Death of An Adjunct: A Sobering, True Story

DuquesneChapel

The Pitts­burgh Post-Gazette ran a sad and galling sto­ry yes­ter­day about Mary Mar­garet Vojtko who died of a heart attack at the age of 83. At the time of her death, Daniel Kova­lik writes:

She was receiv­ing radi­a­tion ther­a­py for the can­cer that had just returned to her, she was liv­ing near­ly home­less because she could not afford the upkeep on her home, which was lit­er­al­ly falling in on itself, and now, she explained, she had received anoth­er indig­ni­ty — a let­ter from Adult Pro­tec­tive Ser­vices telling her that some­one had referred her case to them say­ing that she need­ed assis­tance in tak­ing care of her­self.

Vojtko had end­ed up in pover­ty after spend­ing 25 years work­ing as an adjunct pro­fes­sor of French at Duquesne Uni­ver­si­ty, a Catholic school locat­ed in Pitts­burgh, Pa. Until she was ter­mi­nat­ed last spring, she worked “on a con­tract basis from semes­ter to semes­ter, with no job secu­ri­ty, no ben­e­fits and with a salary of between $3,000 and just over $3,500 per three-cred­it course.” When teach­ing three class­es a semes­ter and two dur­ing the sum­mer, Vojtko nev­er earned more than $25,000 a year. (A pit­tance com­pared to the pay pack­age of Duques­ne’s pres­i­dent — report­ed­ly about $700,000 per year in salary and ben­e­fits.) Mean­while, Duquesne thwart­ed attempts by adjuncts to union­ize, claim­ing that the school should have a reli­gious exemp­tion.

As Kova­lik goes on to note: “Adjuncts now make up well over 50 per­cent of the fac­ul­ty at col­leges and uni­ver­si­ties.” And that sta­tis­tic is bound to increase. You can — and should — read the full sto­ry at the Post-Gazette. Read Death of an Adjunct here.

via @stevesilberman

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Sci-Fi Writer Robert Heinlein Imagines the Year 2000 in 1949, and Gets it Mostly Wrong

Image via Wiki­me­dia Com­mons

Two giants of 20th cen­tu­ry sci­ence fic­tion: Robert Hein­lein and Isaac Asi­mov (see them togeth­er above, with L. Sprague de Camp in-between). Like every young sci-fi geek, I read them both assid­u­ous­ly, got lost in their dizzy­ing uni­vers­es that stretched across nov­els and sig­nif­i­cant teenage mile­stones. Even as an awk­ward kid, I could clear­ly iden­ti­fy an essen­tial dif­fer­ence in tone between their fore­casts of the future. Hein­lein, the Navy man forcibly retired from ser­vice by tuber­cu­lo­sis, had the dark­er vision, in which the brute force of mass mil­i­tarism con­tin­ued to thrive and hero­ic men of action car­ried the day. Asi­mov, the prac­tic­ing scientist—whose “Nor­by” series of kids books might be the cutest intro­duc­tion to sci-fi ever writ­ten by an American—favored a future that, if still quite dan­ger­ous, was man­aged by robots and their cre­ators, the tech­nocrats.

As we can plain­ly see, we are no less a bel­li­cose species than when these two authors wrote of the future, but Asi­mov seems to have had it right. The tech­nocrats came out on top; too many bat­tles are fought not by massed bat­tal­ions but by dead­ly fly­ing robots mak­ing (so we’re told) “sur­gi­cal” strikes. A few weeks ago, we brought you a series of tech­no­crat­ic pre­dic­tions of the year 2014 from Asi­mov, many of them sur­pris­ing­ly accu­rate. Today, we have a list of pre­dic­tions from Hein­lein, this time of the year 2000, and writ­ten in 1949 and pub­lished in 1952 in Galaxy mag­a­zine. How does his pre­dic­tive abil­i­ty stack up against his con­tem­po­rary? Well, I’d say that 2 (stripped of some exag­ger­a­tion), 8, and 11 either hit the mark or come pret­ty damn close. 19 is self-evi­dent­ly true, and 15 is arguably not ter­ri­bly far away, though it may not have seemed so in 2000. 4 is painful­ly iron­ic. The rest? Eh, not so much. Take a look and try to imag­ine your­self in Heinlein’s shoes in 1949. Not an easy task? Try to imag­ine what the world will look like in 2063. Which ver­sion of IOS will you be run­ning then?

1. Inter­plan­e­tary trav­el is wait­ing at your front door — C.O.D. It’s yours when you pay for it.

2. Con­tra­cep­tion and con­trol of dis­ease is revis­ing rela­tions between the sex­es to an extent that will change our entire social and eco­nom­ic struc­ture.

3. The most impor­tant mil­i­tary fact of this cen­tu­ry is that there is no way to repel an attack from out­er space.

4. It is utter­ly impos­si­ble that the Unit­ed States will start a “pre­ven­tive war.” We will fight when attacked, either direct­ly or in a ter­ri­to­ry we have guar­an­teed to defend.

5. In fif­teen years the hous­ing short­age will be solved by a “break­through” into new tech­nolo­gies which will make every house now stand­ing as obso­lete as priv­ies.

6. We’ll all be get­ting a lit­tle hun­gry by and by.

7. The cult of the pho­ny in art will dis­ap­pear. So-called “mod­ern art” will be dis­cussed only by psy­chi­a­trists.

8. Freud will be classed as a pre-sci­en­tif­ic, intu­itive pio­neer and psy­cho­analy­sis will be replaced by a grow­ing, chang­ing “oper­a­tional psy­chol­o­gy” based on mea­sure­ment and pre­dic­tion.

9. Can­cer, the com­mon cold, and tooth decay will all be con­quered; the rev­o­lu­tion­ary new prob­lem in med­ical research will be to accom­plish “regen­er­a­tion,” i.e., to enable a man to grow a new leg, rather than fit him with an arti­fi­cial limb.

10. By the end of this cen­tu­ry mankind will have explored this solar sys­tem, and the first ship intend­ed to reach the near­est star will be a‑building.

11. Your per­son­al tele­phone will be small enough to car­ry in your hand­bag. Your house tele­phone will record mes­sages, answer sim­ple inquiries, and trans­mit vision.

12. Intel­li­gent life will be found on Mars.

13. A thou­sand miles an hour at a cent a mile will be com­mon­place; short hauls will be made in evac­u­at­ed sub­ways at extreme speed.

14. A major objec­tive of applied physics will be to con­trol grav­i­ty.

15. We will not achieve a “World State” in the pre­dictable future. Nev­er­the­less, Com­mu­nism will van­ish from this plan­et.

16. Increas­ing mobil­i­ty will dis­en­fran­chise a major­i­ty of the pop­u­la­tion. About 1990 a con­sti­tu­tion­al amend­ment will do away with state lines while retain­ing the sem­blance.

17. All air­craft will be con­trolled by a giant radar net run on a con­ti­nent-wide basis by a mul­ti­ple elec­tron­ic “brain.”

18. Fish and yeast will become our prin­ci­pal sources of pro­teins. Beef will be a lux­u­ry; lamb and mut­ton will dis­ap­pear.

19. Mankind will not destroy itself, nor will “Civ­i­liza­tion” be destroyed.

Here are things we won’t get soon, if ever:

– Trav­el through time

– Trav­el faster than the speed of light

– “Radio” trans­mis­sion of mat­ter.

– Man­like robots with man­like reac­tions

– Lab­o­ra­to­ry cre­ation of life

– Real under­stand­ing of what “thought” is and how it is relat­ed to mat­ter.

– Sci­en­tif­ic proof of per­son­al sur­vival after death.

– Nor a per­ma­nent end to war.

Curi­ous­ly, nei­ther Hein­lein nor Asi­mov fore­saw that most ter­ri­bly banal and ubiq­ui­tous phe­nom­e­non of real­i­ty TV, but real­ly, what kind of mon­ster could have imag­ined such a thing?

via Lists of Note/i09

Relat­ed Con­tent:

Arthur C. Clarke Pre­dicts the Future in 1964 … And Kind of Nails It

Wal­ter Cronkite Imag­ines the Home of the 21st Cen­tu­ry … Back in 1967

Mar­shall McLuhan Announces That The World is a Glob­al Vil­lage

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Vladimir Nabokov’s Delightful Butterfly Drawings

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We don’t often talk about the hob­bies (oth­er than drink­ing, any­way) of respect­ed twen­ti­eth-cen­tu­ry writ­ers. But do you know a sin­gle Nabokov read­er, or even an aspir­ing Nabokov read­er, igno­rant of the lep­i­dopter­ist lean­ings of the author of Loli­taThe Gift, and Pale Fire?  The man liked but­ter­flies, as any of the wide­ly seen pho­tographs of him wield­ing his com­i­cal­ly over­sized net can attest. But when his eyes turned toward these strik­ing, del­i­cate insects, he did­n’t nec­es­sar­i­ly put down his pen. Nabokov’s wife Vera, accord­ing to a Book­tryst post on the sale of his book and man­u­script col­lec­tions, “trea­sured nature, art, and life’s oth­er intan­gi­bles more high­ly than mate­r­i­al pos­ses­sions, and Vladimir knew that for Christ­mas, birth­days and anniver­saries” — in Mon­treux in 1971, Itha­ca in 1957, Los Ange­les in 1960, or any­where at any time in their life togeth­er  — “Vera appre­ci­at­ed his thought­ful and del­i­cate but­ter­fly draw­ings much more than some trin­ket. She  delight­ed in these draw­ings in a way she nev­er did for the land­scapes he used to paint for her in ear­li­er days.” For the woman clos­est to his heart, Nabokov drew the crea­tures clos­est to his heart.

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“From the age of sev­en, every­thing I felt in con­nec­tion with a rec­tan­gle of framed sun­light was dom­i­nat­ed by a sin­gle pas­sion. If my first glance of the morn­ing was for the sun, my first thought was for the but­ter­flies it would engen­der.” This he declares in his auto­bi­og­ra­phy Speak, Mem­o­ry. “I have hunt­ed but­ter­flies in var­i­ous climes and dis­guis­es: as a pret­ty boy in knicker­bock­ers and sailor cap; as a lanky cos­mopoli­tan expa­tri­ate in flan­nel bags and beret; as a fat hat­less old man in shorts.” Despite the pas­sion with which Nabokov pur­sued lep­i­doptery, it seemed, in his life­time, his accom­plish­ments in the field would remain most­ly non-pro­fes­sion­al; he began one book called But­ter­flies of Europe and anoth­er called But­ter­flies in Art, but fin­ished nei­ther.

But in 2000, out came the 782-page Nabokov’s But­ter­flies, which col­lects, as its co-edi­tor Bri­an Boyd writes in the Atlantic, “his aston­ish­ing­ly diverse writ­ing about but­ter­flies, whether sci­en­tif­ic or artis­tic, pub­lished or unpub­lished, care­ful­ly fin­ished or rough­ly sketched, in poems, sto­ries, nov­els, mem­oirs, sci­en­tif­ic papers, lec­tures, notes, diaries, let­ters, inter­views, dreams.” And in 2011, a hypoth­e­sis he had about but­ter­fly evo­lu­tion had its vin­di­ca­tion under the Roy­al Soci­ety of Lon­don. But to under­stand how much but­ter­flies meant to him, we need look no fur­ther than the title pages of the vol­umes he gave his wife.

NabokovInscription3

via Book Tryst

Relat­ed Con­tent:

Vladimir Nabokov Cre­ates a Hand-Drawn Map of James Joyce’s Ulysses

Vladimir Nabokov Mar­vels Over Dif­fer­ent Loli­ta Book Cov­ers

Vladimir Nabokov (Chan­nelled by Christo­pher Plum­mer) Teach­es Kaf­ka at Cor­nell

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­lesA Los Ange­les PrimerFol­low him on Twit­ter at @colinmarshall.

Bohemian Gravity: String Theory Explored With an A Cappella Version of Bohemian Rhapsody

This past spring, Tim­o­thy Blais wrote his mas­ters the­sis at McGill Uni­ver­si­ty in Mon­tre­al. Titled “A new quan­ti­za­tion con­di­tion for par­i­ty-vio­lat­ing three-dimen­sion­al grav­i­ty,” the the­sis clocks in at 74 pages and gets into some seri­ous physics. The first line reads: “(2+1)-dimensional grav­i­ty with a neg­a­tive cos­mo­log­i­cal con­stant is a topo­log­i­cal the­o­ry with no local degrees of free­dom.” I have to admit that Tim lost me right there. But he has made some amends with Bohemi­an Grav­i­ty, a poten­tial­ly viral video that explores string the­o­ry with the help of an a cap­pel­la par­o­dy of Queen’s Bohemi­an Rhap­sody. I have to admit that I don’t quite under­stand the sub­stance of the video either. But I am thor­ough­ly enter­tained and that counts for some­thing.

Blais pre­vi­ous­ly record­ed “Rolling in the Hig­gs,” a sci­en­tif­ic riff on Adele’s song. Accord­ing to his Face­book page, these “sci­ence-par­o­dy cre­ations are 100% orig­i­nal­ly record­ed and made out of unal­tered sounds from his mouth, throat and vocal cords.” Keep an eye on his YouTube Chan­nel, acapel­la­science, for more videos (we hope) in the future.

H/T Robin/via I F’ing Love Sci­ence

Relat­ed Con­tent:

Gui­tarist Bri­an May Explains the Mak­ing of Queen’s Clas­sic Song, ‘Bohemi­an Rhap­sody’

Lis­ten to Fred­die Mer­cury and David Bowie on the Iso­lat­ed Vocal Track for the Queen Hit ‘Under Pres­sure,’ 1981

The Hig­gs Boson, AKA the God Par­ti­cle, Explained with Ani­ma­tion

What’s Next for the Large Hadron Col­lid­er? PhD Comics Intro­duces the Search for Extra Dimen­sions

Free Physics Cours­es

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Train Your Brain This Fall with Free Online Courses, eBooks, Audio Books, Language Lessons & More

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For years now, the buzz­word “Neu­ro­plas­tic­i­ty” has crossed the lips of many major thinkers in psy­chol­o­gy, neu­rol­o­gy, and edu­ca­tion­al the­o­ry. Maybe, as some allege, it is a “dirty word”—vague and in need of spe­cif­ic clar­i­fi­ca­tion. Maybe. But the con­texts in which it aris­es point to an impor­tant idea: that we are capa­ble of learn­ing new things, all the time, at any stage of life, and that those new learn­ing expe­ri­ences change and renew our brains in ways we can’t pre­dict or imag­ine. So today, for those stu­dents return­ing to school and those life­long learn­ers for whom every sea­son beck­ons with new oppor­tu­ni­ties to acquire new skills and knowl­edge, we present to you our col­lec­tions of free online cours­es, books, films, lan­guage lessons, text­books, and oth­er resources to exer­cise your neu­ro­plas­tic mind.

Free Online Cours­es: This list brings togeth­er over 750 free online cours­es from lead­ing uni­ver­si­ties, includ­ing Stan­ford, Yale, MIT, UC Berke­ley, Oxford and more. These cours­es range across all dis­ci­plines – his­to­ry, physics, phi­los­o­phy, psy­chol­o­gy and beyond. Most all of these cours­es are avail­able in audio, and rough­ly 75% are avail­able in video. In total, you will find over 2o,000 hours of free lec­tures from world-class insti­tu­tions here.

Free MOOCs: What­ev­er you’re into (phi­los­o­phy?, behav­ioral eco­nom­ics?, music his­to­ry?), you’ll like­ly find a MOOC (Mas­sive Open Online Course) to suit you in our list of class­es from lead­ing uni­ver­si­ties. Many MOOCs offer cer­tifi­cates of com­ple­tion (though rarely course cred­its that will actu­al­ly trans­fer to uni­ver­si­ties). 125 MOOCs will be launch­ing between now and the end of Octo­ber. See our com­plete list.

Free Lan­guage Lessons: Per­haps learn­ing a new lan­guage is high on your list this fall. Well, here is a great way to do it. Take your pick of 46 lan­guages includ­ing, Span­ish, French, Ital­ian, Man­darin, Eng­lish, Russ­ian, Dutch, even Finnish, Yid­dish and Esperan­to. The lessons are all free and ready to down­load.

Free Audio Books: What bet­ter way to spend your free time than lis­ten­ing to some of the great­est books ever writ­ten? Our col­lec­tion 1,000 Free Audio Books: Down­load Great Books for Free includes works by Arthur Conan Doyle, James Joyce, Jane Austen, Edgar Allan Poe, George Orwell and more recent writ­ers — Ita­lo Calvi­no, Vladimir Nabokov, Ray­mond Carv­er, etc. You can down­load these clas­sic books straight to your gagdets, then lis­ten as you go.

[Note: If you’re look­ing for a con­tem­po­rary book, you can down­load one free audio book from Audible.com. Find details on Audi­ble’s no-strings-attached deal here.]

Free eBooks: You have always want­ed to read the great works. And now is your chance. When you dive into our col­lec­tion of 800 Free eBooks for iPad, Kin­dle & Oth­er Devices you will find great works by some clas­sic writ­ers (Dick­ens, Dos­to­evsky, Shake­speare and Tol­stoy) and more mod­ern writ­ers (F. Scott Fitzger­ald, Philip K. Dick, Isaac Asi­mov, and Kurt Von­negut). The col­lec­tion also gives you access to the 51-vol­ume Har­vard Clas­sics.

Free Text­books: We have scoured the web and pulled togeth­er a list of 150 Free Text­books. It’s a great resource par­tic­u­lar­ly if you’re look­ing to learn math, com­put­er sci­ence or physics on your own. There might be a dia­mond in the rough here for you.

Free K‑12 Resources: Par­ents, teach­ers, and young stu­dents seek­ing excel­lent free online edu­ca­tion­al resources, look no fur­ther. We’ve gath­ered free apps, qual­i­ty YouTube chan­nels; test prep mate­ri­als; and free web resources in aca­d­e­m­ic sub­jects like lit­er­a­ture, his­to­ry, sci­ence and com­put­ing.

Free Movies: With a click of a mouse, or a tap of your touch screen, you will have access to 500 great movies. The col­lec­tion hosts many clas­sics, west­erns, indies, doc­u­men­taries, silent films and film noir favorites. It fea­tures work by some of our great direc­tors (Alfred Hitch­cock, Orson Welles, Andrei Tarkovsky and David Lynch) and per­for­mances by cin­e­ma leg­ends: John Wayne, Jack Nichol­son, Audrey Hep­burn, Char­lie Chap­lin, and beyond. On this one page, you will find thou­sands of hours of cin­e­ma bliss.

Enjoy stretch­ing your brains in new and inter­est­ing ways this sea­son.

David Lynch Lists His Favorite Films & Directors, Including Fellini, Wilder, Tati & Hitchcock

At least a few of you — more than a few, I’d wager — think of David Lynch as your favorite film­mak­er. Back when we post­ed about the great­est films of all time as named by Stan­ley KubrickMar­tin Scors­eseWoody Allen, and Quentin Taran­ti­no, you prob­a­bly won­dered what selec­tions the Eraser­head auteur would make. You can get an idea from the inter­view clip above, in which Lynch con­sid­ers the ques­tions “Whose work do you admire?” and “What movies have you watched over and over and could still watch a hun­dred times more?” Well-asked, since the movies we actu­al­ly watch most often reveal more about us than the movies we hap­pen to call “favorites.” “I love Stan­ley Kubrick,” he replies. “I can watch his movies over and over. I love Bil­ly Wilder, Sun­set Boule­vard in par­tic­u­lar, and I’ve watched it over and over. I loved the world Bil­ly Wilder cre­at­ed.”

“I love Felli­ni,” Lynch con­tin­ues. “Watched ’em over and over. If you want to see some great come­dies, check out Jacques Tati’s Mr. Hulot’s Hol­i­day. I like W.C. Fields. I like the movie It’s a Gift. I like Hitch­cock, par­tic­u­lar­ly Rear Win­dow.” And after a moment of reflec­tion: “I like a lot of dif­fer­ent film­mak­ers, but those are… some of them.” MUBI.com also offers a post on Lynch’s favorite films, drawn from Lynch on Lynch, Chris Rod­ley’s book-length inter­view with the direc­tor, and Catch­ing the Big Fish, Lynch’s own vol­ume on med­i­tat­ing your way to inter­est­ing ideas.

Here he pro­vides more details on his fel­low film­mak­ers of choice:

  • In , “Felli­ni man­ages to accom­plish with film what most­ly abstract painters do – name­ly, to com­mu­ni­cate an emo­tion with­out ever say­ing or show­ing any­thing in a direct man­ner, with­out ever explain­ing any­thing, just by a sort of sheer mag­ic.”
  • In Sun­set Boule­vard, Wilder “man­ages to accom­plish pret­ty much the same abstract atmos­phere, less by mag­ic than through all sorts of styl­is­tic and tech­ni­cal tricks. The Hol­ly­wood he describes in the film prob­a­bly nev­er exist­ed, but he makes us believe it did, and he immers­es us in it, like a dream.”
  • Mon­sieur Hulot’s Hol­i­day wins his favor “for the amaz­ing point of view that Jacques Tati casts at soci­ety through it. When you watch his films, you real­ize how much he knows about – and loved – human nature, and it can only be an inspi­ra­tion to do the same.”
  • Rear Win­dow does the same “for the bril­liant way in which Alfred Hitch­cock man­ages to cre­ate – or rather, re-cre­ate – a whole world with­in con­fined para­me­ters. James Stew­art nev­er leaves his wheel­chair dur­ing the film, and yet, through his point of view, we fol­low a very com­plex mur­der scheme. Hitch­cock man­ages to take some­thing huge and con­dense it into some­thing real­ly small. And he achieves that through a com­plete con­trol of film mak­ing tech­nique.”

Com­mu­ni­cat­ing with­out direct­ly say­ing, show­ing, or explain­ing? Craft­ing abstract atmos­phere? Evok­ing a dream­like ver­sion of Hol­ly­wood? Cast­ing an eye on soci­ety that sees things dif­fer­ent­ly? Cre­at­ing worlds in tight con­fines? Seems to me, as some­one who’s expe­ri­enced more than his share of screen­ings of such films as Eraser­headBlue Vel­vetLost High­way, and Mul­hol­land Dri­ve, that you could ascribe new ver­sions of not one but all of these cin­e­mat­ic ten­den­cies to Lynch him­self. We call imi­ta­tion the sin­cer­est form of flat­tery, but sure­ly it counts as a whole oth­er order of com­pli­ment to take the accom­plish­ments of the cre­ators who inspire you and some­how make them com­plete­ly your own. It takes, as the man says, a sort of sheer mag­ic.

Relat­ed Con­tent:

The 10 Great­est Films of All Time Accord­ing to 846 Film Crit­ics

David Lynch Talks About His 99 Favorite Pho­tographs at Paris Pho­to 2012

David Lynch Explains How Med­i­ta­tion Enhances Our Cre­ativ­i­ty

David Lynch’s Sur­re­al Com­mer­cials

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­lesA Los Ange­les PrimerFol­low him on Twit­ter at @colinmarshall.

Edward Said Speaks Candidly about Politics, His Illness, and His Legacy in His Final Interview (2003)

In an excerpt from her mem­oir pub­lished in Salon last month, Najla Said—daughter of lit­er­ary crit­ic and Pales­tin­ian-Amer­i­can polit­i­cal activist Edward Said—recalls her father’s lega­cy:

To very smart peo­ple who study a lot, Edward Said is the “father of post­colo­nial stud­ies” or, as he told me once when he insist­ed I was wast­ing my col­lege edu­ca­tion by tak­ing a course on post­mod­ernism and I told him he didn’t even know what it was:

“Know what it is, Najla? I invent­ed it!!!”

I still don’t know if he was jok­ing or seri­ous.

Most like­ly Said was only half seri­ous, but it’s impos­si­ble to over­state the impact of his 1978 book Ori­en­tal­ism on the gen­er­a­tions of stu­dents and activists that fol­lowed. As Najla writes, it’s “the book that every­one reads at some point in col­lege, whether in his­to­ry, pol­i­tics, Bud­dhism, or lit­er­a­ture class.” Said’s “post­mod­ernism,” unlike that of Fran­cois Lyotard or many oth­ers, avoid­ed the pejo­ra­tive bag­gage that came to attach to the term, large­ly because while he called into doubt cer­tain ossi­fied and per­ni­cious cat­e­gor­i­cal dis­tinc­tions, he nev­er stopped believ­ing in the pos­i­tive intel­lec­tu­al enter­prise that gave him the tools and the posi­tion to make his cri­tiques. He stub­born­ly called him­self a human­ist, “despite,” as he writes in the pref­ace to the 2003 edi­tion of his most famous book, “the scorn­ful dis­missal of the term by sophis­ti­cat­ed post-mod­ern crit­ics”:

It isn’t at all a mat­ter of being opti­mistic, but rather of con­tin­u­ing to have faith in the ongo­ing and lit­er­al­ly unend­ing process of eman­ci­pa­tion and enlight­en­ment that, in my opin­ion, frames and gives direc­tion to the intel­lec­tu­al voca­tion.

In that same pref­ace Said also writes of his aging, of the recent death of two men­tors, and of “the nec­es­sary diminu­tions in expec­ta­tions and ped­a­gog­ic zeal which usu­al­ly frame the road to senior­i­ty.” He does not write about the leukemia that would take his life that same year at the age of 67, ten years ago this month.

For the inter­view above, how­ev­er, Said’s last, he speaks can­did­ly about his ill­ness. Fit­ting­ly, the video opens with a quote from Roland Barthes: “The only sort of inter­view that one could, if forced to, defend would be where the author is asked to artic­u­late what he can­not write.” Said tells inter­view­er Charles Glass that his main pre­oc­cu­pa­tion in the past few months had been his ill­ness, some­thing he thought he had “mas­tered” but which had forced him to con­front the incon­tro­vert­ible fact of his mor­tal­i­ty and sapped him of his will to work.

Said, as always, is artic­u­late and engag­ing, and the con­ver­sa­tion soon turns to his oth­er pre­oc­cu­pa­tions: the sit­u­a­tion of the Pales­tin­ian peo­ple and the pol­i­tics and per­son­al toll of liv­ing “between worlds.” He also express­es his dis­ap­point­ment in friends who had become “mouth­pieces of the sta­tus quo,” bang­ing the drums for war and West­ern Impe­ri­al­ism in this, the first year of the war in Iraq. One sus­pects that he refers to Christo­pher Hitchens, among oth­ers, though he is too dis­creet to name names. Said has a tremen­dous amount to say on not only the cur­rent events of the time but on his entire career as a writer and thinker. Though he’s giv­en dozens of impas­sioned inter­views over the decades, this may be the most hon­est and unguard­ed, as he unbur­dens him­self dur­ing his final days of those things, per­haps, he could not bring him­self to write.

Thanks to Stephanos for send­ing this video our way.

Relat­ed Con­tent:

Stephen Fry & Friends Pay Trib­ute to Christo­pher Hitchens

Christo­pher Hitchens: No Deathbed Con­ver­sion for Me, Thanks, But it was Good of You to Ask

Noam Chom­sky Calls Post­mod­ern Cri­tiques of Sci­ence Over-Inflat­ed “Poly­syl­lab­ic Tru­isms”

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The Irrepressible Bette Davis Recalls Her Good and Bad Days Kissing in the Movies

In 1971, a year before Last Tan­go in Paris was released in the US,  Bette Davis went on The Dick Cavett Show to dish on a career’s worth of onscreen kiss­es. Four decades on, when access to Net­flix is all that’s required to enjoy a visu­al inti­ma­cy bor­der­ing on the gyne­co­log­i­cal with Halle Berry or Maria Bel­lo, Davis still cap­ti­vates. Watch the above excerpt and don’t feel ashamed if you spend the rest of the day try­ing to guess the iden­ti­ty of the actor who—in Cavet­t’s words—“was so repul­sive that you just could­n’t stand to do it.”

Glenn Ford? Paul Hein­reid? Pop­u­lar opin­ion points to Edward G. Robin­son.

Who­ev­er he was, she cashed her pay­check and took one for the team, just as she did in 1930, when under con­tract to Uni­ver­sal, the self-described “Yan­kee-ist, mod­est vir­gin that ever walked the earth” was pressed into ser­vice as a “test girl.” This involved lying on a couch as a suc­ces­sion of 15 audi­tion­ing actors demon­strat­ed their pas­sion­ate kiss­ing abil­i­ties.

That ses­sion was filmed, but evi­dence has yet to sur­face on the Inter­net. Fans will just have to con­tent them­selves with sneak­ing onto a three-acre pri­vate arbore­tum in Mass­a­chu­setts for a glimpse of an Anna Col­man Ladd foun­tain fea­tur­ing four frol­ic­some nudes. Word has it a cer­tain mod­est vir­gin Yan­kee served as the mod­el for one of these fig­ures while still in her teens. Or so a leg­endary actress revealed to Play­boy at the age of 74.

Relat­ed Con­tent:

Woody Allen on The Dick Cavett Show Cir­ca 1970

Dick Cavett’s Wide-Rang­ing TV Inter­view with Ing­mar Bergman and Lead Actress Bibi Ander­s­son (1971)

George Har­ri­son in the Spot­light: The Dick Cavett Show (1971)

Ayun Hal­l­i­day recalls Lau­ren Bacall shilling for a lip aug­men­ta­tion pro­ce­dure in No Touch Mon­key! And Oth­er Trav­el Lessons Learned Too Late. Fol­low her @AyunHalliday

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