Cory Doctorow links to a nifty graphic design project: crowdsourced covers for public domain classics. If you know anyone teaching a relevant art class at the high school level, or above, I think this might make a fine class project. Everyone pick a title and go for it!

Cory: “I can’t figure out what license the new covers are under and whether anyone can use them as covers in their own collections of public domain books, or whether permission must be sought for each design.” I wondered about that as well. The info page doesn’t cover rights. I signed up to see what one would have to agree to. Answer: a CC license. (Cory will be gratified to hear it!) [click to continue…]

A thousand years ago, back when I was writing book reviews for Newsday, Laurie Muchnick and Emily Gordon asked their stable of regular reviewers to make a summer reading recommendation. Mine was Kitty Kelley’s unauthorized biography of Nancy Reagan. Before I retire, I still plan to teach a course on American Politics where Kelly’s biography is the only text on the syllabus. In the meantime, here’s what I said back in 2000, about Kelley’s biography.

A friend of mine in graduate school, a member of the Communist Party even after the collapse of the Soviet Union, liked to brag that when he taught American politics he would assign only Kitty Kelley’s unauthorized biography of Nancy Reagan. I thought he was crazy. Until I read the book.

Authored by a reporter dubbed “the Saddam Hussein of privacy invasion,” Nancy Reagan: The Unauthorized Biography (Pocket Books, out of print) was more than a nasty assault on a nasty woman. It was also a poignant chronicle of America’s hidden history: the obsessive quest for privilege in a country that denies its existence. Through Reagan’s persona, Kelley profiled those Americans who reinvent their pasts, invoking imagined genealogies of gentility as cover for working-class backgrounds. Not since Alexis de Tocqueville had anyone produced such a devastating cultural biography of a nation committed in theory to equality but in practice to elitism.

“Two entries on Nancy Reagan’s birth certificate are still accurate—her sex and her color. Almost every other item was invented then or later reinvented.” So begins this merciless epic, straight out of Dreiser, of a poor, unhappy girl who lies her way to the top. The detritus along the way is extensive: the hushed-up suicide of an uncle broken by a miserable marriage; a birth father spurned and an adopted father embraced, all for the sake of money; a desperately engineered marriage to a second-rate actor with a wandering eye, wayward heart and shared penchant for ambitious fantasy.

“Nancy Reagan” suggests that the cost of social climbing in America goes beyond personal unhappiness. Because of our ache for aristocracy, we’ve suffered a terminal case of collective self-deception in this country, refusing to acknowledge that the poor are one of us, that a society built as a monument to personal success means that only a few can achieve it, that wealth is not a measure of merit but luck, power and personal connection.

As the Greek tragedians understood so well, an act of deception—particularly about one’s family—can wreak havoc upon the body politic. In this regard, Kelley’s biography remains a work of unfulfilled prophecy, anticipating not the Clinton impeachment scandals but the conflict that is to come when America wakes up and realizes the inequalities created in the name of Nancy.

Having said that, I found “Nancy Reagan” to be an exceedingly funny book—maybe because it was a pleasant distraction from a summer of lethal reading in preparation for my PhD qualifying exams, or because I was amused at the thought of my friend’s forcing rich kids to read it. Whatever the case, I giggled my way through a hot July. Who says Communists don’t have a sense of humor?

Actually, if you’re interested in the wider cultural ramifications of Nancy Reagan (and would like a little historical perspective to avoid the canonization that has already begun; live long enough, and you really do see everything), I’d also recommend another book: Deborah Silverman’s Selling Culture: Bloomingdale’s, Diana Vreeland, and the New Aristocracy of Taste in Reagan’s America.

I’ve not done any film photography for a while now, but I bought myself a couple of rolls of HP5 last week as a prompt. This is another prompt: Rolleiflex T, HP5+

I’m writing a much longer piece on Trump. In the meantime, some clips from the cutting-room floor.

1. At last night’s debate, Trump said of Rubio, “And he referred to my hands—if they are small, something else must be small—I guarantee you there’s no problem. I guarantee you.” Lest you think we’re tumbling down a new rabbit hole here, once upon a time, the king’s body and the body politic were thought to be, if not one and the same, then in some kind of alignment. Trump’s reference is as much pre-modern as it is post-modern. Ernst Kantorowicz’s classic book on the topic, The King’s Two Bodies, was subtitled “A Study in Medieval Political Theology.”

In any event, I’d rather hear Trump’s opinions about his penis than his views on Muslims and Mexicans.

2. You often hear that the rhetorical brutality of Trump is unprecedented. Never before have we seen a candidate so cruel. I’m not so sure.

You also hear that we’ve never had a leading politician who so shamelessly, if rhetorically, flirted with violence. Again, I’m not so sure. [click to continue…]

This Dahlia Lithwick piece on the Supreme Court abortion case, Whole Woman’s Health v Hellerstedt, is interesting in itself, and suggestive for the near future. We have an even 4-4 conservative-liberal split on the court but Thomas doesn’t talk, and Roberts, the Chief, regards it as his duty to be Chief. Roberts seems to care about being remembered as an effective Chief Justice more than he cares about being remembered as a reliable ideological partisan (like Scalia); this significantly constrains his self-presentation in oral argument. Anthony Kennedy is – Anthony Kennedy. Libertarian, hence mostly conservative, in that idiosyncratically reliable way of his. That leaves Alito, the rock-ribbed Republican voice on the court, if you will. On the other hand, we have Breyer-Kagan-Sotomayor-Ginsburg. Their collective partisan profile is moderate-left Democrat. They are much more judicially restrained than, say, Scalia. But the very fact that they do not espouse philosophically extremist positions – they are not judicial philosophical activists, to coin a phrase – means there are fewer cross-currents and counter-currents within their overall, moderate-left flow. They aren’t going to make bold, contrarian leaps; they’ll keep right on saying moderately liberal things, more or less in unison.

So we may see more cases in which the oral optics (pardon a synaesthetically mixed metaphor!) are: Republican Party (Alito) double, triple or even quadruple-teamed by the Democratic Party. Oral argument isn’t voting. It’s still 4-4 for voting, most days. I doubt Clarence Thomas is going to start voting with the liberals, even if he sees liberals dominating oral argument. I also don’t suppose Roberts will stand for seeing his partisan side being out-talked in some dramatic way. But his position constrains him. Possibly we will be hearing more from Thomas. That would be interesting, to say the least.

Scalia always had enough oral argument in him for any three Justices. Now it occurs to me that might have been literally the case.

I don’t really have a good sense about how the dynamics of oral argument feed into the obviously much more extensive, behind closed doors activities that result in decisions. But I’m sure it means something, if the character of oral argument shifts dramatically. What do you think?

On Wednesday, I had the great fortune to attend the closing keynote at the annual CSCW conference given by Mike Krieger, co-founder of Instagram, a photo-sharing site now owned by Facebook, but still operating largely independently, at least from the user’s perspective. In case you’ve been living under a rock, Instagram now has 400 million active users (75% outside the US) sharing 80 million photos and videos daily. Those are some serious numbers folks. And while they require considerable technical chops, I am glad Mike spent his time at CSCW talking about the design elements and human-computer interaction aspects. I share some nuggets below. (I failed to take notes so I’m skipping all sorts of info, sadly, and welcome corrections/additions in the comments.)

As old-timers here may recall, I am a big photo enthusiast and was a huge Flickr fan for quite some time. More recently, however, I have started getting into Instagram and now use it daily. Having thought about how these services differ and how I ultimately ended up using Instagram so much more these days than Flickr, it was a real treat to hear the brains behind the service share many of the conversations and decisions that went into making it what it is today. It was genuinely interesting to learn about the many aspects that he and his collaborators discussed and continue to ponder as they enhance the app.

In the first few minutes Mike shared some of his background, including his failure to get a paper into CSCW during his early days. I mention that as a reminder that people should not take the occasional setback too seriously.

Mike and his co-founder Kevin Systrom had worked on an earlier app called Burbn. The Atlantic has a few notes on this. This was the era of check-in apps so they focused on check-ins, but the app barely took off (we’re talking no more than about a thousand users). The aspect of the app that seemed to appeal to folks most was its photo-sharing capability. So they set out to focus on that primarily.
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First things first: thanks to everyone who dug deep (or shallow) to purchase (or just freely download) a copy of Reason and Persuasion, allowing us to enjoy evanescent ecstasies of semi-upward-mobility into the 5-digit sales range on Amazon for a period of some days now. Now please keep that Amazon aspidistra flying for the next several years running and we’ll have ourselves a standard textbook! (Sigh. I know. No hope. If I want sales like that, I have to update Facebook more than once every 4 years. And be on Twitter. Shudder.)

As I was saying: it is also fun to watch the (no doubt CT-fueled) evolution of the ‘customers who viewed this item also viewed’ Amazon scrollbar, associating our Plato book with all manner of comics and science fiction. I hope the present post shall further enrich that eclectic mix.

Back in December I posted about how I would like a history of semi-popular philosophy of mind, to complement the history of science fiction. Many people left genuinely useful, interesting comments, for which I am sincerely grateful. Today I would like to strike out along a semi-parallel line. Science fiction film, with its special effects, has a strong phenotypic and genotypic relation to stage magic. Georges Méliès was a stage magician. But sf is older than film; stage magic, too. We might enhance our sense of the modern origins of the former by coordinating with the modern history of the latter. I just read a good little book, Conjuring Science: A History of Scientific Entertainment and Stage Magic in Modern France, by Sofia Lachappelle, that doesn’t make the sf connection, but makes it easy to make. (It’s an overpriced good little book, I’m sorry to say. Oh, academic publishing. But perhaps you, like me, enjoy library privileges somewhere.)

It contains some nice sentences, certainly. For example: “While Robertson was presenting his phantasmagoria in an abandoned convent and professors of amusing physics were performing their wonders, scientific and technological innovations were impacting the world of the theater at large.” (118)

As I was saying: history of modern stage magic. I’ll quote passages, and comment, and supplement with relevant images. [click to continue…]

I enjoyed Maria’s D&D thread. So here’s a trivia question for you. Before there was the AD&D Monster Manual, what single popular work of imaginative fantasy contained all the following fabulous creatures: hydras, furies, nighthawks, giants, goblins, ghouls, titans, magi, monks, grand turks, dragons, wizards, cyclops – not to mention kludds and kligrapps, all lurking in Dens, found spread through a number of fantastic Realms and Provinces within a single Empire that is, as it were, a reimagined, multi-leveled parallel version of our own world? Answer under the fold. [click to continue…]

Warning: Amateur political analysis ahead

Looking at the way politics has evolved over the past 25 years or so, in the English-speaking world and beyond, I have developed an analysis which is certainly not original, but which I haven’t seen set down in exactly the way I would like. Here’s the shorter version:

There are three major political forces in contemporary politics in developed countries: tribalism, neoliberalism and leftism (defined in more detail below). Until recently, the party system involved competition between different versions of neoliberalism. Since the Global Financial Crisis, neoliberals have remained in power almost everywhere, but can no longer command the electoral support needed to marginalise both tribalists and leftists at the same time. So, we are seeing the emergence of a three-party system, which is inherently unstable because of the Condorcet problem and for other reasons.

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A little over a month ago Belle and I published the new edition of Reason and Persuasion, our Plato book. (She did the translations of three dialogues; I provided the commentary, illustrations and bookmaking.) Ta-DA! Well, actually it was more what one calls a soft launch. Since then I’ve got all the publication outlets squared away for the time being. You can get it on Amazon, in paper or in Kindle format. Making a workable Kindle version was an education in itself. Reflowable text and approximately 500 spot illustrations is a tough combo. It’s like practicing the fine art of flower arrangement in a sloshing bucket. It’s like trying to arrange all the little marshmallows inside the jell-o. But enough about my lifestyle choices. I set up Kindle matchbook so this thing that almost overwhelmed me is free if you buy the modestly-priced paper version. Good deal! I think the nicest-looking edition may actually be the fixed layout iBooks version (same as the GooglePlay and Kobo versions, if that’s how you like to play it.) Graphics are all very crisp.

As I was saying: we launched, and, since our lawyers told us we couldn’t use Harry Potter in the title, sales have been … modest. (Hey, it’s the fourth edition of a Plato book that is also available as free PDF’s. Did I mention: free PDFs?) We’ve been bobbing along in the low 6-digits, sales-wise, on Amazon. Checking Amazon rankings more than once a month is a thoroughly unhealthy form of fetish worship. Yet I confess to a moment of depression when we slipped below the 1,000,000-mark, albeit only briefly. Would it be too much to ask for the world to acknowledge that there are maybe not a million books better than mine? But then I checked Amazon UK and, like Spinal Tap in that scene in the film, was cheered to see we were charting! (Presumably 2 people bought the book in a matter of hours, producing this anomaly.) I screencapped, in case glory never came again: [click to continue…]

So, this morning I had a brief Twitter conversation with Simon Jack, the economics editor of the Today programme, about a metaphor he used to introduce an interview on the subject of the British Pound’s sharp devaluation as the EU exit referendum was launched. The line which annoyed me at seven o’clock this morning was:

“I think of the exchange rate as something like a national share price, and ours has been falling”

See below for why, although I understand the point he was trying to make, I think this is not a good way to think of exchange rates…

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Following up my Franklin Booth post, how about I do a series of comics and art posts this week?

I made a fine recent purchase on Comixology: Sergio Toppi’s The Collector. If you don’t know Toppi, a Google image search will give the flavor. The comic is pretty ok. The Collector is a cool-looking, mysterious dude who collects precious antiquities. He always gets what he wants. He’s like an amoral Indiana Jones. There are supernatural elements. Mostly you read it for the art: [click to continue…]

Whew! My Dreher post comments are running kind of long. Clearly, Crooked Timber needs fresh content. OK, I just realized that two things I’ve been thinking about this week – Rod Dreher’s Ben-Op plans, and Franklin Booth’s pen-and-ink style – are kind of the same. Franklin Booth? Via Lines and Colors, I found this nice page of fairly high-quality scans. This sort of stuff (click for larger):

That’s pen-and-ink, because Booth was trying … well, I’ll just let Wikipedia explain:

His unusual technique was the result of a misunderstanding: Booth scrupulously copied magazine illustrations which he thought were pen-and-ink drawings. In fact, they were wood engravings. As a result, this led him to develop a style of drawing composed of thousands of lines, whose careful positioning next to one another produced variations in density and shade. The characteristics of his art were his scale extremes with large buildings and forests looming over tiny figures, decorative scrolls and borders, classic hand lettering and gnarled trees.

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