DAILY PHOTO: Streets of Manhattan

Taken in New York City in August of 2008.

BOOK REVIEW: The Neil Gaiman Library, Vol. 3 by Neil Gaiman

The Neil Gaiman Library Volume 3The Neil Gaiman Library Volume 3 by Neil Gaiman
My rating: 5 of 5 stars

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Out: June 1, 2021

 

This series collects short fiction of Neil Gaiman and presents it via the medium of the graphic novel. While there are four works listed, because two of these works contain multiple stories, there are actually eight stories contained in this volume. The selection is diverse both in terms of genre and artistic style. With respect to genre, the stories cut across fairy tale, fantasy, horror, supernatural, and tales of the weird. The artistic styles range from art nouveau to comic strip style. While this is the third volume, the included stories all stand on their own, and so there is no necessity to have read previous volumes. Because Gaiman draws heavily on fairy tale source material, parents might assume these are kid-friendly stories, but you should check them out first yourself as “Snow, Glass, Apples” and “The Daughter of Owls” both present somewhat sexually explicit content (the former both graphically and with respect to story events and the latter only with respect to story,) and while the horror stories are pretty calm as horror stories go, they are still works of horror.

“Snow, Glass, Apples” is a dark take on the princess-centric fairy tale. It imagines a vampiric young nymph who appears as challenger to the Queen. This is probably the most visually impressive work, being illustrated in a style that mixes art nouveau with Harry Clark’s stain glass artworks. It is definitely not the run-of-the mill graphic novel, graphically speaking. The art is exceptionally detailed and stunning.

“The Problem with Susan and Other Stories”: As the title suggests, this is one of the two multi-story entries in the collection. The titular main story features a retired Professor who is plagued by Narnia-like dreams, and who receives a visit from a reporter for a college paper. The art for this one is much more reminiscent of the typical graphic novel of today. There are three other stories included. “Locks,” the comic strip-esque illustrated story, is a take on “Goldilocks and the Three Bears” as it’s being told to – and imagined by – a little girl. “October in the Chair” imagines a kind of story competition taking place around a campfire by anthropomorphized “months.” It’s a bit more artistically rendered than the other stories in this [sub-] collection (although that may have to do with the dark tone that is used to reinforce that the stories are being told in the middle of the night in the middle of a woods.) The final story is a brief, but artistically dense, story that imagines a day in which everything goes wrong at once.

The sixth story, “Only the End of the World Again,” revolves around a man / werewolf who wakes up to find that he has clearly turned in the preceding night. The tale is set in a small and remote village, where everyone seems to know everything about everyone, and it doesn’t shock the man when select people let slip that they know his secret. As the story unfolds, it’s clear that the man / werewolf is caught up in something bigger than his own tragedy.

The last entry is a two-parter. The first is one of my favorite Neil Gaiman short stories; entitled, “The Price,” it offers an answer to the question of why some indoor / outdoor cats constantly come home battered and bleeding. The second story, “The Daughter of Owls,” revolves around “the baby left on the church steps” plot mechanism. Because the girl is enveloped in owl accoutrements, she is shunned by the village and forced into exile at a dilapidated former abbey. Both of these stories have a more brush-painted style that the usual graphic novel.

I enjoyed this collection immensely. While not all of the stories were new to me, the way they were illustrated shone a new light on the familiar tales. All of the stories are masterfully crafted and illustrated. While Gaiman draws heavily on well-known fairy tales, there is nothing banal about these stories. I’d highly recommend this book, even if you’ve read some of the stories already.

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POEM: Adrenaline Spike

a hot spike of adrenaline
sluices into my blood
not a shot, a squirt, or a drip,
but an adamant flood

if you can find someone who gives
you that kind of feeling
without fearing a certain death
but, still, with mind reeling

Hold on!

DAILY PHOTO: Saint Patrick’s Basilica, Montreal

Taken in Montreal in March of 2011.

POEM: The Cabin Trap [Sonnet]

I snatch a coat from hook on my way out.
The gusting winds are rattling the panes.
The sad line of tracks, when I wheel about,
suggests I’ve made little by way of gains.

The cabin keeps me ever near at hand.
I walk and walk and yet it won’t recede.
The slog is slow as if I’m in quicksand;
I lean to snap my chains, and so be freed.

But chains I cannot see, I cannot break.
My sisyphean lean does me no good.
And through the air there falls just one snowflake,
but there’d be more before I reach the Wood.

The cabin wants me back; I hear it call.
I buckle at the knees. So goes my fall.

BOOK REVIEW: Teaching Artfully by Meghan Parker

Teaching ArtfullyTeaching Artfully by Meghan Parker
My rating: 5 of 5 stars

Amazon.in page

Out: May 4, 2021 in India (It may be out already where you live.)

 

While I’m not an art teacher and this book is clearly directed at art teachers, I took away a number of useful lessons nevertheless. The book is laid out as a comic book, and is meant to extol the virtues of that artform while at the same time conveying knowledge about art, teaching, and the teaching of art.

The book is organized into seven chapters that are loosely themed according to the seven elements of art: line, color, form, texture, shape, space, and value [in the sense of the level of lightness / darkness.] The connection between the artistic characteristic and what is conveyed in its chapter is more readily apparent for some chapters than for others.

Chapter one (Line) both presents how the book came to be and what the intention behind it is, and also has something to say about process. The second chapter is entitled “Color,” and it touches upon issues such as the nature of aesthetics, the value of the notion of embodiment to the artistic endeavor, and the role of imagination. Chapter three is “Form” and it explores how time, space, and story play into conveying knowledge, as well as offering insight into how form influences perception. The next chapter is “Texture, and it has a lot to do with interaction and human relationships as they pertain to the art classroom. “Shape” investigates the issue of boundaries, such as what really differentiates artist from non-artist, the grammar of comics, and the role of the teacher. It also presents a number projects that might be introduced in the classroom or in one’s self-study. “Space” is probably the most literal title as it discusses the classroom space as well as the more figurative space given to students. The final chapter (Value) has a lot to say about frames of reference and the analogy of painting frames to the frames that individuals operate in and see the world through.

There is a Conclusion that provides some summation of ideas, and there are also notes and a page of references. This book shined a spotlight on a few other books that intrigue me, but that would have been completely outside my awareness — given I don’t read much about the visual arts, but I’m increasingly finding it to be a topic of interest.

As I said, even though its outside my bailiwick, I took away some intriguing lessons from this book — particularly about how variations in the elements of art encourage different emotional and psychological responses. There are a few excellent quotes as well. These powerful lessons weren’t in every frame. A fair amount of space is devoted to both platitudes and [hopefully] cathartic rants about the challenge of being a teacher, and particularly a teacher of art.

The book is festively drawn and colored and (as befits a book focusing on the visual arts) I got even more out of how ideas were portrayed visually than how they were discussed textually. The book takes a light and whimsical approach, and is pretty to look at.

If you’re interested in learning more about the visual arts, I’d highly recommend picking this book up.

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DAILY PHOTO: A Macaque Offers Its Opinion of the Weather

Taken in July of 2014 in Kerala

BOOK REVIEW: Range by David Epstein

Range: Why Generalists Triumph in a Specialized WorldRange: Why Generalists Triumph in a Specialized World by David Epstein
My rating: 5 of 5 stars

Amazon.in page

 

The human world has been shaped in large part by a trend toward increasing specialization. From the agricultural revolution through Adam Smith’s teachings about division of labor to thriving medical specialties such as Gerontological Podiatric Vascular Specialist, the trend has been toward knowing more and more about less and less on the way to knowing everything about nothing. However, it’s become increasingly apparent both that hyper-specialization has its downsides, and that well-rounded generalists can solve some problems and make some innovations that specialists – blinded by their silos – can’t. Epstein’s premise is not that we need to roll-back specialization, but rather that we need to recognize what it does well and where it tends to fail, and to value generalists for what they bring to the table – which is often substantial.

If Epstein’s name sounds familiar, it’s probably for his previous book, “The Sports Gene,” which examined the science of athletic excellence. This book’s introduction sets up the discussion with a pair of sports-based examples. The first is Tiger Woods, a golfing legend who is one of the dominate forces in his sport. Woods is the poster-child for obsessive specialization and the frequently-cited (if greatly misunderstood and over-applied) 10,000-hour rule. [An idea that — on average — one needs about 10,000 hours of deliberate practice to achieve mastery of an activity. It turns out to be demonstrably wrong when applied to many activities, and seems to have contributed to a lot of repetitive stress injuries, if not mental health issues, owing to fanatical parents and coaches who bought into the idea hook, line, and sinker.] From his earliest childhood, Woods’s life was built around the game. The Woods case seems to bolster the idea that children who wish to be world-class elite athletes must focus their efforts on one sport as soon as possible. Until, however, it is juxtaposed to the story of Roger Federer, an athlete who has also been at the top of his sport (tennis,) but who took a much more meandering and varied route to becoming a champion.

The book consists of twelve chapters that seek to illuminate different dimensions of the specialist-generalist divide. The first chapter doesn’t dive into the arguments for generalization and well-rounded training as one might expect, but rather it shows how the idea that specialization is essential to success gained hold. The case that Epstein takes up to explain this tendency is that of the Polgar sisters, a trio of Hungarian siblings who became globally-recognized chess masters. Their father fought to be able to homeschool the girls (this was Cold War Eastern Europe — so doing one’s own thing wasn’t something one just decided to do and then did,) arguing that he could achieve greatness, launching his girls to the top of their field. The fact that Polgar succeeded could be taken as further iron-clad evidence for the virtue of specialization, but what it really does is to set up a discussion of how we might might go about differentiating fields where intense specialization is beneficial from those where it isn’t. It is convincingly argued that chess is not universally analogous to many other activities.

Chapter two explores the topic of cognition, and the effect that a general education has had on humankind’s thinking. The discussion centers on the “Flynn Effect” a steady rise in test scores that are supposed to measure innate intelligence (e.g. IQ tests,) but the fact that there has been a steady improvement on tests suggests there is something more at play than innate intelligence. It’s the third chapter that finally explicitly delves into the case for generalization, and it does so through through the fascinating case of a Venetian Women’s musical group that became legends despite the fact that: a.) they were only allotted a quite limited amount of time for music study given the competing requirements of their chores, general education, and other obligations; b.) even within the domain of music, they were famous for being able to switch instruments mid-act, or to serve as both vocalist and instrumentalist.

Chapter four completely changed my perspective on “new math.” I’d always shared in the widespread curmudgeonly attitude towards it, as if it were purely to accommodate the laziness of the youth, but I came away thinking about the topic very differently. The argument Epstein advances is that in a rush to teach the subject as quickly as possible, students of my generation were taught to memorize a massive number of rules and strings of sequences needed to solve problems. Because of this, such students had no intuition for why said sequences of operations worked – not to mention very little love for the subject of mathematics, which seemed both difficult and pointless [a deadly combination – either one of those characteristics will meet with limited resistance, but together they spell doom.] Chapter five investigates how use of analogies from outside a discipline can open up pathways to solutions that weren’t found from within. Chapter six shares a unique view on “grit,” the ability to keep digging through all the challenges to achieve a desired goal. Grit is typically perceived as an excellent trait, but Epstein shows that too much of some types of grit can trap people in the wrong academic field or line of work. There is a fascinating discussion of the US Military Academy and the Army’s attrition problem. They kept getting high-grit people who would power through the challenging parts of selection, but who [after great investment by the Army] would leave as soon as their minimum service requirement was met. It turned out the people they were paying the most to get into service were the least likely to stay, and the process they thought would weed out those who weren’t career material didn’t work at all.

Chapter seven tells the story of Francis Hesselbein, a housewife turned CEO, and how the exploration of one’s possible selves can help one achieve great and unexpected things. Chapter eight investigates a number of cases in which outsiders with broad knowledge bases were able to achieve what experts could not. Chapter nine discusses Nintendo’s path from a middling playing card manufacturer to one of video-gaming’s top names. They hired an engineer (a self-proclaimed tinkerer) to do maintenance of their equipment and he – ultimately — developed a principle that would turn into the company’s core innovation philosophy. It was called “lateral thinking with withered technology” and it utilized existing technology for entirely new purposes with respect to game play [e.g. the technology from calculators was put to use in making handheld videogaming units – i.e. the “Gameboy.”] This approach allowed Nintendo to produce at very low cost and to dominate the market at their price point.

Chapter ten examines the fascinating phenomena whereby experts in a field are often notoriously bad at making predictions about future happenings within their area of expertise. The concept of “foxes v. hedgehogs” in forecasting is discussed at length. Specialist experts tend to be hedgehogs, they build their forecasts around a pet hypothesis and then dig in and are quite reluctant to adjust to changing information. [Foxes look at many types of information and approaches, and quickly adjust to changing information.] The penultimate chapter uncovers another common defect among specialist experts, attachment to familiar tools. The central case of this discussion involves NASA engineers disregard of evidence of a potential danger that couldn’t be put in terms of quantitative data. A secondary example is provided by firefighters who literally couldn’t drop their tools [chainsaws, axes, etc.] when they needed to run to escape advancing wildfires. [I could see another example from my training in the martial arts. In learning weapon disarms and retention, it often takes some hard lessons for martial artists to not maintain a white-knuckle grip on a weapon that they don’t control and can’t immediately put to use – all the while they are tying up their hands, they are also taking a beating. Knowing when to let go, and change one’s tactics, doesn’t come easy.]

The last chapter offers some examples of generalists who achieved greatness by applying a broader understanding than others. The people who learn less and less about more and more on the way to knowing nothing about everything have their purpose in this world. There’s a conclusion that lays out some basic ideas for applying the concepts from the book. The Kindle edition that I read had a substantial “Afterword” that was introduced with the paperback edition and which examined some different cases to clarify the generalist advantage.

I found this book to be an enlightening read. It used many fascinating cases to make clear where generalists have particular value. If you are interested in where the jack-of-all-trades will excel, this is an excellent book to give a read. Along the way, it also lends insight into learning, innovation, and creativity.

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POEM: Cliffside Dwarf Tree

From out a rocky mountainside
juts a sinewy limb.
Its existence appears brutal
and its future ever grim.

It hangs on by roots pinned in rock
dangling over the edge.
It’s splitting up that rocky crag
as if an iron wedge.

It feels the wind that whips around
that abrupt precipice,
and when the clouds envelope all,
it must feel perilous.

But never will that old dwarf tree
bemoan its cliffside fate.
Or curse the addition of a
hawk’s, or raven’s, weight.

DAILY PHOTO: Anjuman-I-Islam Allana English High School, Mumbai

Taken in July of 2018 in Mumbai (Bombay)