Wandering down a side street in Kraków Old Town, I see a Geological Museum. I knew there is a mineral museum somewhere. This wasn’t it. I was a little chafed at both museums housing the large mediæval art collections were closed for restoration, and having no real aim in mind and liking all things geo and tectonic, decided to go in. The archæological museum as well was directly around the corner.
It’s a really small museum, more of an exhibition, a room about 60 square metres. What it doesn’t have in size, the Muzeum Geologiczne makes up for with an utter lack of wasting of time. There was a really nice guy on the desk who gave me a folder for english translations of everything … everything, but wow if every museum took attention to detail like this one did. Information overload? Yes! And! “The rocks. You can touch, also.” Excitement!
A clarification, it’s a museum of the geologic history of Kraków and neighbourhood predominately, with some general Poland and Carpathians thrown in as required. It starts with a nice geologic map of the area and NS and WE cross-sections. Then it throws a wall-sized map of all the impact craters and other stuff that’s slammed into Poland from above.
The main room is split into three areas: the left wall with covering several geologic periods from Precambrian to Holocene, the right covering plate tectonics in the region (with some tasty photos of limestone cliffs), and the centre display cases of wood, plant, and shell fossils from the various epochs. Plus a monstrous cubic block of salt.
It’s brief, consistent, and comprehensive for such a small exhibition. Each period has a stratigraphic log, text explaining the different processes at work and the resulting rocks, minerals, landforms, samples of minerals, rocks, ore, crystals, all in a glass case, and then a few bits to pick up and turn over. It sounds a little dry but for me it wasn’t. Probably because it wasn’t 3 hours of room after room of this. It’s obviously been assembled by knowledgeable and passionate geologists, who don’t dumb down the information, yet also present it carefully and attractively. And yes, nicely lit. Actually, it needed about half a room more, to give more room for information to the fossil display cases and the geologic maps.
I wasn’t sure what to blog; I photographed almost everything. So, a few samples and minerals because it’s been a while since pretty invaded supernaut. And that block of crystal salt? It’s about the size of a small person. (And some of the translations I did myself as the fossils weren’t translated in the folder.)
It turns out I’ve been blogging about reading for around 2/3 the age of supernaut. It still feels like something I’ve only recently begun. This year I’d taken a slight pause from my intense reading bouts, so in part this is a reminder of what I read in the last 12 months, that I was reading, and what I thought then and now.
Yes, I’ve read less than last year, 40-ish books compared to last year’s 54-ish. This has been obvious to me in recent months with my pile being added to but not depleted, not so much reading as chiseling away. Anyway, no more blathering. The books:
The non-fiction, serious stuff:
Half of what I read was superb. When I was performing in Parsifal, I got to read William Kinderman’s Wagner’s Parsifal, a glorious book, which made me love and appreciate the opera even more. I paired that with Dayal Patterson’s equally magnificent Black Metal: Evolution of the Cult, a must-read for anyone interested in the history of the genre, and it supplied me with a mass of new listening. It was on my Book of the Year list until shunted off by a couple of exceptional works. Michel Serres’s was not one of those, but Variations on the Body is a beautiful, poetic work by one of Europe’s most profound and little-read philosophers, who understands corporeality in a way largely lacking in western philosophy.
Adam Minter writing on the recycling business in Junkyard Planet: Travels in the Billion Dollar Trash Trade is a book I’d recommend to pretty much anyone (being aware that much of what I read falls into the WTF? category), and he’s a rare, smart writer on the subject, presenting it in a way non-specialists can understand and enjoy, also a needed critical voice in the global trash industry and China’s role in it.
Another from China: Frank Dikötter is one of my favourite writers on 20th century China, and I’d been waiting for The Tragedy of Liberation: A History of the Chinese Revolution 1945-1957. I’d been interested in this period because of stories a friend in Guangzhou would tell me about her Tujia grandparents holding out for years in the mountains against Communists. I’d also been waiting for Liao Yiwu’s prison years autobiography, available in German for a year, For a Song and a Hundred Songs: A Poet’s Journey through a Chinese Prison System. There is hype around post-’89 Chinese writers, particularly the Beijing and Shanghai urban youth genre. I’ve yet to find a writer of that generation as good as Liao, and as necessary to read. All of his works are unparalleled documentaries.
Finally, there was Julia Serano, her sequel to Whipping Girl: Excluded: Making Feminist and Queer Movements More Inclusive. It’s odd to leave this off the Book of the Year list, as it’s undeniably a critical work and Serano is up with bell hooks and Judith Butler (among others) for her writing on feminism, trans, and queer politics and culture. She needs to be read; buy it and read it.
The reason why Serano got bumped is Afsaneh Najmabadi, whose Women with Mustaches and Men without Beards: Gender and Sexual Anxieties of Iranian Modernity was one of my Books of the Year last year. I heard about Professing Selves: Transsexuality and Same-Sex Desire in Contemporary Iran late last year and waited months for it. Considering the amount of attention works on trans people (particularly trans women) received in the last year, it’s baffling that Najmabadi goes largely unmentioned. For those engaged in this subject with no interest in Iran specifically, her documenting of the influence in Iran of Euro-Anglo-American ebbs and flows of political, social, medical, legal thought and practice on trans issues and identities is sufficient to make this required reading. Iran though is the dog that’s beaten irrespective of context, and successive Ayatollahs since the ’70s issuing Fatawa recognising trans people as legitimate and in need of help is presented in the west rather as the despotic Islamic dictatorship forcing sex reassignment on unwilling gays and lesbians. As with Excluded, buy it and read it.
Then there was H. Jay Melosh’s Planetary Surface Processes, which Emily Lakdawalla wrote about on The Planetary Society. Along with last year’s Colliding Continents: A Geological Exploration of the Himalaya, Karakoram, & Tibet, this one fills my need to look at massive contusions of granite and other rock. There’s a moderate number of formulae, and regular plunges into elucidations of those, placing this somewhere in general university-level and reference book. It is specific and not a casual read, and it’s the one book you want on the subject. Sometime soon I’ll pair it with one on planetary chemistry.
I read less fiction in the last year, and tried new authors, some of whom I absolutely loved and are firmly helping me get over the absence of Iain Banks. Others … others who everything indicates I should love instead leave me cold, or worse, finding them actually not very good.
Let’s dispense with The Water Margin first. The second volume of five of John Dent-Young and Alan Dent-Young’s translation of Shi Nai’an and Luo Guanzhong: The Tiger Killers: Part Two of the Marshes of Mount Liang. This has to go on my list similarly as I have to have breakfast. Even if I read a hundred superior books, it would still be here. Some books are like that, you may never read them but they’re always around. The Water Margin is—as I keep saying—China’s Chaucer and The Canterbury Tales, or Marlowe’s riotous plays. I’d compare it to Shakespeare but it’s not equivalent: it’s bawdy, rough, uncouth characters and stories, and the writing itself is nearer the former two. Given its miraculous ability for genius turns of phrase, it’s perhaps comparable to Shakespeare for his wordsmithery. The Dent-Young’s translation is my favourite of the lot also, though the price per volume certainly isn’t.
Then there’s Ysabeau S. Wilce, who I discovered mid-this year, ordered the first of the Flora Segunda trilogy, promptly ordered the other two when barely past the first chapter. Flora Segunda: Being the Magickal Mishaps of a Girl of Spirit, Her Glass-Gazing Sidekick, Two Ominous Butlers (One Blue), a House with Eleven Thousand Rooms, and a Red Dog. Yes, that’s the title. Children’s book indeed. Would that some of the adult authors I read be capable of imagining and telling a story as this. I loved all three, though the first the most. It seems to me in trilogies where the protagonist starts almost from nothing, that the first part establishes the significant growth, and the remaining two are more working with what they’ve already learnt (the Matrix and Star Wars trilogies, for example), and it may be unreasonable to be irritated by this, but it does—books two and three are still wonderful and had I only read either of them I’d be frothing as I do over book one. It’s not in the same league as the two big ones below, but I did love the world and characters.
Another new author was K. J. Parker, who has written quite a bit. It was The Folding Knife that piqued my interest, and I enjoyed it enough that it gets a second mention here.
I almost forgot Imogen Binnie’s Nevada, neither sci-fi nor fantasy, something of an autobiography, a little like reading my own life, rough, punk and trouble. The ending I hated, but the rest, she deserves awards for this and to be read a fuck-ton load.
The two big ones then, and colossal they are.
One the Skiffy side, channelling Iain M. Banks: Ann Leckie’s Ancillary Justice; and on the Mediæval Fiction side (I keep imagining her and Caroline Walker Bynum together in a bar): Nicola Griffith’s Hild.
Buy these books. Read these books. These are incomparably the best sci-fi/fantasy of 2014. If you’re swayed by other’s opinions, between them, they’ve won or been nominated for more awards than I have fingers and toes. Both of them have my favourite covers of the year. Honestly, if you don’t like either you should give up reading; books are wasted on you.
I cannot say enough good things about either of these two books and their authors. It’s an extraordinary time for sci-fi and fantasy with writers like Griffith and Leckie. It’s unlikely I’ll ever have an experience like my reintroduction to sci-fi via Iain Banks a few years ago, but to utterly give myself over to the author and story as with these two and to be rewarded for that is beyond compare.
An aside: you may notice that many of the writers are female. It’s intentional. A while ago, I decided to put my money where my feminist mouth is. This is easier in fiction because the two genres I read, sci-fi and fantasy have many talented female writers and the genres are going through a renaissance due to these and non-white, non-western, non-straight authors (and a definite shift by the publishing industry to promote them). It’s brilliant. In non-fiction, it’s not so easy. In part this is because I want to read particular authors; in part particular subjects that are dominated by white male authors in the english language sphere. I consciously balance these two biases by seeking out and selecting female authors, and when it comes to a choice I’ll put the female author first. The result of my extraordinary and hegemonic discrimination is that the first twenty books on my wish list are split almost 50/50 between male and female authors.
There follows two salient points: first, on any subject or genre, despite their being anywhere from an abundance of quality women writers all the way down to an equal number as there are men, by comparison it requires sustained effort to find them. Secondly, women writers—or at least the ones I read—tend to take for granted aspects of society that male writers mostly consider irrelevant. (This is my “Easy A vs. Superbad” theory.) Not only do women authors tend to not make assumptions based on contemporary, western ideas of gender, desire, ethnicity in society, they also regard these subjects as self-evidently present even if not immediately obvious and therefore critical to a proper understanding of the subject (or, as my wont, deserving of entire books on their own). Male writers on the other hand far too often see the world in terms of a narrow heterosexual and mono-cultural construction where men are doing all the important stuff.
This to me is the fundamental point in arguing for proper representation: it is simply not possible to otherwise understand a subject or imagine a world. And given that there has been prolonged underrepresentation, it follows that what is claimed to known on a subject can be reasonably said to be seriously lacking at best and likely suspect unless it can demonstrate adequate representation.
Another year done, then. More shelves filled. More new, superb authors whom I’m able to enjoy because of the fortunate combination of being able to read, living somewhere I can make time to read, and where books are affordable and commonplace. So (as I said last year) here’s to the writers, and their publishers and proofreaders and editors and typesetters and designers and artists and agents and friends and families who make it possible for them to write so that I may read.
Another Sunday and my first Berlin museum for the year. I’ve been remiss. Since before Bologna, I’d planned for my next museum visit to be the Museum für Naturkunde, or to give it its full title, Museum für Naturkunde — Leibniz-Institut für Evolutions- und Biodiversitätsforschung an der Humboldt-Universität zu Berlin, otherwise more succinctly known as the Naturkundemuseum. Sunday probably isn’t the most clever choice for a day to go there, packed to the atrium’s glass ceiling with kids going bonkers and their attendant families, causing the building to ring and vibrate in sympathy.
First stop once bag and impedimenta were dumped is the audio guide booth. Free! In English also! And a special version for kids 6 and older. I feel somewhat like a nouveau dilettante with my appreciation for audio guides, partly, “What use can this guide be? To me?” and quite a lot, “Excellent! Audio Guide!” The Naturkundemuseum falls so entirely into the latter it goes on to previously untravelled regions of brilliance, so much so that I had to dispense with it in some rooms if I wanted to leave the museum the same day — and that even before I pushed the ‘more info’ button, available in addition for around a third of the audio items. As an illustration, it took more than a hour to get around the first World of Dinosaurs room even missing a couple of the audio accompaniments.
Dinosaurs! The Giraffatitan brancai (which I have in my head from childhood undifferentiatedly for all such Sauropods as Brontosaurus) or Brachiosaurus brancai, is exactly Giraffe-ish, or Elephant with Giraffe neck stuck on each end, the forward one with the head about 13 meters above. The audio guide said there is some hypothesis based on the skull shape it may have also had an Elephant’s trunk. All that plus feathers sounds indeed preposterous, though it was only a couple of decades ago the entire skeleton was revised, giving it an entirely different appearance, so perhaps not.
Masses of fossils from the 150 million year old Tendaguru Formation in Tanzania surround these giants, acquired from when Tanzania was known as German East Africa, which is something that always taints museums for me, the circumstances under which such exhibits were obtained and the complete lack of acknowledgement of them. Nonetheless, Pterodactyls! Including the incredibly famous Archaeopteryx, which I forgot to photograph and like the Mona Lisa is far smaller than one would imagine.
Making it out of Dinosaur land (after the beautiful Kentrosaurus aethiopicus), I arrive in System Erde, great pieces of Gniess, Granite, and other high-pressure metamorphic rock, volcanoes, black smokers, plate tectonics, and Chicxulub, or more generally, Earth getting the buggery whacked out of it by cataclysmically huge meteorites. There are a couple of large shatter cones also, as well as a map of Germany showing the Nördlinger Ries impact crater.
From there, I wandered into the vast room of Evolution in Aktion, confronted first by the two-storey high and around ten metre wide Biodiversitätswand, around where I heard an innocent young thing ask, ”Daddy, where do they get all the animals?” and the panicked scramble for a reply that wouldn’t cause an Outside Context Problem, “Well … people … probably give them to the museum … when they’ve died …” It was beautiful and horrific. On the glass wall forward of a Black Panther that blended tail-wards into a Leopard spots (possibly a melaninistic Black Leopard) it said, “As an optically oriented species, humans are trained to recognise visual differences as edges. This is sometimes a trick of nature, since not everything that looks different really is something different.”
I paused on the audio guide around here, it was simply too full of people, and facing several more unknown rooms, I decided to accelerate. One of the grand stairwells has had its height made use of for the Kosmos und Sonnensystem exhibition, with a video of the formation of the universe playing far above for the lucky ones lying on the very comfortable looking circular sofa below. Planets, yes. Much better is a superb collection of meteorites. Part-way up the first flight of stairs is a display of Meteorite classification, Chondrites, iron meteorites; the next landing has a display of meteorites that have pockmarked Germany.
Here things got disorganised. Parts of the museum are closed for repairs and rebuilding. This breaks the circular progress through the museum, instead it becomes a retracing of one’s steps before continuing, then doubling back again. I doubled back and landed in the Mineraliensaal.
Oh, this is beautiful! It’s huge, vast high ceiling, scores of metres long and a dozen wide, full of vertical cabinets interspersed with display tables all, all of them stuffed to the gullets with mineral samples. It’s like an entire, living ecosystem in itself, representing some 75% of the world’s known minerals. I could have really remained in here for a whole day alone. Unlike the other exhibitions though, this one is decidedly 19th Century in form, simply those endless cases with tiny labels and no context, no audio guide. I do though prefer that in this instance, as the alternative would likely be a drastically reduced selection, rather than several rooms of this size each deliriously full and sumptuously arranged. I’m pretty sure I’ll be going back just to spend a day in this room.
On to the Wet Collections, the Alkohol-Forschungssammlungen, another two-storey high hall, this time full of eerily glowing glass receptacles fixing amphibians, fish, mammals, spiders … it’s the stuff of horrors for me. It’s also only viewable from the outside circuit, so I took off to the Einheimische Tiere exhibition, also dead animals, taxidermied, rather than preserved. I liked the Nebelkrähe — the Hooded Crow — because there is a large gang of them in Uferstr, and it looked a little sad, lost, and underdressed in the museum next to all the ~geiers, hawks and other splendid aviators.
I was getting tired by now, so the bird section was somewhat perfunctory. I stopped by the Museum shop on the way out. They had Jared Diamond’s The World Until Yesterday on the shelves, which caused me to doubt the seriousness of their (the Museum’s) engagement with its public; it’s almost like giving genuine consideration to Intelligent Design. They did have nice breakfast bowls with Archaeopteryx on them, and besides the bizarre inclusion of Diamond, quite a few books I’d throw Euros at.
So, Museum für Naturkunde! Go on a non-weekend day (though week days are probably rife with school groups); use the audio guide, I think it’s the best I’ve heard; take supplies (there is no café at present); go early and leave late; go again, it’s a little uneven with the renovations and it’s not the American Museum of Natural History, but it’s bloody good, especially the minerals.
Finishing my triumvirate of Elysium Cycle novels, Joan Slonczewski’s The Children Star is the last but two of her books I’ve yet to read, though of those two, one is Microbiology – An Evolving Science for university students and I suspect I would enjoy it in the way a Magpie enjoys shiny things, if I could even afford it.
After Daughter of Elysium, I was desperately hoping for something substantial and compelling in this novel, as the former unfortunately is one of the least memorable science-fiction works I’ve read. As usual, my intent to write this before I begin reading has been thwarted, so I shall reveal that firstly, it’s pretty good, and (without having read The Wall Around Eden to be sure) it marks the beginning of Joan’s delicious weirdness in imagining alien microbial sentience, and secondly, I think I’ve met these microbes before.
The second of the three I acquired of Joan Slonczewski last Friday, Daughter of Elysium follows on from A Door into Ocean, but some thousand years or more later. Why am I reading it? Because it’s Joan of course.
And yes, these aren’t reviews, but I’m around half-way through, and somewhat disappointed. There is a particular quality in her writing that even in her best works feels somewhat unclear, as though she knows the story she is telling perfectly, but it doesn’t quite make it to the page. In her works that succeed, this is merely a background hint, but in Daughter of Elysium, it’s unfortunately very clear.
Perhaps it’s a mix of characters being too archetypal, and so failing to act outside these roles; at other times it’s their behaviour, for which I feel strangely excluded from their motivation. Also too, despite drawing elegantly from microbiology and genetics, the gap of nearly twenty years shows. Perhaps this is an unfair criticism, as writing genuine science-fiction – that is, fiction which bases itself on plausible science – is the hardest genre to not become hopelessly, laughably old-fashioned or completely wrong in. Altogether this creates the uncanny air of reading something that doesn’t seem all that creative or inspired.
Not to worry, still only half-way, with another one yet unread, and it’s always worthwhile reading an author’s problem children. (And I still have a daunting pile of Cantonese and Chinese history to get through …)
Last night was a rather interesting experience for me that I’m not going to blog about, but certainly has much in common with what I was writing about Felix Ruchert a couple of days ago. So instead I’m saying nothing and forcing my morning’s reading – plus a few favourites from the course of the week – on you.
Switzerland invades Lichtenstein. So much for neutrality and all, but the best line goes to Interior Ministry spokesman Markus Amman who said, “It’s not like they stormed over here with attack helicopters or something.”
Astrono-porn from STEREO-B, planetary astronomy is making me crazy at the moment. Yes it’s a solar eclipse, but one that has never been seen before and can never be seen from Earth: the moon transiting the sun seen from about 1 million miles from earth, and super-awesome video too.
Mutant Palm has been posting again and is one of the most erudite writers on Chinese history. His piece on The Art of Chinese Astronomical Technology is a wonder of mathematics, calendars, observatories, oracle bones, a 2000 year old earthquake detector, Muslim astronomers and Jesuit priests.
This is from the start of the year but I missed it then, we make money not art interviewed Art Orienté Objet, a French duo who do disturbing and beautiful things somewhere between biotechnology, vivisection and art.