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torachan
twistedchicksovayrachelmanija
oursinThe following are all in the area of environmental history: enjoy!
Rebecca Beausaert. Pursuing Play: Women's Leisure in Small-Town Ontario, 1870-1914.
Beausaert’s discussion of the growing popularity of outdoor recreation in the early twentieth century, as opposed to earlier forms of indoor leisure such as book clubs and church gatherings, also highlights the role of women in the rise of environmental activism in towns like Elora. In these communities, grassroots efforts to maintain the local environment and cater to the influx of ecotourism travelers flourished, further illustrating the agency of women in shaping both their social and environmental landscapes.
McNally’s emphasis on the role of race in Muir’s thinking, and, therefore, on his vision of wilderness preservation, helps readers more clearly see Muir not as wilderness prophet but as a man of his time coming to terms with the consequences of American expansion.
The book begins with Rio in the nineteenth century and shows that Cariocas regularly went to bathe in the ocean. The work incorporates an assortment of sources to give a vivid picture of this process. For instance, it was customary for bathers to go before dawn—as early as 3 a.m.—since many in Rio went to bed early in the evening, but also due to colorism within Brazilian society. The dominant white society enjoyed swimming in the ocean but also prized fairer complexions and thus aimed to avoid the sun. Yet, few amenities existed for sea-bathers. The city dumped its sewage and trash into the ocean and provided few lifeguards, which resulted in frequent drownings.
In chapter 2, a personal favorite, Barickman discusses the evolution of sea bathing from a therapeutic practice (thalassotherapy) in the nineteenth century to a leisure activity that provided a space for socialization across gender lines by the 1920s. Locals went to the beach to escape the heat of the summer, rowing emerged as the most popular sport in the region, and, as in other parts of the world such as the United States and the Southern Cone, beach-going became a popular way to make or meet friends. In short, the beach became a public space at all hours of the day, not just before dawn. Moreover, the beach captured the “moral ambiguities” of nineteenth-century norms (51-63). Men and women of all races and classes could be present in public spaces partially nude, to observe others and to be observed, in ways that society did not permit beyond the beach, but this continually frustrated moral reformers.
Chapter 3 centers on the work of Rio’s civic leaders to “civilize” the city in hopes of altering public perception of the city as a “tropical pesthole” (p. 69).
David Matless. England’s Green: Nature and Culture Since the 1960s:
The range of sources and topics is impressive, but at times the evidence is noted so briefly and the prose proceeds so quickly that breadth is privileged over depth. For example, the deeper connections between England and global ideas of green (as defined by the International Union for Conservation of Nature and the World Wildlife Fund), the influence of colonial experience on conservation events of the 1970s, and the tensions between the various governmental nature management organizations would all have benefited from a little more attention. Yet, even if the reader sometimes wishes for a slower pace to get their thoughts in order, Matless offers enough analysis to build the examples up into a clear and insightful picture. The reader is left with a general appreciation of the central environmental debates of the period and good understanding of how they evolved over time. For scholars, it is a multidimensional study that adds something new and long awaited to British environmental and cultural history. For others, it is a fascinating book filled with interesting stories, cultural context, and many moments of nostalgia.
Michael Lobel. Van Gogh and the End of Nature.:
Lobel makes a systematic case for a new way of seeing Van Gogh’s paintings. Carefully introducing readers to a host of environmental conditions that shaped Van Gogh’s lived experience and appear repeatedly in his paintings—factories, railways, mining operations, gaslight, polluted waterways, arsenic, among others—Lobel compellingly invites us to see Van Gogh as an artist consistently grappling with the changing ecological world around him. Color and composition, as two of Van Gogh’s most heralded painterly qualities, appear now through an entirely different perception influenced by a clear environmental consciousness.
Ursula Kluwick. Haunting Ecologies: Victorian Conceptions of Water:
The author sets out to consider how Victorians understood water, seen through nineteenth-century fictional and nonfictional writings about the River Thames. In chapter 2 she points out the existence of writing that emphasizes how polluted the Thames was as well as writing that never mentions the pollution, and wonders at their coexistence. The conclusion that the writings don’t relate to any real state of the river is not particularly surprising but points to the author’s overall intent, summarized in the book’s title.
Rauch views these caricatural depictions—including portrayals of sloths as docile and naive creatures, as seen in the animated film Ice Age (2002)—as potentially detrimental to the species’ well-being. Through his analysis, the author critiques how sloths have been appropriated to fulfill human (emotional, cultural, and economic) needs and how this process misrepresents sloths, leading to harmful stereotypes that diminish their intrinsic value and undermine their agency.
rydra_wongselenak
torachan
sovayrushthatspeaks bought me ice cream.marthawellsoursinReading this, I'm very much reminded of certain sff stories I read - late 60s/early 70s - that were either directly influenced by this research or via the population panic works that riffed off it: review of Lee Alan Dugatkin. Dr. Calhoun's Mousery: The Strange Tale of a Celebrated Scientist, a Rodent Dystopia, and the Future of Humanity. Does this ping reminiscence in anyone else? (I was reading a lot of v misc anthologies etc in early 70s before I found my real niche tastes).
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What Is a 'Lavender Marriage,' Exactly? Feel that there is a longer and (guess what) Moar Complicated history around using conventional marriage to protect less conventional unions, but maybe it's a start towards interrogating the complexities of 'conventional marriages'.
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Sardonic larffter at this: 'I'm being paid to fix issues caused by AI'
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Not quite what one anticipates from a clergyman's wife? The undercover vagrant who exposed workhouse life - a bit beyond vicarage/manse teaparties, Mothers' Meetings or running the Sunday School!
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Changes in wedding practice: The Cambridge Group for the History of Population and Social Structure: Wedding Days:
After the Reformation, Anglican canon law required that marriages took place in the morning, during divine service, in the parish of either the bride or groom – three features which typically elude modern weddings, which usually take place in the afternoon, in a special ceremony, and are far less likely (even if a religious wedding) to take place within a couple’s home parish. The centrality of divine service is the starkest difference, as it ensured that, unlike in modern weddings, marriages were public events at which the whole congregation ought to be present. They might even have occurred alongside other weddings or church ceremonies such as baptisms. A study of London weddings in the late 1570s found that, unsurprisingly given the canonical requirements, Sunday was the most popular days for weddings, accounting for c.44 percent of marriages taking place in Southwark and Bishopsgate. (By contrast, Sunday accounted for just 5.9 percent of marriages in 2022).
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Dorothy Allison Authored a New Kind of Queer Lit (or brought new perspectives into the literature of class?) I should dig out my copies of her works.
sovayspatch and I were getting up from our summer-hazed star-watching under the three-quarter moon, we saw a slow fireball of a meteor streak south and westward. All we had seen until then were the familiar blinks of planes and what we less happily took for satellites crawling steadily across the body of Ursa Major. We lay on the granite blocks that were installed six or seven years ago in commemoration of the eighteenth-century farm that became first a field of victory gardens and then the public park where I would spend my childhood sledding in winter and setting off model rockets in summer. The jeweled string of the Boston skyline has built itself considerably up since then. I used to dream of finding a meteorite in a field. It seemed statistically not impossible.torachan
coffeeandinkGhost Quartet is a band: Dave Malloy on keyboard, Brent Arnold on cello, Gelsey Bell and Brittain Ashford on various instruments, and everyone providing vocals. Ghost Quartet is a song cycle, a concert album performed semi-staged, a mash-up of "Snow White, Rose Red," The One Thousand and One Nights, the Noh play Matsukaze, "Cruel Sister", "The Fall of the House of Usher", the front page photo of a fatal train accident, and a grab bag of Twilight Zone episodes. The ghost of Thelonious Monk is sometimes invoked, but does not appear; whisky is often invoked, and, if you see the show live, will most certainly appear. "I'm confused/And more than a little frightened," says (one incarnation of) the (more-or-less) protagonist. "It's okay, my dear," her sister/lover/mother/daughter/deuteragonist reassures her, "this is a circular story."
Once upon a time two sisters fell in love with an astronomer who lived in a tree. He seduced Rose, the younger, then stole her work ("for a prestigious astronomy journal"), and then abandoned her for her sister, Pearl. Rose asked a bear to maul the astronomer in revenge, but the bear first demanded a pot of honey, a piece of stardust, a secret baptism, and a photograph of a ghost. (The music is a direct quote of the list of spell ingredients from Into the Woods.) Rose searches for all these ingredients through multiple lifetimes; and that's the plot.
Except it is much less comprehensible than that. The songs are nested in each other like Scheherazade's stories; you can follow from one song to the next, but retracing the connections in memory is impossible; this is less a narrative than a maze. Surreal timelines crash together in atonal cacophany; one moment Dave Malloy, or a nameless astronomer played by Dave Malloy, or Dave Malloy playing Dave Malloy is trying to solve epistemology and another moment the entire house of Usher, or all the actors, are telling you about their favorite whiskies. The climax is a subway accident we have glimpsed before, in aftermath, in full, circling around it, a trauma and a terror that cannot be faced directly; the crash is the fall of a house is the failure to act is the failure to look is the failure to look away.
There are two recordings available. Ghost Quartet, recorded in a studio, has cleaner audio, but Live at the McKitterick includes more of the interstitial scenes and feels more like the performance.
In Greenwood Cemetery, there were three slightly raised stages separated by batches of folding chairs, one for Dave Malloy, one for Brent Arnold, and one for Gelsey Bell and Brittain Ashford, with a flat patch of grass in the center across which they sang to each other, and into which they sometimes moved; you could sit in the chairs, or on cushions in front of the first row, or with cheaper tickets you could sit in the grass on the very low hills above the staging area, among the monuments and gravestones, and, presumably, among more ghosts. The show started a little before sunset; I saw a hawk fly over, and I could hear birds singing along when the humans sang a capella. It was in the middle of Brooklyn, so even after dark I couldn't see stars; but fireflies sparked everywhere.
kaberettReading. ( Burch + Penman, McMillan-Webster, Wells, Davies + Jones, Hwang Carrant, Keynes + Aidley )
... all of which adds up to more pain-related reading than I felt like I'd managed this week, huh, I thought I had tripped and fallen entirely into Murderbot and EatYourBooks indexing but apparently not!
Writing. A response to the EHRC consultation, which was... several thousand words. A very, very brief response to the Pathways to Work green paper consultation ("I am too disabled to manage doing this properly. These charities are speaking for me. Please fucking listen to them.")
Watching. The first half of Fantasia, with the toddler, with my hand held through all the scary bits to reassure me, apart from the bit that was SO scary that we had to get up and distract ourselves until it was over. Which had absolutely not been flagged as one of the scary bits, and which was the deep-sea-origins-of-life section.
(I had not watched the film since primary school, I don't think? And between then and now I have played a bunch of orchestral music, for most of that time on the violin but latterly as a French horn. It turns out that when I'm not distracted by playing a completely different part, I have incredibly intense sense-memories of several of the pizzicato sections early on...)
Another Murderbot episode. (I continue Indignant.)
Another Farscape episode, this one Taking the Stone (S02E03), which I think was firmly back to early season one levels of incoherence.
Tragically we have not managed The Old Guard 2, because I have had too much migraine and there have been SO many things Happening, but... maybe this week???
Cooking. Several new things! Four from East, leaving me at 41/120 recipes still to make (two of which are "probably won't happen" for reasons of "grapefruit" and "matcha"); of those this week's meal plan includes two (aubergine larb with sticky rice; Vietnamese coconut pancakes). I appreciated the reminder that fried new potatoes are tasty, and A is notably into the chargrilled summer vegetable salad, though I was not a fan of the faff and think I prefer smitten kitchen's charred corn succotash.
Approximately zero faff was salt lassi, and A is now aware that this Special Treat is available; low faff was a cherry clafoutis with fruit from the plot, which I overcooked a bit but, hey, I do in fact like caramelised crunchy bits.
Eating. FIRST BATCH OF DESSERT GOOSEBERRIES ARE RIPE. A tiny handful of Sugar Magnolia sugarsnap peas. Misc jostaberries. RASPBERRIES. And also supermarket strawberries, because we have hit the stage of the summer where they're down to £5 per kilo :)
Growing. I have been doing small bits of harvest and failing to get support structures in for the beans and tomatoes. The outdoor tomatoes have tomatoes on. The squash are coming along; I put more squash seeds in, on the grounds that they're super late but might still do anything; I have not managed to kill all of the chillis; the pepper has flowers.
Harvested lots of dried peas for sowing next year. Am attempting to develop Plans that might actually let me have a full bed of broad beans and a full bed of peas in the interests of getting Reasonable Quantities of them. If the council doesn't tell me I'm not allowed the abandoned plot next door--
I could get so much done if I could coax myself out there for even an hour a day but the agoraphobia is saying No, annoyingly. Gonna try to get A to chase me out more this week.
oursinNo bread made for reasons.
Friday night supper: I was intending having penne with bottled sliced artichoke hearts, except did not appear to have these in store cupboard: did a sauce of blender-whizzed Peppadew Roasted Red Peppers in brine instead.
Saturday breakfast rolls: basic buttermilk, 50:50% strong white/white spelt flour, turned out nicely.
Today's lunch: diced leg of lamb casseroled in white wine with thyme with sweet potato topping, served with buttered spinach and what really were quite tiddly juvenile baby leeks vinaigrette in a dressing of olive oil, white wine vinegar, and wholegrain mustard.
umadoshiscruloose and I did make it to the little farmers' market down the road for its opening day of the season, and even managed to get there earlier than later! (I think it's open from 8 to 1, and we probably were there...a bit after 10?)