A Year Of My Heart

A year ago, I decided to get all analytic on my training. Mainly I just like tech and pretty representations of data. So I bought a heart rate sensor. And now it’s been a year of me using it almost every time I train. Which means I can look at a year in the life of Frances training, with all the … whatever that reveals.

What does it reveal, Frances?

Well, other Frances. I trained 156 times — that I recorded, let’s say 170 because I pretty much did not train without it unless I forgot either sensor or phone. For a total of 190 hours — there’d be a few more in that for the times my phone battery died. For a measly distance of 1481 kilometres — of actual training rides, not including cross-town, Kreuzberg-Wedding type stuff, so maybe double that at least, no wonder I spend so much on my bike and it feels like it’s constantly in need of repair. Hey, just like me! (Wow, there’s a realisation, right there.) About 1/3 of that was ballet, another third cycling (mostly road at the moment, but some cyclocross), 1/6 bouldering, and the remaining 1/6th a mix of yoga and core training.

Oh, and supposedly I burned around 121,000 calories, which is about 60 days of eating 2000 calories a day. I’m not really convinced about this. I think it’s more of an imaginary number, and not the mathematical kind.

What else? Speed, both average and top are derived from iPhone GPS. I’m not sure how much dispersion there is in this, but I suspect it can easily be 5km/h or more in either direction. My next gear purchase (after … umm … new brakes and probably new rear derailleur pulley wheels) is a speed/cadence sensor — which probably means also a proper cycling head unit instead of phone …

I seem to unintentionally train in 9-10 week blocks, then give up in despair for a couple of weeks, then, like a goldfish circling its bowl, forget all that and get right back into it. Knowing that this might be my natural rhythm though, it could make sense to train in 9 week blocks with a week off, if for nothing else than keeping my enthusiasm. Also I doubt I’ve been training like that this year, my rhythm’s all over the place.

My maximum heart rate seems to be constant around 190 (excluding the huge jumps into the 200s that were either the battery going flat, the sensor getting jostled, or actual random heart weirdness from having stupid fun training in -10º weather). I dunno, I have no context or expertise for reading anything into these figures, other than I seem to like training if it involves a degree of discomfort and some suffering — which I didn’t need a heart rate sensor to tell me.

So, a year of data. What to do with it? No idea! Will I keep using it? For now, yes. It’s become automatic to put it on. I don’t really use it during training, though I’d use it for cycling if I could find an iPhone mount that could hold my ancient 4S. But mostly I do it on feel, and that corresponds pretty closely to the various heart rate zones. I do do regular post-training gawks, to compare how I felt with actual data — and knowing that data across sessions gives me a bit of a feeling for where I’m at on a particular day or week. And one other thing: I train a lot less than I think.

Worth it for seeing a year of training all pretty like that? Yup!

Polar Flow and H7 Heart Rate Sensor — One Year Weekly Training Report
Polar Flow and H7 Heart Rate Sensor — One Year Weekly Training Report
Polar Flow and H7 Heart Rate Sensor — One Year Daily Training Report
Polar Flow and H7 Heart Rate Sensor — One Year Daily Training Report

Ballet & Tech (A First Attempt)

Me (on and off for the last couple of years): “It would be awesome to have a power meter or something so I can go all data on my training…”

Twitter:

Has any dancer ever measured a performance with a fitbit or pedometer? How many steps? How far do they dance? PLEASE will someone do this?

Me (in Jo Siska’s ballet class on Wednesday): “OMG Jo! Look! Data!”

Inaccurate data. But that’s what this is, a test of how to get meaningful and accurate(-ish) data on what goes on when I’m dancing.

When I was living in Wedding, part of my training routine was morning cyclocross rides in the forest around Flughafen Tegel. Last year when I inherited an (old, 4s) iPhone and stuck Trails app on it, I started to see what the intangible feeling of each ride represented. A couple of things were missing though, one of which I finally prodded myself to buy this week – a Polar H7 heart rate sensor (yeah, I got the pink strap). The other is one of those crazy expenses I’m unlikely to throw euros at unless I have around four thousand of them spare for a new bike: a power meter.

Power meters tend to be the province of bike crank arms, pedals, or hubs and cost about double what normal people spend on a whole bike. And none of them are objects you can take into a dance studio. Slightly getting there is the rpm2 shoe insert power meter, still no good for dance though. Which leaves the very new Stryd – and very cheap, not much more than a Fitbit (which I’ll get to later), and about the same size as the H7 – a power meter for runners.

Before all that, Wednesday. In the studio with my heart sensor on and my iPhone beside the barre, cos it uses Bluetooth to sync. That’s several problems right there. First, doing ballet (or generally dance) training with an iPhone lodged somewhere is not so practical, which means a pedometer is going to count exactly zero steps. Second, Bluetooth is possessive, it likes quasi-line-of-sight and proximity. Bouncing around ten meters down the studio with heart monitor facing away from it is going to generate some highly improvised heart rate info. If, for the sake of science, I slip my iPhone into my trackie pocket, I’ll get pedometer info, but any GPS-based data capture (speed, distance, location) is comically useless, having an accuracy of greater than 4 meters. I was dumping my heart info into Trails, which is a fine app for cycling training, and much of the time it had my location not even in the same building, plus my altitude changed by 24 metres.

Thursday on my morning training ride around Tempelhoferfeld, I used both Trails and Polar’s Polar Beat. The data resolution of both is pretty good, Polar Beat is more fine-grained, and neither had a problem with my phone being in the back pocket of my jersey. I’ve been doing enough cycling with data recording to know what looks right.

Which leads me to Fitbit, cos my flatmate has one. It stores the data locally so no need for a live Bluetooth connection. It does heart rate, pedometer, a bunch of other useful garbage, makes pretty data, syncs to phone, laptop, or to fitbit.com, and looks like a dainty watch strap.

So, Friday, ballet again. This time with a Fitbit and my H7 going to Polar Beat.

I’m siding with Fitbit when they say their data accuracy decreases outside fairly limited activities: both heart monitor and step counter are dependant on arms not windmilling for acquisition of useful data. Perhaps it requires repeated use to find the best spot on my wrist, but compared to the H7, Fitbit reported my average heart rate at ~20bpm less – I stuck fingers to neck and what the H7 shows is a good match. As for steps – and ignoring the first 18 minutes or so where I have no idea who it thought I was – it gave around 250 for the entire 40 minutes of barre, and 2200 for the class; obviously not counting a pas de bourée as three steps.

The H7 doesn’t do step counting – unless you pair it with their walnut-sized Stride Sensor somehow affixed to your foot. Its heart data though is magical. You can see every exercise through the class mirrored in my increased heart rate, and check out the centre adage starting at 40 minutes, where the curve is almost identical for both times, and the arc through the entire class, building intensity in small stages at the barre until peaking through the centre into longer and longer periods of maximum effort, before révérance-ing out. I can also look at sections, so if I select just the centre, then my average heart rate goes up to 167 and only once drops below 120. Lots of good data you can do stuff with. (And I can even assign training to Ballet, with a fancy Olympic-looking arabesque!)

But what about power? Or other stuff? Stryd for the power (and heart rate), and RunScribe for everything else? Would they even handle dancing? RunScribe would be awesome for visualising the mechanics of dancing, g-force, velocity, ground contact time, pronation – if it could handle the foot chaos. And then what to do with all this information? If it’s all just for a bit of woohoo! then Fitbit and its social network gamification of sleeping is fine. But if it’s for the purpose of improving performance, technique, being more diligent in how you train, that’s a whole other thing.

Ballet training with Polar H7 Heart Rate Sensor
Ballet training with Polar H7 Heart Rate Sensor
Ballet training with Fitbit Charge HR
Ballet training with Fitbit Charge HR

On Training (Ballet Barre & Bars)

I’m gripping Louis XIV’s pole like I’m trying to strangle it. I’m not sure it’s Louis XIV’s. I’m not sure I even know what’s going on. It’s a length of wood. Hurhur. That we grip. Double hur. Not too tightly though. We let our fingers and hand glide back and forth along its length—Ok, So we’re just done with “phrasing,” right?

We use the barre to: keep our balance for, while we work our legs for, as we warm up through various exercises to prepare us for … something something. I don’t think we know why we’re using it, except out of habit. We use it because we’ve always used it, because ballet uses it, because it’s the ballet barre part of a ballet class, because it’s ballet. So we grip it and strangle it and caress it and our eyes glaze over whenever we get near the question of why we use it because that original answer is lost.

I think it’s in lieu, of a hand, of another’s hand, of another person. It’s in lieu of our partner, with whom we dance. But we no longer dance with a hand and arm and partner who moves and dances with us; we hold onto a fixed wooden pole. I’m only presuming this because I thought the question of when the barre was codified was a straightforward one, but what I found was a complete absence. Nothing in Louis XIV’s time. An early mention seems most of a century later with Gennaro Magri in the late-1700s, or Carlo Blasis or Giovanni-Léopold Adice in the early-1800s, where a chair was used for support, subsequently to be replaced by our barre.

Whatever, the barre serves another purpose now, for another kind of ballet.

Michel Serres in Genesis talks about ballet, the barre, the body thinking—one of the only philosophers to seriously and genuinely engage with dance. I may disagree with him and others now somewhat in that I do not think that ballet is unnatural, a torture. It is a poor habit to regard that which oneself is not capable of, which one does not understand, as monstrous. On the other hand, he writes that the dancer is the possible: “Dance is to the body proper what exercise of thought is to the subject known as I.” I would go further, and say there is no subject which thinks, outside of the body. Thinking is the domain of the body and dancing is as much thinking as thoughts which form themselves in words around a thing we think of as I.

What thoughts come when a body exercises while gripping a barre?

I had one teacher who encouraged us to hang onto the barre, use it because it’s there. This in lascivious opposition to the statements of the majority that the hand must lie delicately on the upper surface, thumb next to index finger, and not wrapped around, to slip forwards and backwards with each change of weight. I’m sure I’ve done both, and I’m not sure there’s fundamentally much of a difference. The illusion of choice, to use or not use the barre, is just that. We use it, have used it, before we even recognise we need it. At this speed, our body preempts our thinking, and the fine detail of caring for balance within a body is overthrown by the hand always getting there first. Using the barre depends on an artificiality that has nothing to do with a body standing on one or two feet.

Early last week I’d been watching Ballet Company Reality TV. Horribly awful and impossible to look away. I’d followed that with one of the most frustrating classes in a long time, and as usual when frustration and desperation meet, crazy, wild, revolutionary things happen: I took my hand off the barre. Faaark. Radical shit right there.

Seriously. I felt like a menace to society.

I’ve done it before too, recidivist that I am. When I first started dancing I experimented with it as a fast-track, quick-fix. It’s neither. And occasionally teachers mention in passing the benefits of not using the barre. Though not in a serious way, not in a, “Let’s fuck shit up right now! Take your hands off, youse!” More of a proposition no one was actually expected to commit to. Or if they do, then the barre itself, the class is changed, it’s a special “Barre without the barre” barre, and not simply doing the barre without holding onto it. If you get what I mean.

So I let go of the barre, what happened? Craaaazy shit! One of my life-long bad habits is holding superhero levels of tension in my shoulders. And I’ve had years of “Shoulders down, Frances!” blahdiblah only to work out it’s not the shoulders which are up, but my head which is down, retracted all turtle-like. Yanking on the barre only exacerbates this. The amount of tension you can put into your shoulders is only limited by how securely the barre is bolted down. You have two of the most opposite ends of your body, a hand and a foot holding on and wedge in for dear life while you wave the rest of your body around in the mad panic called ballet, and hell yes will your shoulder and neck do the job of battening the hatches.

And then you get into the centre, the bit of the class without the barre and first thing expected of your body is to do dead slow shit on one leg. Shoulder and neck are all, “We live for this shit!” But they don’t. Cos there’s nothing for them to hold on to. You’ve spent 45 minutes diligently training yourself out of your body, out of coordination, out of balance and all the rest, and now you’re gonna turn it all on? Nope. A whole body’s worth of uselessness, and simply “not doing” that isn’t going to magically transport you into the necessary physical state. And what kind of caricature is all roid-raged in their neck and shoulders? The scary, uptight type. It’s a two-way street. Just as much as stress builds up in this location, so does tension there set off all kinds of emotional and mental bollocks. It’s exhausting stuff.

Last night I watched the Royal Ballet taking company class, and the barre was mentioned, as a device that enables the dancers to concentrate on the accuracy of their feet and legwork. They’re all fucking amazing so probably all isn’t really applicable to dancing at that level, but it occurred to me that the barre exercises in themselves—and not the aid of the barre—prepare that physical accuracy, the balance, control, coordination, strength, mental and emotional states, so when you get to the centre you’ve already done the basic work and you’ve already been dancing for 45 minutes with yourself, so things like that first adagio make sense as a coherent, logical progression, and not a bizarre leap from one physiological state to another.

This is just my experience of not using the barre: I have to rely on myself, through the pliés, tendus, all those little steps, my body has to discover how it balances and stands, where to hold and where to release, how my weight shifts forward and back, side to side, where my ribs are, how my spine assembles and rights itself. Without the noise of tension in shoulders and neck that comes from the deceptive security of holding onto something, there’s far more to hear within. My body sways far more, probably excessively right now as it adapts to this new regime, seems to work harder, or have more demanded of it, yet remains calmer and recovers from exertion quicker. Ballet forms itself more easily from this state, things like turnout result from this, or are more understandable within the physical logic of the system, rather than being something we—or I—do. Movement that often thwarts me in the centre comes together, patchily for sure at the moment, but inevitably also. Speed is sometimes not possible; at other times almost too easy. Things, by which I mean chronic injuries I’m still getting over, nag less, I think because the barre aids in going too far in movement, and not far enough in maintaining balance, causing overloading or counterbalance compensation stress and tension. It becomes a constant, personal experience of balance and movement. Tough also, definitely the toughest thing I’m doing right now, harder than climbing and cyclocross. Sort of a meditation, maybe because without the barre ballet is easier for me to see as a mental discipline.

An addendum: All this is part of a question of why do I keep dancing, for which I think the only real answer is: because I love it. It’s a question for which that answer is insufficient, particularly while getting older. It’s tied up in that word, ‘keep.’ Keep dancing. Keep doing ballet, when most professional ballet dancers have retired by my age and most professional dancers don’t really commit to the regularity and discipline of class either. Keep putting myself into a physiological state far from the everyday. Why? For what? Again an insufficient answer: for the thing itself. For whatever other reason, I continue doing ballet because it’s not finished with me yet.

On Training (Ballet, Cyclocross, & Some Philosophy)

While working with Isabelle on Fugen, we talked a lot about training. The work itself was concerned with training, the space between training and performance, whether training could be performed (or presented as performance). During rehearsals, I would mention things from my own diverse loves—cyclocross, climbing, of course ballet, dancing, movement—she from hers—again ballet, as a thing from her history, but mostly from Aikido and Ki Concepts (translating that loosely here as things in the realm of Qi Gong, Tai Qi, Shiatsu). We would train together as a warmup (not so much in this rehearsal compared to previous), I would add things from her training to my own, now an incoherent mass of yoga, Pilates, Qi Gong, stretching and strengthening from various physiotherapists … things I do.

Particularly with getting older, injury prevention, rehabilitation, general corporeal maintenance, training—a thing I do most days—preoccupies me. It’s a subject I talk about with friends often. Dasniya and I have made it an endless discussion over the last years. I’ve been wondering, particularly the last few weeks, why it’s not something I’ve been writing about, or at least writing here about it, that thing I do, which I seem to have given my life to.

Earlier this year, after returning to Berlin from my east and south wanderings, I returned to ballet. The previous years had been a cycle of chronic injuries, torn meniscus, patellofemoral pain syndrome, ankle sprains and tendonitis, hip and lower back problems, to the point where I wondered if I’d even be walking in the next decade. This is not however a positive tale of surmounting injury, though it did start with simple questions around injury: How can I get through a ballet class? How can I keep doing class regularly? Is it realistic for me to imagine still dancing, still training for decades?

What comes from these questions I’m not sure I can call answers. Let’s just say the only ‘answer’ of comparable length to the question is: There’s no one, single way. And that’s a banal pile of duh right there. This is practical shit I’m dealing with here, not that kind of vapid platitude. Another couple of questions then: Why ballet? Also, why cyclocross and climbing? And what happened to doing yoga every day?

Well, yoga was causing injuries, floppy loose joints and all, so I’m kinda iffy on it lately. Cyclocross, because it means I get to scuff through forests in the morning (when I live in Wedding), which is one of the greatest pleasures in life, especially on a bike—and cyclocross is one of those weird, dorky sports (it’s the Belgian and Dutch national sport, y’know) that doesn’t quite make sense when you try and explain it to people: “Yeah, it’s like cross-country running, on a bike that looks like a road racing bike … in the mud … in winter …” Climbing, because it feels good, also because it wasn’t dance and was the one thing I’d do and never analyse.

As for ballet, which I’ve over-analysed since the start, partly it’s the love of the form—I mean here of the training form, the process through the hour and an half of a class which has become something of a meditation. From a purely physical aspect, it’s the one thing of all that I’ve done which keeps me together, yet doesn’t introduce its own liabilities (predictable ballet injuries aside). It’s physically and psychologically challenging every single time, its complexity possibly endless.

This is not the time to have a discussion about how ballet is seen in contemporary dance, beyond to say there’s a discipline in ballet which fits my thinking, and while there was no question I’d ever be a professional ballet dancer, as a professional dancer I’ve found it indispensable for keeping my shoddy array of limbs in order. The muscularity, sweat, intensity, toughness, all also appeal, as does finding calmness and a kind of detachment, like meditation, in this. Ballet has this delicate precariousness, what works this time might not the next. It’s a function of the complexity of organising a body while moving in this way, or in any discipline which demands an acute opposition to entropy. For me, it’s this that keeps me returning, that there’s more to be discovered, that it’s not a single path to unattainable perfection, in fact ultimately it’s not about perfection at all. It’s a process, one where the part of the body which thinks in words is mostly along for the ride.

And having written this I realise I’ve said almost nothing of consequence about training, dancing, getting older, living like this.

BertaSite Bright Block

For a while I tried bouldering on a gorgeous strip of dressed stone wall in Iranische Str. The stink of piss in the corner, dog shit everywhere, occasional human shit and general skankiness triumphed over my desire to start climbing again, even with occasional visits to various Kletterhallen. Berlin, sandy, flat is not a city for climbers.

About a year ago I made a new effort, and discovered a whole bouldering hall had grown itself barely 15 minutes bike ride from the Uferhallen: Berta Block. I went there about once a week in spring last year, then again in December. That, and Jungfernheide around Flughafen Tegel (ok, and Friday’s market with fresh lamb and smoked fish) are big reasons for living in Wedding. Over the other side of town, south of the Spree in Kreuzberg, it’s a little slim on forests. Climbing though. another 15 minute bike ride and there’s Bright Site. I’ve been there a few times now, and seeing as I haven’t written on climbing in a long time, here we go.

There’s another climbing hall in Wedding, much closer, which I only went to twice, kinda unfriendly and charges for climbing by the hour (lol, whut? I know!), and the bouldering was uninspiring. Berta Block though, and this played a large part in getting me along in the first place, costs a measly 6€ if you get there before 1pm. Me, fitting in my training in the morning thought that was well tasty. Bright Site, which I thought was 9€ across the day (same as Berta’s standard) turned out to also have the cheapies when I arrived earlier in the week (and it opens an hour before Berta, at 10am. I know! Awesome!)

I was biking home thinking about both places, and comparing them, so this is something of that, what’s similar, what’s different, what I like (well, 6€ morning bouldering in excellent local halls is what I like). Berta is around twice as big, and twice as high, though the walls are only slightly higher. Bright on the other hand has massive windows running the length of both long sides on its first floor home. Both have cafés and stretching/yoga/training areas, Berta’s upstairs on a mezzanine (Bright might also have a second area downstairs at the far end of the café. I haven’t properly looked). Both have music nights, competitions, training evenings, tend to be full of families with small kids on the weekends (less so for Bright in the week mornings), and have a pretty similar feeling, enough that I could imagine them to be connected.

So what’s different? Bertha also has more routes, not just because of the extra square metres, they have swimming pools full of holds, and most walls have a few to several routes overlaying each other. The actual climbing feels significantly different, which the blisters and flappers on my fingers from Bright seems to prove. I think Bright is much more bouldery in route construction, often with those weird final or crux moves that are either psychologically tough, dynamic, awkward, or otherwise unusual. Bertha feels often like sections from longer climbs, where the entire route is in one style, fingery, slopers, laybacks, balancey, but not often going from one to the other, and only psychologically unsettling within that, which has led to regular What the Fuck moments at Bright I haven’t had since climbing in China.

Bright is also physically harder on hands (except for the fingery vertical stuff), and the colour-coded grading feels more spaced and sometimes erratic. Berta uses the Fontainebleau (numeric) grading and seems to have more variety of easier and mid climbs, though that might also be my current state of climbing improficiency.

What else? Well, entirely subjectively, the music is better in Bright. I’ve heard the usual generic beats at both, but at Bright everything from classical western to classical Indian to American folk. Both are almost completely absent of broulderers, plus a lot of women in both (and families and ankle-biters), which might just be a local thing, I dunno, but it’s kinda nice. And yeah, both are super-friendly.

I’m a long way from climbing like I used to, and do miss the millimetre edges of my old railway bridges in Balaclava, but both these places have reminded me how much I love climbing, the pleasure and calm it brings, attached to the world by fingertips and toes alone. It was always the one thing I never thought about too much, analytically or otherwise, the way I have with all things around dance; it’s just something I do, which I missed these last years with no regular, nearby place to go. So, yay to both Bertablock and Bright Site!

Yes, many things to blog …

Since returning from Zürich, I’ve mostly been embedded in Final Cut Pro X, turning four very different performances of Mars Attacks! into something approximating a single version. It’s not the kind of work that can be said to have one authoritative performance, but the video as document will become that de facto. Much forgetting of old versions of Final Cut also, as the X release is so different it’s just a hinderance to dredge up memories of how it works.

And, buying of cycling gear, so now I look the part when I go careening through the forest at speeds best not thinking about the consequences of a rapid stop with. I found a very nice pair of cycling glasses that dim when exposed to UV light – photochromic lenses! Also amazing how little I squint when the glare is cut out, and how delightful the absence of insects in my eyes is. I am enjoying cyclocross very, very much lately.

Also climbing, with the discovery earlier this year (I think) of a bouldering hall of massive size a mere 10 minute lazy bike ride away. My climbing ability has plummeted – it was never especially good on indoor holds which tend to the overhung; far from my preference of thin, balance-y edges on large amounts of vertical granite. Still, it’s incredibly inexpensive, and it’s delightful to be regularly hauling myself up stuff.

And reading! Which I was most lazy with this year, being distracted by the internet and other things, and my late-evening focus too scatty and distracted to apply itself to even medium stretches of reading. I have many good books though I’ve been enjoying lately, which shall appear here soon-ish.

And! Once more working with Das Helmi, this time for the Dahlem Museum (ha! all my museum-ing turns out to be for a purpose!): a project on Adrian Jacobsen, who went to Northern Canada and Alaska in the 1880’s and acquired a vast number of artefacts from the Eskimos, Aleut, Yupik, and Inuit. It seems to have percolated memories of things I learned in Canada … it’s an unexpected direction for me, reading beyond a cursory level on the First Nations in the North, and a fascinating one also, not the least because mountains, snow, and glaciers everywhere.

And! Rehearsing with Dasniya for a performance in Heppenheim in July!

Which is not all that’s going on, but I think that’s enough for the moment. And I shall endeavour to blog with consistency in the coming weeks also.

Reading: Michel Serres — Variations on the Body (trans. Randolph Burks)

Michel Serres is probably my favourite philosopher. Of the crop of post-68ers, Deleuze, Foucault, Derrida, all the names that are almost compulsory to be able to at least nod knowingly about if one wants to seem relevant in the contemporary dance milieu (to speak nothing of elsewhere) he goes strangely unmentioned. Possibly it’s changed in the last few years, but it was for me only by hanging out with some philosophers in Auckland and Melbourne who were dead keen on Serres that I know of him at all, as I am pretty certain I’ve not come across him otherwise, or not in a way that I can pin down as notable.

It’s because he wrote on dance, specifically ballet, that think so highly of him. Or perhaps it’s because when I first encountered him he wrote so beautifully, so poetically, so unlike every other philosopher, sometimes incomprehensibly (though never in the way that say, Derrida or Lacan did). I photocopied all the books of his I could find in the University library: The ParasiteRome: The Book of Foundations, Hermes: Literature, Science, Philosophy, of course Genesis … his brilliant essay Gnomon: The Beginnings of Geometry in Greece in A History of Scientific Thought: Elements of a HIstory of Science (along with every other essay in there, especially Catherine Goldstein’s Stories of the Circle), photocopied because otherwise impossibly expensive. Even by the affordable prices of Germany, I can seldom afford what translations exist of his work: Variations on the Body caused me to wince and look the other way when I handed over the cash, and it’s tiny, a mere 162 pages. Beautifully bound and presented though, which honestly makes up for a lot for me when it comes to buying academic-ish texts; it’s really a book to hold and enjoy the tactile pleasure of the embossed cover and heavy paper.

This translation then, by Randolph Burks (member of the Unemployed Philosophers’ Guild: The Lens Grinders) I have in two versions: latterly this printed one, an actual book; formerly a pdf which I think I snagged on the most excellent blog devoted to Serres. Same translation, different work. The French version is lavishly illustrated, something of a habit for Serres (Angels: A Modern Myth, for example). The English translation in book form is entirely bereft of illustrations, a compromise to getting it printed at all, which likely indicates the relative popularity of Serres compared to other French philosophers. The illustrations and photographs are not careless decoration, so the printed translation actually is substantially a lesser work, despite the work of Burks, who I think – based on the other translations I’ve read – makes me feel like I’m reading Serres without a go-between.

Serres does have his problems: there’s a distinct heterosexual male perspective in both his choice of words and choice of metaphors, similes, examples, which if nothing else shows his age (83, born in 1930), and Variations on the Body, with long sections devoted to romanticising mountaineering as an understanding of the philosophy of the body seems prone to this more than others. Ah, but it’s beautiful, it’s really not frequent for philosophy to make me smile with joy, but Serres, he does it all too often. He sometimes writes in a way which reminds me quite a bit of Chuang Tzu’s The Inner Chapters. So I’m enjoying this book immensely and think I will take seriously my desire to go on a Serres bender.

Michel Serres — Variations on the Body (trans. Randolph Burks)
Michel Serres — Variations on the Body (trans. Randolph Burks)

Reading: Elizabeth Bear — Shoggoths in Bloom

Elizabeth Bear is a writer I’ve heard about for some years, possibly from the attention she received for the short story, Shoggoths in Bloom, which won the Hugo in 2009. At any rate, a name that’s reasonably pervasive in the skiffy/fantasy world. Possibly for that reason – because of the high frequency of disappointment I experience reading authors who are hyped – I’d avoided her till now. Actually I have something of an unconscious self-regulating ‘Do Not Purchase’ protocol when it comes to authors who are receiving a little too much breathless and enthusiastic praise, so it says something about the author that I’d bypassed said protocol and slapped down lazily-earned euros for this collection of short stories.

Once again, Saladin Ahmed is to blame; once again by way of the Fearsome Journeys anthology. Bear’s story, The Ghost Makers was one of at least four that caused me no end of curiousness about the authors and a visit to my regular bookshop. I was somewhat reluctant when I reached her story, I’m really not sure why, possibly I’ve picked up books of hers in the past and given the first pages a whirl then put them back down. Turned out to be rather good.

The third then, from the anthology, after K. J. Parker, and Scott Lynch (slipping in my reading blogging here, three books at least I haven’t gotten to yet). Stories that go from fantasy to near-ish future sci-fi to speculative history, none of which so far follow the deeply worn standard path of any of them. It’s a very good thing I can read fiction at such a frantic pace as I expect I’ll be reading more of her.

Elizabeth Bear — Shoggoths in Bloom
Elizabeth Bear — Shoggoths in Bloom