Taking advantage of recent advances throughout the sciences, Matthew Hedman brings the distant past closer to us than it has ever been. Here, he shows how scientists have determined the age of everything from the colonization of the New World over 13,000 years ago to the origin of the universe nearly fourteen billion years ago.
Hedman details, for example, how interdisciplinary studies of the Great Pyramids of Egypt can determine exactly when and how these incredible structures were built. He shows how the remains of humble trees can illuminate how the surface of the sun has changed over the past ten millennia. And he also explores how the origins of the earth, solar system, and universe are being discerned with help from rocks that fall from the sky, the light from distant stars, and even the static seen on television sets.
Covering a wide range of time scales, from the Big Bang to human history, The Age of Everything is a provocative and far-ranging look at how science has determined the age of everything from modern mammals to the oldest stars, and will be indispensable for all armchair time travelers.
“We are used to being told confidently of an enormous, measurable past: that some collection of dusty bones is tens of thousands of years old, or that astronomical bodies have an age of some billions. But how exactly do scientists come to know these things? That is the subject of this quite fascinating book. . . . As told by Hedman, an astronomer, each story is a marvel of compressed exegesis that takes into account some of the most modern and intriguing hypotheses.”—Steven Poole, Guardian
“Hedman is worth reading because he is careful to present both the power and peril of trying to extract precise chronological data. These are all very active areas of study, and as you read Hedman you begin to see how researchers have to be both very careful and incredibly audacious, and how much of our understanding of ourselves—through history, through paleontology, through astronomy—depends on determining the age of everything.”—Anthony Doerr, BostonGlobe
The Revolution’s aspiration was summed up by the phrase “life, liberty, and the pursuit of happiness.” Yet the American founding was also a bid for inclusion in the community of nations. According to Eliga Gould, America aspired to diplomatic recognition under international law and the authority to become an Atlantic colonizing power itself.
The contributors to The Anomie of the Earth explore the convergences and resonances between Autonomist Marxism and decolonial thinking. In discussing and rejecting Carl Schmitt's formulation of the nomos—a conceptualization of world order based on the Western tenets of law and property—the authors question the assumption of universal political subjects and look towards politics of the commons divorced from European notions of sovereignty. They contrast European Autonomism with North and South American decolonial and indigenous conceptions of autonomy, discuss the legacies of each, and examine social movements in the Americas and Europe. Beyond orthodox Marxism, their transatlantic exchanges point to the emerging categories disclosed by the collapse of the colonial and capitalist frameworks of Western modernity.
Contributors. Joost de Bloois, Jodi A. Byrd, Gustavo Esteva, Silvia Federici, Wilson Kaiser, Mara Kaufman, Frans-Willem Korsten, Federico Luisetti, Sandro Mezzadra, Walter D. Mignolo, Benjamin Noys, John Pickles, Alvaro Reyes, Catherine Walsh, Gareth Williams, Zac Zimmer
Another Day on Earth
Timothy Dekin Northwestern University Press, 2002 Library of Congress PS3554.E428A56 2002 | Dewey Decimal 811.54
This collection of poems emerges as a work of unusual emotional and spiritual clarity and beauty. Before his death Timothy Dekin fashioned a contemporary style based on the pentameter line and the song forms of the English Renaissance poets, and his confessional tone and range of experience from thoughts on mortality and self-worth, struggles with alcoholism, and failings of family love to a Buddhist-like oneness with nature make for a striking combination.
Carpeted in boreal forests, dotted with lakes, cut by rivers, and straddling the Arctic Circle, the region surrounding the White Sea, which is known as the Russian North, is sparsely populated and immensely isolated. It is also the home to architectural marvels, as many of the original wooden and brick churches and homes in the region's ancient villages and towns still stand. Featuring nearly two hundred full color photographs of these beautiful centuries-old structures, Architecture at the End of the Earth is the most recent addition to William Craft Brumfield's ongoing project to photographically document all aspects of Russian architecture.
The architectural masterpieces Brumfield photographed are diverse: they range from humble chapels to grand cathedrals, buildings that are either dilapidated or well cared for, and structures repurposed during the Soviet era. Included are onion-domed wooden churches such as the Church of the Dormition, built in 1674 in Varzuga; the massive walled Transfiguration Monastery on Great Solovetsky Island, which dates to the mid-1550s; the Ferapontov-Nativity Monastery's frescoes, painted in 1502 by Dionisy, one of Russia's greatest medieval painters; nineteenth-century log houses, both rustic and ornate; and the Cathedral of St. Sophia in Vologda, which was commissioned by Ivan the Terrible in the 1560s. The text that introduces the photographs outlines the region's significance to Russian history and culture.
Brumfield is challenged by the immense difficulty of accessing the Russian North, and recounts traversing sketchy roads, crossing silt-clogged rivers on barges and ferries, improvising travel arrangements, being delayed by severe snowstorms, and seeing the region from the air aboard the small planes he needs to reach remote areas.
The buildings Brumfield photographed, some of which lie in near ruin, are at constant risk due to local indifference and vandalism, a lack of maintenance funds, clumsy restorations, or changes in local and national priorities. Brumfield is concerned with their futures and hopes that the region's beautiful and vulnerable achievements of master Russian carpenters will be preserved. Architecture at the End of the Earth is at once an art book, a travel guide, and a personal document about the discovery of this bleak but beautiful region of Russia that most readers will see here for the first time.
A hopeful, music-infused poetry collection from Congolese poet Alain Mabanckou.
These compelling poems by novelist and essayist Alain Mabanckou conjure nostalgia for an African childhood where the fauna, flora, sounds, and smells evoke snapshots of a life forever gone. Mabanckou’s poetry is frank and forthright, urging his compatriots to no longer be held hostage by the civil wars and political upheavals that have ravaged their country and to embrace a new era of self-determination where the village roosters can sing again.
These music-infused texts, beautifully translated by Nancy Naomi Carlson and supported by a grant from the National Endowment for the Arts, appear together in English for the first time. In these pages, Mabanckou pays tribute to his beloved mother, as well as to the regenerative power of nature, and especially of trees, whose roots are a metaphor for the poet’s roots, anchored in the red earth of his birthplace. Mabanckou’s yearning for the land of his ancestors is even more poignant because he has been declared persona non grata in his homeland, now called Congo-Brazzaville, due to his biting criticism of the country’s regime. Despite these barriers, his poetry exudes hope that nature’s resilience will lead humankind on the path to redemption and reconciliation.