Happy birthday, Matt Damon

It was a great day to be born, Mister Hunting!

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Kill your Buddha

I try not to too often use this soapbox as a dispensary for artistic advice (my good friend Robin K. has that all sewn up for writers over at More Ink and for visual artists at Ink and Alchemy).

But I’m nothing but willing to break my own rules, particularly when stimulated to do so. At the moment I’m under the sway of two unrelated bits of stimuli: just read a fascinating yet chuckle-worthy article at Cracked.com called 5 Famous Writers With Flaws Everyone Tries To Ignore. It’s an eye-opener.

Second is a book I’m currently reading—Killing the Buddha: A Heretic’s Bible. That title, and the mindset it’s given me, deserves a bit of explanation. It comes from an old Buddhist adage that goes something like this: “If you meet the Buddha on the road, you must kill him.” Which sounds strangely deicidal, and is doubly strange since Buddhism is essentially a religion without godhead.

No, what the sages are telling you is that hero-worship stands firmly in the way of enlightenment. It means that you might admire Buddha (or whomever) but too much uncritical admiration is self-destructive. The only defense against that is hero-murder. So if you meet your hero on the road, you must kill him (preferably symbolically).

The Cracked article, for its part, did some good hero-deflating of icons like Dickens, Orwell, even good old Willy Shakes.

But they missed one of my personal Buddhas. So for the sake of my own enlightenment, or at least for my growth as a writer, I’m going to enumerate a couple of the flaws that have always irked me about the writing of Ernest Hemingway.

I’ve written here about Hemingway once or twice, but for some reason (see “hero worship,” above) I’ve never pointed out what I now realize are real problems with his body of work….

So let’s talk about characterization. Ernest Hemingway was more than capable of crafting truly complex, layered, and very human characters…but only as long as they were white men who reminded him of himself. So a Hemingway character who happened to be a two-fisted unflinching manly man, accustomed to handling adversity without so much as a whimper, was written with the aplomb one might expect from a Pulitzer and Nobel Prize winner. By way of example I’d offer up Nick Adams, Jake Barnes, Harry Morgan, Frederic Henry, Robert Jordan, and others too numerous to mention.

But women? Hemingway famously didn’t have much respect for women; read any of his biographies and you’ll quickly come to suspect he had some thorny mommy issues. In his writing, with some notable exceptions, women are thinly constructed, weak-willed caricatures. They swoon, they’re indecisive, they’re lost without those strong men. For each of the male examples cited above, from his major novels like For Whom The Bell Tolls, The Sun Also Rises, A Farewell To Arms, and To Have And Have Not, the female lead characters are (this kills me to say) badly written.

And most egregiously, in my eyes, is Hemingway’s treatment of race. Actually, if I’m to kill this Buddha, I have to amend that: Hemingway was, far too often, gratuitously racist.

Was he a product of his times? Maybe, but it’s too easy to let him off the hook that way. He was famous in his time. By the age of forty he was pretty much understood to be one of the greatest living writers of fiction. He must have known that his writing would be studied and appreciated far beyond his lifetime. And he should have understood—if any part of your writing has to be someday explained away with, “Well, that’s just how people thought then,” then you have to change it.

I’m not going to go into a lot of detail here, because that’d force me to quote some lines that include ugly, despicable words and phrases that I’d just as soon let die. Suffice it to say that when Hemingway introduced a non-caucasian character (and that, shamefully, wasn’t often) he did so with slurs and stereotypes that served no lyrical purpose. They only seemed to serve his own prejudices. For me, that damned near ruins otherwise near-flawless books, including The Sun Also Rises and To Have And Have Not.

Let’s be clear. Hemingway deserved that Pulitzer. He probably deserved the Nobel (although that’s arguable, since its impetus was The Old Man And The Sea—not his best work). Hemingway was, is, and always shall be one of literature’s true masters of prose. Hell, his poetry ain’t bad either.

But he’s not quite the unassailable Buddha that I, and probably others, have set him up to be. So follow my lead: If you ever meet Ernest Hemingway on the road, sure, go ahead and tell him you admire him. Buy him a drink; he’d like that. Get him drunk and arm-wrestle him. He’d love it.

But then tell him this, and mean it: “You can’t mess with my head anymore, Ernie. I’ve already killed you.”

 

 

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Good grief, here we go

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One Term Ted

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Inside the Whitney’s I-You-We exhibition

It’s not often that a storied art collection like that of New York’s Whitney Museum gets up and changes address. But that’s exactly what’s going to happen in 2015, when the museum’s new downtown building is complete, and the Whitney bids farewell to Madison Avenue, its home since 1966.

As construction proceeds, the Whitney curators are in a unique position to reevaluate the breadth and depth of their collection, in the context of this historical uprooting. And they’re acting accordingly—with an ongoing series of retrospective exhibitions, intended to explore cultural messaging inherent in art…which sometimes only becomes obvious with the passage of time.

One such exhibition is the recently completed I-You-We, which reintroduced  art originally added to the Whitney collection in the eighties and nineties. Viewed now from a vantagepoint with two decades gone, we have to ask ourselves: Has the art changed? Or is it just us?

You be the judge:

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And best wishes and bountiful feng shui to the Whitney Museum in its new home.

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Gun Culture

There was a mass shooting the other day. You’ve probably heard about it.

But then again, we might be thinking of different events. One of us might be thinking of the Navy Yard, where thirteen people died. The other might be be thinking of Chicago—a three-year-old boy was among the eleven people shot there.

There have been on average one mass shooting per day, somewhere in America, in 2013. In each case some lives changed forever, in unimaginable ways. For each survivor, for the rest of their lives, there’ll be just one 2013 mass shooting that has real significance, and spawns ever-recurring nightmares.

That pattern will continue tomorrow, when gun violence flares again. And the day after. Most of those incidents will register barely a blip with most of us, no matter how life-changing they are for a few. One day, too soon, there will be yet another outsized, dreadful, unspeakable event. It’ll cut through the mental fog with which we ignore everyday violence. We’ll talk about it for a few days, alternatively brooding over it or empathizing, or trying to make it fit some agenda. And then for all but the most unlucky among us it will fade from memory. To make way, perhaps, for the inevitable next one.

Because there will be a next one. There always will be. America’s gun violence is an ingrained public safety problem that is prevented, politically and culturally, from being solved. It was woven into our national fabric from the very beginning. It’s a poisoned inter-generational legacy written into our foundational laws.

It’s almost a requirement, these days, for any self-professed American patriot to offer nothing but praise for the wisdom and foresight of our Founding Fathers. I try not to fetishize them, but I call myself a patriot and I am in awe of much of their work. That enlightened band of philandering patriarchs and self-excusing slave-holders did indeed formulate a radical but fundamentally promising new form of government. And they were far-seeing enough to build into it most of the flexibility needed so that the nation, and the nation’s government, could adapt and grow over time in response to and in pace with a changing world.

But they weren’t infallible. One of their most egregious mistakes comes in the form of one convoluted sentence, 27 words, which appear just after the blessed clause that grants unprecedented freedoms of speech, press, and assembly:

A well regulated militia being necessary to the security of a free state, the right of the people to keep and bear arms shall not be infringed.

The meaning and intent of the Second Amendment of the Bill of Rights is elusively obscure, even though it seems clear enough at first glance. From an eighteenth-century perspective, it probably was. The militia was, after all, the citizens’ primary bulwark against chaos. And with so much of the country untamed and close to the frontier, the right to keep and bear arms was usually a matter of survival. Infringing upon that might condemn a man, his family, perhaps nascent American democracy itself.

Where the Founders failed was in not foreseeing changes to those circumstances. They didn’t foresee modern-day population densities and the preeminence of cities. They didn’t guess how the gun would become far less a tool for citizens’ well-being, and much more a way for us to destroy ourselves.

Don’t get me wrong. I’m well aware that our nation doesn’t consist entirely of cities. I know there are still frontiers, shrunken though they may be, and that keeping and bearing arms in such places is a necessity. And I don’t issue a blanket accusation against all gun owners, wherever they dwell, that they’re culpable for the damage that gun violence is doing to our society.

The culpable ones are criminals and the criminally insane. They’re not a large population, not when compared to all the responsible and lawful gun-owners. But they’re so dangerous, and they’re killing so many of us, that inaction is inexcusable. Yet inaction is inevitable, because those maddeningly vague 27 words make it almost impossible to put the guns beyond the reach of the dangerous and the guilty.

Pragmatically, we’re stuck. Stuck with a deadly problem we don’t have the will to solve.

I don’t know why but when it comes to political and cultural change, I’m a pragmatist. I can’t even force idealism on myself. So even though ideally, I might imagine a cure for this problem…pragmatically, I can’t  entertain it. Because pragmatically I know that the constitutional tinkering and societal mind-shifting it would take to get the guns away from those who are dangerous (while protecting the rights of those who aren’t) cannot happen. Not for generations. Not soon enough to save thousands upon thousands of lives.

But we’re nothing without hope, and I hope we can find a way to help ourselves, with or without the aegis of law. I think it’s up to each of us, all of us, to enforce our own kinds of gun control. We have to have the will and the means to intervene, in whatever effective ways we can, to separate the guns from the people who aim to do harm with them. This calls for every law-abiding gun owner to go above and beyond the law in how they lock up their weapons, and in the precautions they take to keep them safe from those who have no business touching them. Might even call for some of us to voluntarily forgo gun ownership altogether, if we can’t be sure our guns won’t end up in unsafe hands.

That’s at best an incomplete solution, that at worst will mean far too many Americans will still die from gun violence every year. There’s a slim hope, though, that it could save some lives. And here in our gun culture, slim hopes will have to do, because they’re really all we have.

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Voyager 1: Earning its name

Voyager 1 is the ultimate Gen-X spacecraft. It grew up with us—launched in 1977, coming into its adolescence in the Eighties with storied fly-bys of the outer planets, then moving out, as it were, in the years and decades that followed.

It’s easy to forget that Voyager 1, and its twin, Voyager 2, are still out there. But they very much are—still faithfully carrying out their missions, and still phoning home. Actually, their official mission profiles ended in ’89, but the plutonium-powered crafts were still going strong, so NASA pointed them toward interstellar space and bid them farewell. Voyager 1 is now over 11 billion miles from home, with its communications taking more than 17 hours to reach earth.

Voyager 1 reached an historic milestone last month, finally confirmed by its transmitted telemetry. Its on-board instrumentation detected for the first time a sudden lack of nearby charged particles, which can only mean that it is no longer in the heliosphere.

Another way of saying that is, Voyager 1 is now the only known man-made object to exit our solar system.

You may or may not appreciate how momentous that is. Perhaps the following will bring it home: On two recent occasions, Voyager 1′s plasma sensors detected vibrations in the dense ionized gas of space. Although “sound,” as we understand it, requires an atmosphere for transmission, the plasma medium that carried these vibrations is a close enough substitute that the spacecraft was able to record it. I’ve embedded the recording below.

For the first time in your life—for the first time in the history of our species—you can listen to the (appropriately eerie) sounds of interstellar space:

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To glimpse a Van Gogh

Funny thing about Vincent Van Gogh‘s series of sunflower paintings. As a subject, they’re as synonymous with the artist as any could be. His self-portraits and his visions of starry nights are iconic, of course; when it comes to still-life, though, when one thinks of Van Gogh, one thinks of sunflowers.

But they nearly didn’t happen. He began painting sunflowers in earnest, in August, 1888. He’d planned on painting from life that week but fate intervened, by way of some models who simply didn’t show up on time. Struck by the muse and eager to put pigment to canvas, Van Gogh cut some locally grown sunflowers, arranged them in a terra-cotta vase, and began to work. Within five days he’d completed four still-life paintings. They’d go on to rank among the most eminent and valuable paintings in existence.

Alas, they’re not all still existent. One hangs today in London’s National Gallery. Another is at the Alte Pinakothek museum in Munich. A third disappeared into a private collection sometime in the late 1940s, and hasn’t been seen since.

And the fourth? A tragedy. Now known as the Missing Sunflowers, it was owned by wealthy Japanese businessman Koyata Yamamoto, whose home was obliterated by American bombers on August 6th, 1945—the same day that Hiroshima was destroyed by the atomic bomb. The story goes that Yamamoto nearly saved the painting, but encased in its bulky frame (which was actually handcrafted by Van Gogh) it was too heavy. He left it behind to burn.

Yamamoto’s Van Gogh is gone forever. But now, 70 years later, we can finally get a look at it. Art historian Martin Bailey, while researching a new book on the sunflower series, unearthed a previously unknown color photograph of the lost painting, presumably taken in Japan, sometime in the 1920s. Amazingly, the picture includes striking detail of Van Gogh’s timber framing, which he painted a burnt orange to match the sunflowers. This was a significant departure from convention, which at the time dictated that picture frames should be gilt or white, nothing else. Like so many others it was a convention that Van Gogh chose to ignore. Since all his other custom framing is thought to be lost, this is our first visual record of the artist’s attention to presentation.

Even modest success was denied to Van Gogh in his lifetime, and within two years of the painting of the sunflowers he’d be dead. The massive, near-universal acclaim his work received after he was gone is out of proportion, if we’re being honest, to his talent, style, and techniques—impressive though they may be.

No, part of Van Gogh’s appeal has to be the tragedy and misery that seem so integral to his life. We imagine we can see his pain in every brush stroke.

In the best of worlds, though, tragedy is merely prelude to redemption. It’s the path one takes toward greater things.

Vincent Van Gogh never completed that journey. He got lost on the way. The same can be said, in a way, for his lost sunflowers. The painting lived but briefly then was turned to ashes.

But now against all odds it’s before our eyes once again. It’s not resurrected, but still we’ve gleaned a glimpse of it. It’s a reflection of redemption—not much, but the best we could have hoped for.

Vincent Van Gogh had no such hope, which is why he died mutilated, insane, alone. There was a symbolic inferno inside him, every bit as real as the flames that consumed his sunflowers. The tragic irony is that without it, his name might be unknown today, and his sunflowers might have never gone to Japan.



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Happy Labor Day 2013

Happy Labor Day.

If you labor, thank you. Thank you especially if you labor anything like my dad did, or his dad, or any of the thousands of rubber workers, steel workers, machinists, ditch-diggers and floor washers I’ve been honored to cross paths with.

I’ll leave it at that (unless you’re curious about Labor Day 2012 and 2011). Time to go grill some meat.

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RIP Sir David Frost (April 17, 1939 – August 31, 2013)

A fond farewell, with thanks, to standout broadcast journalist David Frost, who died yesterday at the age of 74.

His resume was long and distinguished, and included stints as a comedian and game-show host. He’s most remembered, though, as a hard-hitting interviewer—and certainly most remembered here in the U.S. for his 1977 on-the-record discussions with former president Richard Nixon. The wide-ranging interviews, recorded over a month-long span, resulted in some of the most-watched political news programming ever, both here and in the U.K. It was in response to one of Frost’s questions regarding the illegality of the Watergate coverup that Nixon pronounced one of his most infamous assertions: “When the president does it, that means it is not illegal.”

The legacy of Frost’s career, which surely must include the moral imperative for journalism to confront power, is left for us to ponder and discuss. And we will.

But at the risk of being frivolous, I’ll abstain from that now and just mention this: David Frost died yesterday aboard the Cunard Line’s MV Queen Elizabeth. Is it just me, or is that one classy way to go?

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Much doubt, even more to lose, in Syria

Let me start by saying I’m in agreement with Secretary of State John Kerry: What happened on August 21 in Ghouta, Syria was a war crime, a crime against humanity, a moral obscenity. Those responsible should absolutely be brought to account, by any international actor (read: USA/NATO) with the will and ability to do so.

The problem, at this early stage, is building a convincing case to identify the responsible parties.

For my part, I’m better than 90 percent certain that Bashar al-Assad’s regime is responsible for the attack, even if Assad himself didn’t give the order. I think his government is also responsible for the five previous, smaller-scale uses of chemical weapons in the Syrian civil war.

My 90 percent certainty (or Kerry’s “moral certainty”) isn’t enough, though. It wouldn’t be enough if our country wasn’t already exhausted by Mid-East interventionalism.

The Russians, for the own parochial reasons, are insisting that the Syrian opposition ginned up the sarin attack, as a way to draw the West into this war. I think that’s unlikely…but it’s just plausible enough to reach the level of “reasonable doubt” that should stop America’s march toward a Syrian confrontation, if only temporarily.

Because if the U.S. is going to attack Syria, President Obama must present as close to an iron-clad case as possible. Or any case, for that matter. As of this writing, he hasn’t even tried.

As of this writing, the president hasn’t presented his case to the American people. He hasn’t presented it to the entire Congress, nor to the U.N. General Assembly. He doesn’t even have the backing of the United Kingdom, or the Arab League. I don’t think he needs all of these things to take action, but he surely needs some of them.

Nevertheless, the purposeful drumbeat out of Washington suggests that an attack is all but imminent, regardless of world opinion and procedural niceties. Maybe that’s a bluff, but if so, it’s idiotic. You DO NOT BLUFF when it comes to armed engagement in the Arab world.

More likely, Obama is operating under the assumption that he doesn’t require congressional approval for a limited engagement, however ambiguously that’s defined. And maybe he’s right about that—Reagan, after all, got no congressional backing for the U.S. military’s first post-Vietnam ground campaign: the 1983 invasion of Grenada.

That’s irrelevant, though, because that represents political thinking. What Obama needs to engage in is some strategic thinking…hell, even a bit of tactical thinking reveals that the chances for a “limited engagement” are slim indeed.

Spend a moment or two war-gaming this out in your mind, and you realize there are few scenarios where the U.S. doesn’t get sucked into another quagmire. I don’t think it’s likely Assad would strike back directly at us, but he could certainly escalate the conflict in other ways. He might, for example, cease using chemical weapons, but begin using conventional munitions against civilian targets on an unprecedented scale. He’d be daring us to respond, in other words.

And we would. And we’d be at war in the Middle East. Again.

I repeat, if the president can present an unassailable case that Assad or his minions ordered the August 21 attack, then I support retaliation, and accept any repurcussions that come after. I can’t and won’t support that based on what we know today.

Regardless, and regardless of whether the president alters his course and begins building consensus, I think we’re going to hit Syria. Sooner or later, we’re going to attack them.

So I offer this bit of advice, under the safe assumption that Assad doesn’t read my blog…

Mister President, do not be predictable. Assad thinks he knows our capabilities. He thinks he knows what’s coming. He expects stand-off attacks on command-and-control centers, Baath party headquarters, and probably chemical weapons depots. He’s preparing for that right now, and he thinks he can withstand it.

The United States has always been most strategically successful when doing the unexpected. Hitler expected the D-Day invasion to come at Calais, so we landed at Normandy. The North Koreans expected to win the seige at Pusan, so MacArthur launched an amphibious assault on Inchon. In 1991, Saddam Hussein expected a frontal assault, so Norman Schwarzkopf threw a westward-flanking Hail Mary.

Here’s what I’d do: I’d identify loyalist residential areas in Damascus (or wherever), those peopled by the high-ranking elite. Then I’d absolutely pummel those areas with shock-and-awe levels of precision-guided munitions…all of which would be loaded with inert or dummy warheads. Call it a long-distance, laser-guided message; not to Assad, but to people within striking distance of Assad. If the stars line up just right, Assad would be out of power within a week, and the war would be over.

Armchair general-ing? Admittedly. Likely to happen? No, dammit.

What’s much more likely is that President Obama will continue down the road he’s already on, and another ill-conceived and bloody desert war will define his legacy. 

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Shocking, maybe sad, definitely irrelevent

So I had it in mind to discuss the pop-culture event that sparked coast-to-coast tizzies this week. Miley Cyrus put a stake in Hannah Montana’s heart at the MTV Video Music Awards, with a performance that was, depending on your perspective, either shocking, sexy, weird, or a cry for help.

But you know what? Screw that. The event has been covered, in spades. If you’re a wee bit curious as to my take on it, see this from nearly two years ago, wherein in a completely different context, I opine as to how fame and celebrity can (and often does) warp the mind. I can’t think of anything I said then that doesn’t apply now.

Yeah, this is a culture blog, and yes I think culture is important. And any other week, the very public quasi-meltdown of a famous young lady (who was denied a normal childhood for our collective edification) would be relevant, and I’d be happy to discuss it.

But not this week.

This week we’re still processing the news that a horrific war crime has been committed. We’re following the investigatory and political maneuvering that’s come as a result. And we’re watching, yet again, a slow march to war.

Culture is important, and pop culture is fascinating. But compared to the sobering realities of life, death, and war, these things couldn’t matter less.

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Look inside your brain

Here’s some neuroscience you can play with at home.

According to just-published research a simple optical illusion can give you a real-time insight into your brain activity. Specifically, the strobing illusion will be in rhythm with, and according to the researchers will actually reflect, the alpha-wave electrical patterns being generated across your neurons.

Give it a try. Focus your eyes not on the center of the circle, but several inches to its left or right. Slowly sweep your vision in that area until you notice the center of the circle start pulsing or strobing:

Given that there doesn’t seem any likely way to prove or disprove this, Rodika Sokoliuk and Rufin Van Rullen (authors of the paper) posit that the flashing we see in the circle is an actual cycle-for-cycle look our alpha waves: synchronized electrical pulses that ripple across the forward (mostly occipital) regions of our brains, during relaxed consciousness. The cycle-frequency you see should be in concordance with the alpha rate of between 8-13 hertz, or about ten times per second.

If it is, and if that’s actually your visual cortex catching a glimpse of internal electrical activity, it’s still not clear whether this is an oddity, or the potential for a remarkably low-tech diagnostic tool. But still, play with it.

New, applied biofeedback. Spend some time putting yourself into various meditative states (lucky you, I’ve already written a book to show you just how). Then check your cycle count with Sokoliuk and Van Rullen’s magic circle. Might you glimpse the dreamy theta, or elusive delta?

Maybe, maybe not. Either way, it’s a chance to poke around inside your cabeza, and see what’s going on up there. You want to grab chances like that, whenever they come along.

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Art is set to conquer its final frontier

Artist expression seems to be our oldest form of expression, or at least our oldest enduring one. As such, our artists (which includes all of us, when you think about it; all of us who have ever been…) have by now bedecked this world of ours with the products of our creativity. We’ll keep at it, of course, covering and recovering old ground in new ways…but still the question begs, aren’t there new venues for the display of handcrafted imagination?

Well yeah, there are. One of them is straight up.

To date around a couple thousand satellites have been launched, three or four manned space stations have been, well, manned, and just shy of 200 astronauts and/or cosmonauts have slipped the the surly bonds of earth (), yet very little in the way of cultural aesthetics has left our atmosphere. On October 29th of this year, that’s set to change.

Clyde Space Ltd., a Scottish aerospace company specializing in “micro spacecraft systems,” engineered and built this shoebox-sized weather-monitoring satellite, almost entirely with functional scientific purposes in mind. They recognized, however, a rare opportunity to marry art and engineering. So they gave the pop-artists at L.A.’s iam8bit gallery a call. 

The result of that collaboration is an etched-exterior design, in the modernist pop tradition, that will circle the earth at an altitude of nearly 400 miles, for an estimated 25 years. After the launch, it will probably never be seen by human eyes again.

But will it be seen by others? Just in case, iam8bit included this message:

Greetings Beleaguered Space Traveler. Welcome to the Universe’s First Celestial Charging Station.

Will that stave off an invasion? Will it win us some interstellar friends? Will it lead to the first zero-gee art gallery?! Time will tell.

For now, let’s just revel in the fact that the work of iam8bit will very soon be going where no art has gone before.

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An enduring urban mystery, up close and personal

Some true-life mysteries strain credulity and compel you to accept, should you engage with them, that forces or conspiracies or unknown faculties are a-swirl, busily creating a clandestine world totally divorced from the one you perceive with your apparently unreliable senses.

Then again, some mysteries aren’t like that. They’re not supernatural or even particularly unbelievable—just maybe a bit perplexing. By way of example we have the airship scare of the 1890s, when person or persons unknown evidently constructed a workable lighter-than-air craft, and tooled it around the American heartland. Or the Coral Castle of Homestead, Florida; a megalithic structure created by one man, as far as is known, through unfathomable (or at least unrecognized) techniques. In both cases we have phenomena that while impressive, aren’t beyond human ability. It’s the motives and precise methods we find mysterious.

To this category we must add the case of the Toynbee Tiles. They comprise a puzzling urban mystery, one that’s been going on for at least a quarter century. One that’s now quite real for me, because just yesterday, I espied (and photographed) one of these enigmatic messages for myself.

Toynbee Tiles are smallish hand-crafted mosaics, probably polymer, that have been somehow inserted into the pavement of busy city streets, and sometimes highways, all up and down the U.S. Atlantic coast and Midwest, as well as in several South American cities. Several hundred have been discovered to date. All of them display variations on this message:

Toynbee idea
In movie 2001
Resurrect dead
On planet Jupiter

What the hell does that mean? That’s a big part of the mystery. A few researchers have gamely taken it on, though, and formed some hypotheses. “Toynbee idea” probably refers to British historian Arnold Toynbee (1889-1975), who did indeed put forth an idea, in his 1969 book Experiences, that emerging technologies might one day bring dead tissue back to life.

The rest of the message seems bound up in Stanley Kubrick’s film, 2001: A Space Odyssey, which mostly takes place in close proximity to the planet Jupiter, and premiered the year before Toynbee floated his “idea.”

So the crux of the message (which was examined in much greater detail in the 2011 documentary Resurrect Dead: The Mystery of the Toynbee Tiles) seems to be that we can (and should?) bring the dead back to life, perhaps by reassembling their constituent parts on or near Jupiter. Whether or not that idea should be properly attributed to Arnold Toynbee, the message as a whole sounds not too far removed from the things you might hear from the denizens of the streets in cities like Philadelphia, New York, Boston, and Cleveland—all cities known to have been “tiled.”

Sci-fi-esque ravings, then, aren’t unusual in the big city. What is unusual, and what makes this thing so compelling, is that someone took those ravings, put them in an enduring (and arguably, aesthetically pleasing) form, and propagated them not just widely and deeply across the United States, but also in Santiago, Chile; Buenos Aires, Argentina; and Rio de Janeiro, Brazil.

And how on earth did he imbed those things in the pavement, anyhow?

Theories abound, and even a couple of suspects have been identified. I won’t go into it here—I’ll refer you again to the documentary for that. Truthfully, I’ll be happy if this mystery is never entirely solved. Life should be well-stocked with unsolved mysteries, is my contention.

Instead I’ll offer up the case of the Toynbee Tiles as something we can simply enjoy…but maybe only for a while. Assuming the tiler is a lone individual, possessed of no unworldly abilities, then the time of his tiling is finite; perhaps it’s already ended.

The tiles, too, are perishable. Dozens or maybe hundreds have already been dug up or paved over or smashed under tires to unrecognizability. There’ll come a day when they’re all gone, and those of us who’ve seen them will be quizzed by disbelievers like we were claiming to have seen Bigfoot piloting a UFO.

Go see a Toynbee Tile, is what I’m saying. Mine is at Third and Prospect in Cleveland. Where’s yours?


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