That Day

A semi-annual semi-tradition here, reposting an abridgment of a passage from Walt Whitman’s “Song of Myself” that Scott Simon read on NPR the weekend after September 11, 2001:

“I understand the large hearts of heroes,
The courage of present times and all times;
How the skipper saw the crowded and rudderless wreck of the steam-ship, and Death chasing it up and down the storm;
How he knuckled tight, and gave not back one inch, and was faithful of days and faithful of nights,
And chalk’d in large letters, on a board, Be of good cheer, we will not desert you:
How he follow’d with them, and tack’d with them—and would not give it up;
How he saved the drifting company at last:
How the lank loose-gown’d women look’d when boated from the side of their prepared graves;
How the silent old-faced infants, and the lifted sick, and the sharp-lipp’d unshaved men:
All this I swallow—it tastes good—I like it well—it becomes mine;
I am the man—I suffer’d—I was there. …

I am the mash’d fireman with breast-bone broken;
Tumbling walls buried me in their debris;
Heat and smoke I inspired—I heard the yelling shouts of my comrades;
I heard the distant click of their picks and shovels;
They have clear’d the beams away—they tenderly lift me forth.
I lie in the night air in my red shirt—the pervading hush is for my sake;
Painless after all I lie, exhausted but not so unhappy;
White and beautiful are the faces around me—the heads are bared of their fire-caps;
The kneeling crowd fades with the light of the torches. …

I take part—I see and hear the whole;
The cries, curses, roar—the plaudits …
Workmen searching after damages, making indispensable repairs … the rent roof—the fan-shaped explosion;
The whizz of limbs, heads, stone, wood, iron, high in the air. …

Failing to fetch me at first, keep encouraged;
Missing me one place, search another;
I stop somewhere, waiting for you.”


Bicycle Wheels

bicyclewheel1.jpgUpdate (January 2013): Here's a fresh post, by a French blogger, recounting the history of "Bicycle Wheel," Duchamp, and the many iterations of this work: "A Hundred Years Ago: 'Bicycle Wheel,' by Marcel Duchamp."

Original 2009 post:

A few days ago, I was looking for an online image of a bicycle wheel that I could use as a Twitter icon. Talk about having a high purpose.

I happened upon a Museum of Modern Art image of "Bicycle Wheel," a found or "readymade" art object by French artist Marcel Duchamp. It's a sweet and goofy construction: a bicycle wheel and fork mounted upside-down on a tall stool. Many aspects of a bike lend themselves to wonder and introspection–everything from the the double-triangle frame design to the bearings and races in a hub–but the wheel ranks right up there at the top with its combination of fragility and strength. Duchamp is said to have enjoyed spinning his stool-mounted wheel and is widely quoted as saying, ""I enjoyed looking at it, just as I enjoy looking at the flames dancing in a fireplace."

The MoMa site has a nice picture of one of the three Bicycle Wheel constructions Duchamp is said to have made The first of the three Bicycle Wheels, dated in 1913, was "lost." The MoMa wheel is dated 1951, is said to be the thirdand features a classic raked-forward fork. The way it's presented on the site, there's no question it's an objet d'arte. (The version pictured here appears to be the same sculpture; it's uncredited and found here. I'm seeking permission to publish the MoMa's image here; we'll see if I get it).

Below is another another Duchamp "Bicycle Wheel" that appears (with no copyright notices) here and there on the Web (this image is from Wikicommons). The source says "replica," but I believe that refers to the fact it's a Duchamp copy of the lost original.

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What I love about dipping into something like this is the impromptu museum tour that happens. "Bicycle Wheel" in MoMa: check. Another version in some other exhibition: check. The next stop is (if picture captions are to be believed) is Duchamp's studio a few years after he first put wheel and stool together.

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There it is, the object pre-veneration, the wheel askew, apparently just part of the disarray in an artist's quarters. You can appreciate the inspiration and the execution–and the suggestion the creator apparently didn't take it too seriously.

All of which brings us to our final display: the continuing life of "Bicycle Wheel" outside the gallery. For starters, we have the creation of "The Duchamp," a found musical instrument. And this alternate take on the concept. And finally: Duchamp Reloaded, by an artist who liberates "Bicycle Wheel" to experience the life of New York's streets.

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(Photo: Ji Lee, "Duchamp Reloaded." Used with permission.)

Another Country

I’m reading “No Ordinary Time,” Doris Kearns Goodwin’s account of how the Roosevelt administration managed the home front during World War II. It’s a good-enough read and well researched, but there’s sort of a rushed feeling to it that makes me wonder how long she had to work on the thing. In any case, I was struck by a brief passage on the nation’s economic situation in the spring of 1940, when Germany’s attack on Western Europe prompted FDR to push for a rapid mobilization of industry and resources in the United States. Goodwin’s point is one often made: how on the eve of war, the American economy was still in the throes of the Depression. What strikes me is the stark difference between the country she describes and the one I grew up in — having been born less than a decade after the end of the war.

“…The economy had not yet recovered; business was still not producing well enough on its own to silence the growing doubts about capitalism and democracy. Almost ten million Americans, 17 percent of the work force, were without jobs; about two and a half million found their only source of income in government programs. Of those who worked, one-half of the men and two-thirds of the women earned less than $1,000 a year. Only forty-eight thousand taxpayers in a population of 132 million earned more than $2,500 a year.

“In his second inaugural [in January 1937], Roosevelt had proclaimed that he saw “one-third of a nation ill-housed, ill-clad, ill-nourished. On this spring day three years later, he could still see abundant evidence of serious deprivation. Thirty-one percent of thirty-five million dwelling units did not have running water; 32 percent had no indoor toilet; 39 percent lacked a bathtub or shower; 58 percent had no central heating. Of seventy-four million Americans twenty-five years old or older, only two of five had gone beyond eighth grade; one of four had graduated from high school; one of twenty had completed college.”

The Moon When Chokecherries Are Ripe

June 25, 1876:

“The time was early in the Moon When the Chokecherries Are Ripe, with days hot enough for boys to swim in the melted snow water of the Greasy Grass. Hunting parties were coming and going in the direction of the Bighorns, where they had found a few buffalo as well as antelope. The women were digging wild turnips out in the prairies. Every night one or more of the tribal circles held dances, and some nights the chiefs met in councils. ‘The chiefs of the different tribes met together as equals,’ Wooden Leg said. ‘There was only one who was considered as being above all the others. This was Sitting Bull. He was recognized as the one old man chief of all the camps combined.’

“… The news of Custer’s approach came to the Indians in various ways: ” ‘I and four women were a short distance from the camp digging wild turnips,’ said Red Horse, one of the Sioux Council chiefs. ‘Suddenly one of the women attracted my attention to a cloud of dust rising a short distance from camp. I soon saw the soldiers were charging the camp.’ …

“… Meanwhile Pte-San-Waste-Win and the other women had been anxiously watching the Long Hair’s soldiers across the river. ‘I could hear the music of the bugle and could see the column of soldiers turn to the left to march down to the river where the attack was to be made. … Soon I saw a number of Cheyennes ride into the river, then some young men of my band, then others, until there were hundreds of warriors in the river and running up into the ravine. When some hundreds had passed the river and gone into the ravine, the others who were left, still a very great number, moved back from the river and waited for the attack. And I knew that the fighting men of the Sioux, many hundreds in number, were hidden in the ravine behind the hill upon which Long Hair was marching, and he would be attacked from both sides.’

“Kill Eagle, a Blackfoot Sioux chief, later said that the movement of Indians toward Custer’s column was “like a hurricane … like bees swarming out of a hive.’ “

–Dee Brown, “Bury My Heart at Wounded Knee”

Worst Ever

I note stories this morning calling the state’s 11.5 unemployment rate for May 2009 “a record.” It’s not really true. It can be said for sure it *is* the highest since 1976, when the state’s current record-keeping system began. But the rate was higher–much higher–during the Great Depression right up to the eve of World War II

Only guesses are available for the worst years of the Depression, in the early and mid-1930s, when 25 percent or more of the labor force is believed to have been jobless. That situation improved but only slowly during the late ’30s. State records cited in an April story from the Chronicle’s Tom Abate showed a 14.7 unemployment rate in October 1940. With the nation gearing up for war, the rate fell quickly thereafter. Last month’s figure of 11.5 percent appears to be the highest since January 1941, when the rate stood at 11.7 percent.

None of this is to minimize the enormity of the statistics reported today. The rate now is at the highest point in nearly 70 years and is a sign of an epochal economic failure.

Rain on the Roof

Who owns the water that falls on your rooftop? In most of the western United States, it’s not you, and if you try to catch and store that water, you may be interfering with someone else’s water rights. NPR aired a story on the issue this morning, “Water Wars Out West: Keep What You Catch,” about a Colorado law that breaks with the usual legal regime. The law allows water collection by residential property owners who need to dig a well or get their supply trucked in (in other words, if you’re served by what city dwellers think of as a regular water system, it’s still illegal for you to catch and save rainwater and snowmelt in Colorado.)

The links:

An Act: Concerning Limited Exemptions for Water Collected from Certain Residential Rooftops

Southwest Colorado Water Information Program: Understanding Water Rights

U.S. Bureau of Land Management: Western States Water Laws

NPR: “Water Wars Out West: Keep What You Catch!

And also, for generally interesting reading on water rights questions, Aguanomics, a blog from two UC-Berkeley economists.

Wrecks, by Numbers

Apropos of nearly nothing, a brief from the June 22, 1908, edition of The New York Times:

Umpire Assaulted and His Leg Broken

Two nines, one composed of Americans, the other of Italians, engaged in a game of baseball yesterday at Colden and Brunswick Streets, Jersey City. The umpire was Pasquale Carlo, 19 years old, of 173 Fifth Street. He gave a decision that did not suit the American players and several of them attacked him. He was knocked down and his left leg was broken. The police were summoned, but by the time they arrived the ball players had dispersed. Carlo was taken to the City Hospital.

What I was really fishing for when I came across that was information about old train wrecks that have served as fodder for folk ballads; especially ballads with train or engine numbers in the title. “Engine 143,” for instance (a song I remember hearing Joan Baez sing on her second album, not too long after steam locomotives were retired). “The Wreck of the 1256,” which is reminiscent of “Engine 143.” “The Wreck of the No. 9” And especially, “The Wreck of Old 97,” which I heard again while I was looking recently for train songs. (If you’re interested in the history of these songs, there is a definitive history and guide: “Long Steel Rail: The Railroad in American Folksong,” by Norm Cohen.)

You know “Old 97.” The most commonly sung lyrics:

They gave him his orders at Monroe, Virginia,
Saying, “Stevie, you’re way behind time.
This is not 38, but it’s Old 97,
You must put her into Spencer on time.”

He looked ’round and said to his black greasy fireman
“Just shovel in a little more coal,
And when I cross that old White Oak Mountain
You can just watch Old 97 roll.”

It’s a mighty rough road from Lynchburg to Danville,
And the lie was a three-mile grade,
It was on that grade that he lost his air brakes,
And you see what a jump that she made.

He was going down the grade making 90 miles an hour,
When his whistle began to scream,
He was found in that wreck with his hand on the throttle,
He was scalded to death by the steam.

What I didn’t realize was that “Old 97” is based on an actual 1903 wreck just outside Danville, Virginia. There’s a nice writeup on it, complete with contemporary news accounts, here: Blue Ridge Institute and Museum: The Wreck of the Old 97.” As the Wikipedia article on the song notes, a copyright dispute over the ballad’s authorship wound up before the U.S. Supreme Court.

And yes, you should see what a jump she, and/or he, made.

Wind and Water

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From the archives: Last spring, Kate and I drove out to Bethany Reservoir, just south of the Sacramento-San Joaquin Delta at one of the key points in the state’s complex water system. The site is also on the lower eastern slopes of the Altamont Pass country, a big wind-generation site. Pondering the state’s water story and how to tell it–do you take the narrative back to Genesis and/or The Big Bang and talk about where water itself comes from, and how long would it take from that point to get to a discussion of a salmon in the river?– I thought of that visit tonight. Here’s a shot of a wind farm virtually on the bank of the Delta-Mendota Canal–part of the federally developed Central Valley Project–just southeast of Bethany. Whatever you happen to think of the way the water systems were built here and the damage they have caused to salmon and other parts of the old California environment–the engineering is never less than impressive and sometimes beautiful.

The aqueducts move water through a combination of gentle flow and brute force: huge quantities of water are lifted from pumping stations to artificial lakes like Bethany. Then gravity takes over, and the water flows down the manmade rivers to the next set of pumps, maybe 60 or 100 miles away, and the process is repeated. (One of the more surreal sights in the state is along Interstate 5 as the highway climbs the Tehachapi Mountains. The aqueduct runs along the highway, and the water is pumped up nearly 2,000 feet through a pair of above-ground tunnels.) One beauty in the aqueducts is the way they follow the contours along the border of the Coast Range hills to the west and the great valley to the east. The engineers had to work with and respect the lay of the land here.

(Here’s the satellite view, with the hills in their full-on golden summer hue. The image shows Bethany Reservoir. The water comes in from a channel at the northwest corner, having been pumped out of the Sacramento River to a holding basin called Clifton Court Forebay. The California Aqueduct flows out to the south and east (below and to the right). Drag the map to follow the course of the aqueduct. In this image, the California Aqueduct is on the left and the Delta-Mendota Canal is to the right.)


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The Privateer Lynx

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At Jack London Square in Oakland: The Lynx, an “interpretation” of an 1812 Baltimore clipper-type schooner built in Maryland near the outset of the War of 1812. We saw it while on the Oakland ferry and went over to its berth to check it out. It was commissioned by a Baltimore merchant syndicate and was intended to be a raider of British shipping (remember “letters of marque and reprisal“?). The Lynx was captured in April 1813, despite having fled up the Rappahannock River from Chesapeake Bay to escape larger British warships. The British were so bent on taking the Lynx they sent boats to follow it upriver where they did indeed capture it. The Brits took the boat to Halifax, Nova Scotia, and pressed it into service for the duration of the war. They were so impressed with the boats speed and maneuverability that they brought it to England after the war and studied and recorded every detail of its design and construction so that it could be reproduced (a process that today we call “reverse engineering”).

The current Lynx was built in Maine and completed in 2001 and is used by a private foundation as a sort of floating classroom. It’s staffed by professional sailors who teach schoolkids the basics of how sailing gear works, how the ship’s guns work, and what role the boat and similar ones played in U.S. history. I went out on the Lynx on Sunday afternoon for a cruise out past Alcatraz. Great trip, and one that I’m doing a radio story on. Oh, the ship’s motto: “Be excellent to each other and to your ship.”

(The mini-narrative above is from Craig Chipman, captain of the Lynx, and Richard Conlan, a crew member).

More here: Lynx, America’s Privateer.