result end up read­ing a goodly num­ber of them, and yet that sense of, “WTF?!” as an oblique satire or anony­mous homage rolls by remains a con­stant part of my expe­ri­ence. This book, a focused slice of pol­ished the­sis no doubt, clears at least a few cob­webs I’d stum­bled into through the years: sure Byron got around. But Cather­ine Lamb, the crazy minx, comes off in this detailed analy­sis an awful lot like Sher­lock’s Irene Adler: the one from the TV show, I mean, with the naked­ness and the extreme smarts and the gift of pubic hairs in blood and all. And then there’s occultists chan­nel­ing posthu­mous Byronic verse, and the pas­tiches that were ragged satire, and… it gets a bit thick, a bit too schol­arly now and then. But there’s a cos­tume drama or two tucked in here, with naughty bits and verse and all that good stuff.

I’m a sucker for Delany’s prose. I grabbed this as a “sim­i­lar work” from some­thing else I haven’t yet read, and am lik­ing it quite a bit (not least because it helps me under­stand a bit more of Stars in My Pocket Like Grains of Sand, which even a col­lege junior (as I was when it first came out) couldn’t hope to really ever fathom. (And yes, I’ve nested paren­the­ses three deep. (We’re talk­ing about Delany!) Four.)).

Amus­ingly enough, I’m read­ing Mina Loy because the edi­tor bought a mag­a­zine from me on eBay. What? You didn’t think I Googled the buy­ers of my per­sonal col­lec­tion of zines? Feh; fat lot you know. Hav­ing spent way too much time lately among the orig­i­nal works of the Pro­gres­sive Era, I now want to stage an anar­chis­tic shuffle-​​up: Woolf, Loy, and Voltairine.

Some­where between Zinn and Holton on a scale of History-isn’t-quite-what-you-were-taught (and Wouldn’t It Be Funny if the Con­ser­v­a­tives Actu­ally Knew What They Were Defend­ing), Levin­son is about the prospect of reform. Which is to say: Con­sti­tu­tional Con­ven­tion, to clear up some of those long-​​standing “dif­fi­cul­ties” that remain to date among our hal­lowed fore­fa­thers’ argu­ments, mis­un­der­stand­ings, and crappy opaque com­pro­mises. Yeah, that’ll happen.

I am in love, frankly. Sci­ence books that are self-​​consciously about nar­ra­tive: not rehashes of the god­damned Great Men in Lab­coats trope, but nar­ra­tives that explain the sci­ence itself. How is it we came to be allowed to think of an Ice Age? How is it we came to con­sider that there could be other “men”, miss­ing links, pro­to­hu­mans, and ulti­mately the actual hob­bits and giants we now accept? And (per­haps most inter­est­ingly so far) how is it we’re allowed to call the Pleis­tocene any­thing at all, to shift its mode of def­i­n­i­tion away from the habits and norms of ear­lier con­ven­tions to the point where it’s defined com­pletely dif­fer­ently from other epochs: by ice, and Man. Sci­ence books should be more about sci­ence, like this one is. Not a pop­u­lar­iza­tion so much as well-​​written lit­er­ary crit­i­cism Of Sci­ence!

It’s that time of year. O what might she have wrought, had she sur­vived? Read every­thing she ever wrote, I’m telling you. I’m re-​​reading this, and then her short sto­ries, which I have here by my hand, complete.

I’m mak­ing books. You’ll see. Hendel’s book comes highly rec­om­mended, and I sec­ond that height: It’s not advice, nor crafts­man­ship, but rather a col­lec­tion of thoughts from many hands on how the text block works (and is worked). Inter­views with design­ers from many places, clas­si­cists and out­ra­geous tweak­ers, with an empha­sis on how and why any book looks like it does. And what that look means.

I remem­ber the cud­geling I got years ago when Cliff Pick­over asked on a fan list whether he should use Palatino or Times New Roman for his “new book”, and I said he should actu­ally use a real font, and design the pages, and make it nice. I don’t know what Sec­ond Cul­ture those folks came from, but they really abhorred the notion that font choice and design was as impor­tant as the damned words on the page. I’d post a link, but I can’t recall the names of the books he finally printed in Palatino, alas.

And there you have it.

Every­body Says I Should Read This. And I’m read­ing it. Slowly, actu­ally, not least because I see, then think. Back up and see, then think. Too easy to have all one’s assump­tions and obser­va­tions brought together and miss the points of fail­ure. So far, I haven’t found those points of fail­ure, so I’m read­ing slowly, think­ing, and read­ing more. But I knew imme­di­ately he was right.

Imag­ine a manic twelve-​​year-​​old Eng­lish [sic] boy was allowed to out­line a novel pub­lished in install­ments in the Boy’s Own Adven­ture Mag­a­zine. Lovely fluff, with meta­tex­tual stuff sprin­kled lightly through­out. Is it sus­tain­able? I’m told it may well be.

Update

I real­ize I’ve turned quiet as far as the blogs are con­cerned. I’ve been work­ing on trans­lat­ing the draft con­tent for the Answer Fac­to­ries book into pub­lished man­u­script. Mark­down is lovely, but talk­ing in detail about the process of soft­ware devel­op­ment still requires an awful lot of cutting-​​and-​​pasting, it turns out….

I recently updated the pub­lished draft; if you’re behind, feel free to go update your copy now. New con­tent includes a descrip­tion of the iPad game Cargo-​​bot, and a detailed test-​​driven re-​​implementation of the game logic in an emu­la­tor we’ll use for GP in forth­com­ing chap­ters. I spent a lot of time on the test-​​driven devel­op­ment, so I’d like some feed­back if you’re willing.

Tucker Teaches the Clockies to Copulate

I was given a review copy of this lovely, amus­ing and affect­ing work many months ago, and just now got around to writ­ing the deserved review (at Ama­zon). Which I reprint below, just because I like the story so much:

Let me try to be telegraphic:

Nelson’s tale is writ­ten in a voice that rings sur­pris­ingly true to the (shadow) 19th Century’s own voice: lan­guage, metaphor, idiom and fram­ing are all spot-​​on for a sup­pressed Twain tale from a little-​​known lit­er­ary mag­a­zine Editor’s secret papers, dis­cov­ered in a shut­tered attic lap desk among a firebrat-​​infested stack of ledgers and cor­re­spon­dence. This in itself is a fun and lovely act of artistry; you can’t just talk “old-​​fashionedy” and get away with it. This is words done good, and every one.

The slip­stream, steam­punk, and oth­er­wise fan­tas­ti­cal ele­ments are no more or less jar­ring than those we mud­dle our­selves through every day out here—no here, on the three-​​dimensional side of the screen, in daily life. What hap­pens to our nar­ra­tor and cun­ningly per­cep­tive pro­tag­o­nist and the town they live in (all poised at the edges of their respec­tive tran­si­tional cliffs) is no more science-​​fictional than the phan­tom vibra­tions I get in my leg when I have no phone, or the habit I’ve gained of tap­ping words on a paper page expect­ing to see a definition.

And this, most of all and with no lit­tle risk of seem­ing provin­cial to some more worldly reader: This is a story about Amer­i­cans and the awful won­der­ful thing we’ve acci­den­tally done to one another and the rest of you, lib­er­ally mixed against our types’ his­tor­i­cal pref­er­ences, rebelling against and egging on the emer­gent change that arises from that mix­ing, and in our very par­tic­u­lar ways watch­ing in won­der as entire worlds find ways to fit snugly inside a sin­gle story together.

By which of course I mean your story and mine.

So: Get this, read this, rec­om­mend it.