New History & Philosophy of Science Catalog

The History and Philosophy of Science 2016 catalog is now available:

 

Strange Glow In Strange Glow, Timothy Jorgensen relates the story of radiation, including how it helps and harms our health.
Carroll Sean B. Carroll changes the conversation about biology in The Serengeti Rules by describing how life works from the smallest cell to the largest ecosystem.
Morton Finally, Oliver Morton makes the case for geoengineering as a solution to the many challenges posed by climate change in The Planet Remade.

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Q&A with Sara Lewis, author of Silent Sparks

silent sparks jacketThere is something undeniably captivating and alluring about fireflies. In Silent Sparks: The Wondrous World of Fireflies, author Sara Lewis talks about the lives and surprising secrets of these creatures that light up the night skies. You’ll learn, for instance, that fireflies’ lives can be rather brief and gruesome. Lewis has spent over thirty years studying fireflies and has participated in a popular TED talk about the insects. This Q&A offers insights into why Lewis became so attracted to the idea of researching fireflies and what readers can expect to be surprised by in Silent Sparks.

What inspired you to write a book about fireflies?

SL: Ah, this book had quite a long gestation period! I’ve been doing research on fireflies for about 30 years. Whenever people hear about my job, “ Oh, I love fireflies!” is their nearly universal response. And so many people are curious, quite eager to learn more. But there really hasn’t been much accessible information out there. Even though we’ve learned a tremendous amount about fireflies over the past few decades, all these new discoveries lay hidden away in the technical literature. Scientists write primarily for other scientists, so these papers are chock full of technical jargon. Also, they can be difficult to access because they’re located behind paywalls. Knowing how many people would enjoy celebrating the science and the wonder of fireflies – that’s really what inspired me.

Who is the audience for this book, and what do you hope people will get from it?

SL: As I write in the preface: “If you love fireflies, then I wrote this book for you.” My goal is to escort people behind the scenes to explore the science behind the spectacle. How do these creatures make light? And what’s with all that flashing – are they talking to one another? What do baby fireflies look like? Are fireflies really disappearing?

One thing I hope people will take away from Silent Sparks is the immense beauty that emerges when you look at fireflies in the light of evolution. And they’ll get to glimpse the scientific process that helps us collectively accumulate knowledge. Of the few hundred scientists who’ve dedicated their days and nights to uncovering fireflies’ secrets, I’m lucky to count many of them among my mentors and friends. The book introduces quite a few of these firefly scientists – for me, their stories help the science come alive.

What’s most the surprising thing your book reveals about fireflies?

SL: Most people think there’s just one type of firefly, so the Most Surprising Revelation Award would likely go to the fact that there are over 2000 different firefly species sprinkled across the globe. And they’ve evolved remarkably different courtship styles. In North America, our most familiar fireflies are lightning bugs, which use quick, bright flashes to find mates. Northern Europe has mainly glow-worm fireflies: plump and wingless, these females climb up onto perches at night and glow for hours to attract their flying males. The western US has mainly dark fireflies. These fly during daytime and they don’t light up – instead males use their fancy antennae to sniff out perfumes given off by their females.

Any other surprises?

SL: Yes, lots! Without revealing too much, I think most people will be surprised by fireflies’ gory and gluttonous childhood, for instance.

Do you have a favorite firefly?

SL: I was hoping you wouldn’t ask that! It’s so hard to pick just one, because fireflies have so many different lifestyles and I find each one fascinating. I guess my current favorite would have to be the blue ghost firefly, Phausis reticulata. I fell under the spell of these mysterious fireflies a few years back when I first encountered them in the southern Appalachians. Flying ankle-high above the forest floor, blue ghost males give off eerie, long-lasting glows as they search for females. Meanwhile, the blue ghost females are tiny and wingless, and they’re very hard to find. They’re nestled down in the leaf litter, their transparent bodies studded with glowspots that shine like gemstones.

Another reason I like them is that they hold so many secrets just waiting to be uncovered – we still know very little these blue ghost fireflies.

silent sparks firefly

In blue ghost fireflies, the males can fly but the wingless females cannot. (photo by Raphael De Cock)

What got you started studying fireflies?

SL: I got hooked on life’s diversity early on, but it wasn’t until I completed my PhD that I started paying close attention to fireflies. One evening I was sitting out in my backyard in North Carolina, and suddenly these silent sparks rose up all around me. It was a magical moment – anyone who’s seen them knows exactly what I mean! And when I started reading about them, I realized these creatures would make perfect subjects to better understand sexual selection. This evolutionary process is responsible for the many bizarre and unusual features that help males improve their reproductive prospects: the peacock’s tail, the rhinoceros beetle’s horns, the bowerbird’s displays, the wood thrushes’ song and, as it turns out, the firefly’s flashes.

What did you learn while writing this book?

In terms of my personal growth, I learned to love writing again. For this book project, I really wanted to make the science accessible. Yet scientific writing uses a highly precise, concise shorthand; jargon works really well when scientists are communicating with one another, but this language can be difficult for others to understand. It took a few months, but finally I remembered how much fun it is to write in plain English! Adjectives, punctuation…the possibilities were thrilling!

silent sparks firefly

Fireflies spark childhood memories, transform ordinary landscapes, and rekindle our sense of wonder (photo by Tsuneaki Hiramatsu).

As I researched the book, I also learned a lot about the many interconnections between humans and fireflies. Around the world, fireflies elicit a nearly mystical reverence. But nowhere on Earth are fireflies more intricately woven into the cultural fabric than in Japan. As I describe in Silent Sparks, the Japanese people have enjoyed a profound love affair with fireflies for more than a thousand years. But I hadn’t realized how narrowly these beloved insects escaped being extinguished from the Japanese countryside during the twentieth century. Now, through research and widespread restoration efforts, Japanese fireflies have made a remarkable come-back to become a symbol of national pride and environmentalism.

Sara Lewis, who has been captivated by fireflies for nearly three decades, is a professor in the Department of Biology at Tufts University. Her work has been featured in numerous publications, including the New York Times, Scientific American, and USA Today. Lewis lives with her husband in Lincoln, Massachusetts.

Judith Herrin awarded 2016 Heineken Prize for History

Judith Herrin portraitPrinceton University Press congratulates Professor Judith Herrin (emerita, Kings College London) on receiving the 2016 Dr A. H. Heineken Prize for History. The prize is awarded in recognition of Prof. Herrin’s lifetime contribution to the field, in particular her work on the medieval cultures of the Mediterranean, and the Byzantine Empire. The statement from the prize jury notes that “[Herrin’s] work paved the way for a non-theological view of the influence of Christendom on Medieval society. Thanks to Herrin, the place of the Byzantine Empire in history is now assessed at its true value and thanks to her tenacity, the many varied contributions made by women to Byzantine society are now appreciated.”

We are proud to have an enduring working relationship with Prof. Herrin that began with the 1987 publication of The Formation of Christendom, a classic in the history of Dark Ages Europe. The three decades since have seen major works on the Byzantine Empire: Women in Purple (2002) and Byzantium: The Surprising Life of a Medieval Empire (2008). Most recently, we published two volumes of collected essays, Margins and Metropolis, and Unrivalled Influence. We look forward to many more years of working together.

Previous recipients of the $200,000 prize include Jonathan Israel, Joel Mokyr, Jacques Le Goff and Peter Brown.

8 Perfect Gift Books for Mother’s Day

Still stumped about gifts this Mother’s Day? Princeton University Press offers a great variety of choices for nature lovers, biography buffs, and more. Here are just a few unique ideas.

Cranshaw Jacket

Is your mother a garden lover? Garden Insects of North America: The Ultimate Guide to Backyard Bugs by Whitney Cranshaw is the ultimate book for common insects and mites that can be found in yards or gardens. Whether she’s interested in finding out what has been damaging plants, or simply wants a comprehensive identification guide, this book is a must-have.

bees

The Bees in Your Backyard: A Guide to North America’s Bees by Joseph Wilson and Olivia Messinger Carril offers tips for identification and debunks an array of myths about bees. With other 900 full-color photos, as well as tips on how to attract bees to your backyard, there’s no doubt this is a wonderful choice for someone who loves natural history, gardening, and insects.

silent sparks jacket

What could be more magical than fireflies?  Silent Sparks: The Wondrous World of Fireflies by Sara Lewis is a fitting choice for lovers of beauty, mystery, and the biology behind the scenes. Silent Sparks details why and how fireflies make their light, providing a tour of the different species that span the globe.

offshore sea life howell OffShore Sea ID Guide

No matter which coast your mother loves to visit, there are perfect guides available to help her identify sea life. Offshore Sea Life ID Guide: West Coast and Offshore Sea Life ID Guide: East Coast are both full of beautiful photos to assist in the identification of whales, dolphins, sea lions, sharks, and more. The guide is ideal for beginners and experts alike.

Living on Paper

For the mother who loves to settle down with a good biography, Living on Paper: Letters from Iris Murdoch is the perfect gift. The book is unique in that it is composed from over 760 of Murdoch’s personal letters, offering unprecedented insight into her life and personality.

Kroodsma

For mothers who love nature, memoirs, or birdsong, Listening to a Continent Sing: Birdsong by Bicycle from the Atlantic to the Pacific is a wonderful option. Author Donald Kroodsma intimately details his journey with his son across the country while they document birdsong.

the fourth pig mitchison jacket

Remind your mother of fairy tales read together, now with a twist. This collection of short stories and poems reimagines well-known tales like “The Little Mermaid” and “The Three Little Pigs”. This updated edition of The Fourth Pig by Naomi Mitchison is an intriguing bridge between childhood favorites and the darker versions adults save for themselves.

Happy Mother’s Day!

 

Stephen Heard: Write like a scientist

the scientist's guide to writing heardScientific writing should be as clear and impactful as other styles, but the process of producing such writing has its own unique challenges. Stephen Heard, scientist, graduate advisor, and editor speaks from personal experience in his book The Scientist’s Guide to Writing: How to Write More Easily and Effectively Throughout Your Scientific Career. Heard’s focus on the writing process emphasizes the pursuit of clarity, and his tips on submissions, coauthorship, citations, and peer reviews are crucial for those starting to seek publication. Recently, Heard agreed to answer a few questions about his book.

What made you decide to write a book about scientific writing?

SH: I think the first spark was when I realized I give the same writing advice to all my students, over and over, and caught myself thinking it would be easier to just write it all down once. That was foolish, of course: writing the book wasn’t easy at all! But before long, my rationale shifted. The book became less about stuff I wanted to tell everyone else, and more about stuff I wished somebody had told me. A lot of us get into science without much writing experience, and without thinking much about how important a role scientific writing plays – and when we start doing it, we discover that doing it well isn’t easy. It took me many years to become a reasonably competent scientific writer, and the book includes a lot of the things I discovered along the way. I was surprised to discover that writing the book made me a better writer. I think reading it can help too.

Surely there a bunch of other scientific-writing books out there? What do you do differently?

SH: Yes – and some of them are quite good! But I wanted to write something different. I’m not sure my book says anything that no one else knows about outlining or paragraph structure or citation formatting (for example). But I thought there was a lot of value in a book that pays attention to the writer as much as the writing: to the way writers behave as they write, and to ways in which some deliberate and scientific attention to our behavior might help us write faster and better. I’ve also discovered that knowing a bit about the history and culture of scientific writing can help us understand the way we write (and why). Just as one example: knowing something about the history of the Methods section, and how it’s changed over the last 350 years as scientists have struggled with the question of how scientific studies gain authority, can help us decide how to write our own Methods sections. I also tackle the question of whether there’s a place in scientific writing for beauty or for humor – something that gets discussed so rarely that it seems almost like a taboo.

Finally, I wanted to write a book that was really engaging: to show that thinking about writing (as we all need to) needn’t be dry and pedantic. So readers might be surprised, in a book about scientific writing, to find mentions of Voltaire’s lover, SpongeBob SquarePants, and the etymology of the word fart. But I hope they’ll also find that there are lessons in all those things – and more – for scientists who want to write better and more quickly.

You also go into a lot of depth about the review and publication process. Why are these things important to cover alongside the writing process?

SH: Well, maybe that isn’t “writing”, strictly speaking – but it’s an essential part of getting one’s scientific writing in the hands of readers. All of us want our scientific writing to be read, and to be cited, and to help move our fields forward. So it’s not enough to write a good manuscript; we have to be able to shepherd it through the process of submission, review, revision, and eventual acceptance. Early in my own career I found this process especially mysterious. Since then, I’ve learned a lot about it – by publishing quite a few papers myself, but also by reviewing hundreds of manuscripts and acting as an Associate Editor for hundreds more. So I have a pretty good overview of the publishing process, from both the writer’s and the journal’s perspective. There’s no particular reason that process has to be mysterious, and I thought it would be helpful to draw back the curtain.

Is scientific writing really that different from other kinds of writing?

SH: Both yes and no! Of course, there are technical issues that matter in scientific writing, like ways of handling text dense with numbers, or ways we handle citations. There are also more cultural ways in which scientific writing is its own thing. One of them is that we’ve developed a writing form that efficiently conveys material to other people who are familiar with that form. Our conventional division of papers into Abstract, Introduction, Methods, Results, and Discussion is a piece of that. Our writing (and our publication process) have evolved in many other ways that aren’t quite the same as you’d find in the humanities, or in writing about science for the public. That’s why there are books about scientific writing, not just about writing. But on another level, good scientific writing is like most other good writing: clear, concise, engaging whenever possible, and did I mention clear? Nothing is more important than clarity! As a result of this similarity, people who learn good scientific writing are well positioned for any career that involves writing – which is to say, pretty much any career.

Do you think of yourself as a good writer?

SH: No! And to loop back to the first question, that’s a big part of why I wrote the book. There are a very few natural writers out there – geniuses – for whom good writing just seems to come naturally. But these are rare. I’m like nearly everyone else: writing is hard work for me. It’s a craft I’ve learned over the years by practicing, by thinking deliberately about how I do it, and by reading advice from books that have gone before mine. It’s still hard work, but that’s OK: I’m willing to put in the effort for my writing product to seem pretty good, even if my writing process is laborious. If I’d understood earlier in my career that most writers are just like me, I would have been less crushed by the discovery that my papers didn’t just write themselves! Every scientific writer can do what I’ve done: practice the craft and improve at it. I hope my book can help.

Stephen B. Heard is professor of biology at the University of New Brunswick in Canada and associate editor of the journal American Naturalist. His most recent book is The Scientist’s Guide to Writing: How to Write More Easily and Effectively Throughout Your Scientific Career.

National Poetry Month: Featured reading by Austin Smith

almanac smith jacketAustin Smith’s debut collection, Almanac, is a lyrical and narrative meditation on the loss of small family farms. Most of the poems are personal, set in the rural Midwest where Smith grew up. Though they are geographically specific, the greater themes such as death and perseverance are as universal as they are disquieting.

The collection is also a meditation on apprenticeship. Smith, the son of a poet, reflects on the responsibility of a young poet to mourn what is vanishing.

Listen to Austin Smith’s reading of his poem, “Coach Chance”.

austin smithAustin Smith was born in the rural Midwest. Most recently, he was a Wallace Stegner Fellow in fiction at Stanford University. He has written a collection of poems entitled Almanac: Poems.

An interview with Tonio Andrade, author of Gunpowder Age

To what degree do times of peace impact military power and precision? In his new book, Gunpowder Age, Tonio Andrade shows how throughout Chinese history, powerful enemies have inspired periods of intense military innovation and technological advancement. Andrade recently took the time to answer some questions about his book, China’s fascinating military past, and its potential emergence a modern day superpower.

Gunpowder AgeChina is fast becoming a military superpower now. Your book claims to find a “pattern to the Chinese military past.” How do current events fit into this pattern?

TA: China under its current leader, Xi Jinping, has become increasingly assertive, for example by building artificial islands in the South China Sea to buttress China’s claims to jurisdiction over the vast majority of the sea. These claims are disputed by many nations, including the USA, and analysts wonder whether China would really go to war to defend them. Some believe that it inevitably will, because rising powers tend to use their muscle to overturn the status quo, while existing powers tend to defend the status quo. Others, however, argue that China has traditionally maintained a defensive perspective on military power and is typically uninterested in waging aggressive wars. If we look at China’s deep history, however, we find numerous occasions when China used its overwhelming military power for aggressive warfare. Intriguingly, many of those occasions occurred at times analogous to today, when the dynasty in question had consolidated power after a difficult period, often spanning generations, and had reached a position of overwhelming regional power.

So you believe that China will likely use military force to assert itself over surrounding areas?

TA: China will use the most effective means to achieve its ends and maintain its security. Xi Jinping has said that war between the USA and China would be disastrous at present for both countries, and I believe China will try to avoid direct confrontation. Typically, in the past, when China has waged aggressive war, its power was overwhelming (or perceived as such) vis-à-vis its enemies. Today, however, China is in a situation less like the early Ming Dynasty (1368–1644) or Qing Dynasty (1644–1911), in which China was far more powerful than any surrounding country, than like the Song Dynasty (960-1279), which faced enemies that matched it in power, or, indeed, outmatched it. The Song fought many wars, but usually these were defensive wars, not wars of expansion.

You argue that when China faces powerful enemies it tends to be stronger and more innovative, and when it is overwhelmingly powerful its military power tends to atrophy. Is its current military power due to the fact that China faces an unusually strong rival in the USA?

TA: China’s military past seems to follow distinct patterns. We have to be careful to distinguish what we mean by “China,” however, because much Chinese warfare has typically been against other Chinese, and/or against other states occupying parts of what is today China. In any case, for much of its history, China has shuddered between periods of intense warfare and periods of relative peace, and during times of frequent warfare it has tended to have state-of-the-art military technology, techniques, and organization. During periods of extended peace, on the other hand, it has tended to fall behind, simply because it had fewer reasons to invest in military innovation. China’s current military power has been stimulated by more than a century of war and geopolitical insecurity, and there’s no doubt that China’s current military innovation and expansion is stimulated by competition with powerful rivals, most importantly the USA.

What were other periods of strength and weakness in China’s history?

TA: Probably the most significant period of relative weakness was the nineteenth century, when China found itself spectacularly vulnerable to western power, as first made clear in its humiliating loss to Great Britain in the Opium War (1839-42). Many Westerners explained China’s stunning weakness at that time by recourse to its cultural conservatism, to what they felt was a deep resistance to new ways or foreign ideas. These sorts of ideas are still very much around. But in fact, China’s resistance to innovation was a pretty short-lived phenomenon, and it can be explained by looking at the incidence of warfare experienced by China. Starting in the mid-eighteenth century, China’s Qing Dynasty had a position of such overwhelming strength and authority both within and beyond its borders that for nearly a century its inhabitants faced fewer wars (both external and internal) than ever before in the historical records. China was, in a sense, too strong for its own good, because this overwhelming power removed the stimulus for military improvement. Meanwhile, the British and their neighbors were fighting huge wars and innovating furiously. When China and Britain went to war in 1839, the British had military capacities that were far beyond those of China: Congreve rockets; light and powerful cannons; light, mobile howitzers; percussion cap muskets; explosive shells of unprecedented precision; and artillery tables that allowed the calculation of trajectories with extraordinary accuracy.

After the Opium War, why did it take so long for China to catch up with the west?

TA: Actually, Chinese officials, military and civil, carried out quite a bit of innovation right after the Opium War, studying Western guns, steamships, and sailing ships, and that innovation sped up during the intense military conflagrations that beset China starting in the 1850s. Many historians (I am one) now believe that from a technical standpoint the Qing were catching up quite effectively by the late 1860s and early 1870s. Indeed, it seems likely that up to that point their modernization attempts were even more effective than than those of Japan. But by the late 1880s, the trajectory changed, with Japan’s innovations becoming more effective. The reason is not technological or cultural but political. Japan’s old regime fell in 1867, replaced by a newer, centralized government that modernized its political structures. The Qing, however, held on, and its political structures failed to adapt. In fact, it’s a curious coincidence of history that the Qing and Japan’s old regime lasted exactly the same number of years. It’s just that the Japanese regime, which was founded first, also fell first. Japan had a clean slate and could sweep away old, unproductive aspects of its old regime. China couldn’t, so the Qing, although it effectively added new military structures – huge factories, innovative new armies, powerful new navies – couldn’t get rid of old ones, and so it was burdened and inflexible.

Your book starts with the invention of gunpowder and traces the evolution of the gun in the period 900-1280 or so, but one of the great questions of world history is why, if the Chinese invented the gun, they didn’t use it as effectively as the West?

TA: Most people know next to nothing about early gunpowder weapons, and I was no different when I started writing the book. In fact, even experts in China’s military history knew very little about early guns until recently, but what we’re learning is causing us to question some deep narratives in world history. Guns were tremendously important in China, used highly effectively. By the mid- to late-1300s, some 10% or so of Chinese infantry soldiers were armed with guns, meaning there were probably more gunners in Chinese armies than there were troops of all kinds in Western Europe (excluding Iberia). By the mid-1400s, the proportion of gunners in China had reached 30% or so of infantry forces, a level Europeans didn’t reach until the mid-1500s. And Chinese soldiers used guns more effectively as well, deploying them in advanced and highly-disciplined formations by the mid-1300s. Similar disciplinary techniques and formations didn’t spread in Europe until the 1500s. So you can see that Chinese gunners were highly effective, more effective than westerners during this period. This early history of Chinese gunnery is almost entirely unknown, but it is a key part of world history.

That’s very interesting, but of course Europeans did eventually get better at gunpowder technology. When and why did this happen?

TA: During the early gunpowder Age, from around 900 or so (when the first gunpowder weapons were used in battle) to around 1450, East Asians led the world in gunpowder warfare. Starting around 1450, however, Europeans pulled ahead. Why? I believe the answer has to do with levels of warfare. From 1450 or so, the Ming dynasty entered into a period of relatively low warfare, which contrasted with the previous century of intense warfare. This period of relative peace (emphasis on the word relative) in China contrasted with a period of tremendous warfare in Europe. So Europeans, fighting frequently, developed new types of guns – longer, thinner, lighter, and more accurate – whereas Chinese guncraft stagnated. This period lasted only a short time, however. By the early 1500s, Chinese were innovating furiously again, and the period from 1550 to 1700 or so was a time of tremendous warfare in China. China stayed caught up with the west from a military perspective – ahead in certain respects, behind in others – until the mid-1700s when, as I said before, it entered into a great period of relative peace (again, emphasis on the word relative), during which it fell behind, a situation that lasted until the Opium War.

Tonio Andrade is professor of history at Emory University and the author of Lost Colony: The Untold Story of China’s First Great Victory over the West (Princeton) and How Taiwan Became Chinese. His most recent book is Gunpowder Age.

National Poetry Month: Featured reading by Anthony Carelli

carelli jacket carnations Throughout April, Princeton University Press has enjoyed featuring audio readings from an array of poets. Today, Anthony Carelli presents “The Brooklyn Heavens”, a poem selected from his debut collection, Carnations. Throughout the book, Carelli injects new life into metaphors as old as writing itself. The poems themselves are his carnations, wilting even as they are being written and being renewed with new writing and voice. Carelli transforms the most ordinary of images, such as a walk home from work or a game of Frisbee in a winter park.

An exclusive reading from Carnations:

Anthony Carelli’s poems have appeared in various magazines including The New Yorker, Columbia, and Commonweal, and on various websites including theparisreview.org, AGNI online, and Memorious. His first book, Carnations (Princeton University Press, 2011) was a finalist for the 2011 Levis Reading Prize. Recipient of a Hodder fellowship and a Whiting Writers’ Award, he currently lives in Brooklyn, New York and teaches at New York University.

Bird Fact Friday – Is the Mute Swan silent?

From page 284 of Waterfowl of North America, Europe & Asia:

The Mute Swan is not mute at all. Its most frequent call is a wee-rrrr or wiingrr-iew with a high-pitched second syllable. It will also make an in-rrr sound accompanied with strong hissing in aggression. In flight, the wings produce a whistling sound, typical of the species.

Waterfowl of North America, Europe, and Asia: An Identification Guide 
Sébastien Reeber

ReeberThis is the ultimate guide for anyone who wants to identify the ducks, geese, and swans of North America, Europe, and Asia. With 72 stunning color plates (that include more than 920 drawings), over 650 superb photos, and in-depth descriptions, this book brings together the most current information on 84 species of Eurasian and North American waterfowl, and on more than 100 hybrids. The guide delves into taxonomy, identification features, determination of age and sex, geographic variations, measurements, voice, molt, and hybridization. In addition, the status of each species is treated with up-to-date details on distribution, population size, habitats, and life cycle. Color plates and photos are accompanied by informative captions and 85 distribution maps are also provided. Taken together, this is an unrivaled, must-have reference for any birder with an interest in the world’s waterfowl.

National Poetry Month: Featured reading by Fiona Sze-Lorrain

The Ruined Elegance jacketTo celebrate National Poetry Month, Princeton University Press has been proud to present audio readings from our poets throughout the month of April.

Fiona Sze-Lorrain embraces influences from America, France, and Asia throughout her latest collection of poetry, The Ruined Elegance. The poetry is inspired by an array of sources, from concentration camps to sketches, photographs to musical pieces. With lyrical language and imagery, Sze-Lorrain’s work offers hope and elegance to offset devastation and ruin.

Below, listen to Sze-Lorrain read “Transparent” from The Ruined Elegance. 

Fiona Sze-Lorrain is a poet, literary translator, editor, and zheng harpist. The author of two previous books of poetry in English, My Funeral Gondola and Water the Moon, she also writes and translates in French and Chinese. She lives in Paris. Her most recent book is The Ruined Elegance: Poems.

 

Justin E. H. Smith on six types of philosophers

Smith jacketThe Natural Philosopher, the Sage, the Gadfly, the Ascetic, the Mandarin, and the Courtier. What would the global history of philosophy look like if it were told as a series of job descriptions—ones that might have been used to fill the position of philosopher at different times and places over the past 2,500 years? The Philosopher: A History in Six Types by Justin E. H. Smith does just that, providing a new way of looking at the history of philosophy. Why six types? Are some types superior to others? Recently, Smith took the time to answer these questions and more about his latest book.

This book doesn’t have a conventional structure or approach. In addition to straightforward scholarly exposition, it also contains autobiographical elements, as well as what appear to be fictional excursuses, written from the perspective of invented historical figures who represent different philosophical types. What are the reasons for this experimental approach?

JS: When I began speaking with my editor at Princeton University Press, what intrigued him most were some reflections of mine on the relationship between the activity of a philosopher and the practical need we all have to earn money and pay the bills. I had recently moved to Paris, was having trouble making ends meet with my modest French university salary, and so had begun experimenting with some ‘freelance’ philosophical dialogues with people willing to pay—mostly Anglo tourists who were looking to experience the frisson of sitting in a Parisian café and talking about love and death and stuff just like Sartre and De Beauvoir. So when I began writing, that personal experience served as the point of departure for reflecting on the long history of the problematic relationship between money and philosophy—after all, one of the most common foundation myths of the tradition is that it began when Socrates refused remuneration, thus liberating whatever it is we’re doing qua philosophers from whatever it is the Sophists had been doing. This approach then sort of expanded to other parts of the book: launching into an investigation of some aspect of the definition of philosophy by revealing something about my own personal engagement with it.

As for the fictional elements, I suppose this is just an irrepressible symptom of the sort of writing I’ve come to believe can best get across what I’m trying to do philosophically. I’m with Margaret Cavendish, who explicitly lays out at the beginning of her delirious 1666 novel, Blazing World, how it is that fantasy can be harnessed and utilized for the exploration of philosophical questions in ways for which the faculty of reason alone might be less ideally suited. I faced some resistance to these portions of the book from some readers of drafts. They wanted me to more clearly mark off and explain what I was doing in them, somewhat as Martha Nussbaum does when she introduces a fictional figure in one of her books to guide as through the exposition of arguments that follow. But I didn’t want my characters to serve simply as didactic aides. I wanted rather for the work to be, at least in part, a work of fiction, a product, like Cavendish’s, of the literary imagination.

Is this book philosophy, or is it about philosophy?

JS: I don’t know that there can really be a valid distinction here. By the same token, I’ve never understood what people mean when they talk about ‘metaphilosophy’. We’re all just trying to come to a clearer understanding of the nature of this activity we’re engaged in, in order, in part, to better engage in it. Philosophy is peculiar in that a great deal of effort is expended, by those who profess to practice it, in seeking to determine where its boundaries are, and what falls outside of them. This is a problem sedimentologists, say, don’t have, and one might easily suspect that philosophy is essentially constituted by this activity, that there’s not much left over to do once philosophers have stopped trying to determine what philosophy is not. I think my approach, the transregional and wide-focused historical survey of the very different ways people we think of as philosophers have themselves conceived what they were doing, helps to establish this point: ‘philosophy’ is said in many ways, to paraphrase Aristotle. I’m sure some critics who have some stake in portraying philosophy as essentially thus rather than so, or vice versa, will be quick to say that this book is ‘not philosophy’. But I think I can survive that, and in fact I think they’ll be helping to support my thesis.

Why six types? Is this list exhaustive or arbitrary?

JS: I make it very clear in the book that there has been no transcendental deduction of all possible types of philosopher, or anything like that. My approach is more like the one Kant accused Aristotle of taking in his elaboration of the ten categories: his listing of them continued until he grew tired. I also make clear that what we usually see when we look at actual philosophers is hybrids of two or more of the types, or different dimensions of the types becoming apparent at different moments in their work. The point of thinking in terms of types is to help reveal the degree to which the expectations placed on a person occupying the social role of the philosopher will determine in part the range of questions or problems that philosopher considers worthy of attention. I think of types as social categories, and for this reason certain social circumstances need to obtain in order for a given type of philosopher to make an appearance. Is an amateur observer of the way snails copulate in Central Park in 2015 a philosopher? No, but someone who was doing the same thing in the Jardin des Plantes in 1665 probably was.

You seem to be more sympathetic to some types than to others. Why?

JS: My training as a scholar, and so to speak my spiritual home base, is in the 17th century, which I see as a brief period of tremendous openness, of liberality and of true love of knowledge, inserted in the middle of what has generally been, philosophically speaking, a long, dark history of tedious scholasticism, provincialism, and submission to authority. Not coincidentally, this is also the period in which most of the philosophical action was going on outside of universities.

While I didn’t mean to structure things in this way when I began writing, as it turned out the chapters, each of which focuses on a particular type, move from my most to my least favorite. The first chapter is on what I call the ‘Curiosa’ (or, masculine, ‘Curiosus’), and the fictional personnage is inspired by none other than Margaret Cavendish. She represents the intellectual virtue that I believe is most lacking in university-based philosophy since at least the moment, sometime around the end of the 18th century, when the natural sciences broke off from philosophy and ‘natural philosophy’ ceased to be a vital and central concern of philosophers. My least favorite figure is the Courtier, whose fictional representative is based loosely on Jan Sten, the Soviet philosopher who was called in to tutor Stalin on Hegel and dialectical materialism and whatever other profound things the dictator was having trouble understanding, and who was eventually purged in the Moscow show trials. Serves that groveling worm right, we’re inclined to say at our safe distance, but the truth is many of us are doing something somewhat similar when we bend ourselves to the reigning ideology of market-driven university research, and pretend to ourselves and others that that’s still philosophy.

You draw on many sources that are not traditionally considered philosophy in the narrow sense. What is the purpose of this?

JS: I just don’t know how one could possibly coherently define the corpus of texts that deserve to be included in, as it were, the imaginary library of the history of philosophy. Recently (too recently to be included in the book) I’ve been thinking a great deal about the philosophical problem of the concept of ‘world’, as it developed in the 17th century, and the way in which this development is central for our understanding of the metaphysics of possibility, counterfactuals, one of Kant’s three transcendental Ideas, and so on. I’ve learned a great deal about the history of this concept from the work, in French, of Édouard Mehl. One thing I’ve come to appreciate is that this concept simply cannot be adequately understood without reading early modern novels, particularly the ones we might call ‘proto-science fiction’, such as Cyrano de Bergerac’s Les états et empires de la Lune. Am I supposed to exclude that just because it’s not a treatise? But then I will fail to adequately understand the philosophical problem that interests me, and that would be bad.

Often we are willing to pay attention to things that canonical philosophers say that are, quite frankly, no less fantastical than 17th-century lunar fantasy novels, simply because they are already categorized as canonical philosophers and therefore, we presume, everything they say is of interest. So Leibniz says that every drop of water in a pond is a world full of beings, and that is poetic and wonderful, but is it any more worthy of our attention as philosophers than when, say, Walt Whitman finds that he incorporates “gneiss, coal, long-threaded moss”? Both capture something profound about nature and our place in it. Whitman says it better, in my view, and there’s no reason not to pay attention to it, as philosophers, on the grounds that Whitman didn’t also come up with the principle of sufficient reason or the infinitesimal calculus.

In the end you describe the work as ‘aporetic’? Does this indicate a failure?

JS: No, it’s philosophy’s fault.

Justin E. H. Smith is university professor of the history and philosophy of science at the Université Paris Diderot—Paris VII. He is also the author of Nature, Human Nature, and Human Difference: Race in Early Modern Philosophy and Divine Machines: Leibniz and the Sciences of Life (both Princeton). He writes frequently for the New York Times, Harper’s Magazine, Cabinet Magazine, and other publications.

 

Bird Fact Friday – How do hawks fly such great distances?

From page 7 of Hawks from Every Angle:

Several factors influence the migratory pathways of raptors, including geography. Mountainous sites are famous for attracting concentrations of migrating hawks, in part because as wind strikes a ridge it is deflected upward, providing birds with a current of air—or updraft—along the ridge for more energy-efficient means of travel. Raptors can travel along these updrafts for miles, covering great distances with little to no effort.
Hawks from Every Angle: How to Identify Raptors In Flight
Jerry Liguori
Foreword by David A. Sibley

hawksIdentifying hawks in flight is a tricky business. Across North America, tens of thousands of people gather every spring and fall at more than one thousand known hawk migration sites—from New Jersey’s Cape May to California’s Golden Gate. Yet, as many discover, a standard field guide, with its emphasis on plumage, is often of little help in identifying those raptors soaring, gliding, or flapping far, far away.

Hawks from Every Angle takes hawk identification to new heights. It offers a fresh approach that literally looks at the birds from every angle, compares and contrasts deceptively similar species, and provides the pictures (and words) needed for identification in the field. Jerry Liguori pinpoints innovative, field-tested identification traits for each species from the various angles that they are seen.

Featuring 339 striking color photos on 68 color plates and 32 black & white photos, Hawks from Every Angle is unique in presenting a host of meticulously crafted pictures for each of the 19 species it covers in detail—the species most common to migration sites throughout the United States and Canada. All aspects of raptor identification are discussed, including plumage, shape, and flight style traits.

For all birders who follow hawk migration and have found themselves wondering if the raptor in the sky matches the one in the guide, Hawks from Every Angle—distilling an expert’s years of experience for the first time into a comprehensive array of truly useful photos and other pointers for each species—is quite simply a must.