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T.R. Hummer
Byatt attacks novelists who use real-life characters | Books | guardian.co.ukAlison Flood writes:
A.S. Byatt has launched a vigorous attack on writers who combine biography and fiction, calling it an "appropriation of others' lives and privacy".
Her broadside against authors of "faction", which she describes as "mixtures of biography and fiction, journalism and invention", is particularly startling given that it could be applied to her rival for this year's Man Booker prize, Hilary Mantel, who is longlisted for her historical novel about the life of Thomas Cromwell, Wolf Hall.
"I really don't like the idea of 'basing' a character on someone, and these days I don't like the idea of going into the mind of the real unknown dead," said Byatt in an interview with the organisers of the Booker prize. "It feels like the appropriation of others' lives and privacy. Making other people up, which is a kind of attack on them." Oscar Wilde appears in her own Booker-nominated novel, The Children's Book, she added, but "the novelist doesn't say what he thinks".
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Aug. 10, 1909: Leo Fender and the Heart of Rock ‘n’ Roll | This Day In Tech | Wired.com
1909: Clarence “Leo” Fender is born.
The designer, engineer and inventor would found the Fender Electric Instrument Manufacturing Company, the banner under which he created and produced the first wave of commercially successful electric guitars, basses and amplifiers. Fender’s panache for instrument design reached its pinnicle with his work on the Telecaster guitar, the Fender Precision bass and, most famously, the Stratocaster, the musical instrument that was the central force in defining rock ‘n’ roll in the 1950s and ’60s, and whose influence continues to dominate every genre of popular music.
Leo Fender didn’t invent the electric guitar. Six-string slingers had been experimenting with rudimentary amplification systems since the early decades of the 20th century. Always itching for more volume, guitarists were eager to be heard above the drums and other loud instruments in the dance bands of the time.
The first real innovations toward electric axes, however, came with the awarding of two patents for magnetic pickups. The first went to Gibson’s Guy Hart for his company’s Hawaiian guitar design on July 13, 1937, and the second went to Rickenbacker’s George Beauchamp for his horseshoe magnet pickup design featured on his company’s lap steel “frying pan” guitars, on August 10, 1937 — coincidentally, Fender’s 28th birthday.
The earliest electric guitars were either of the lap steel or hollow body archtop varieties. It wasn’t until guitarist Les Paul constructed his own prototype solid body electric, nicknamed “The Log,” in 1946 that the stage would be set for the revolution that would define popular music in the second half of the century.
And that’s where Leo Fender comes in.
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Sacrificial virgins of the Mississippi | Salon Books
Andrew O'Hehir writes
As archaeologist Timothy Pauketat's cautious but mesmerizing new book, "Cahokia: Ancient America's Great City on the Mississippi," makes clear, Cahokia -- the greatest Native American city north of Mexico -- definitely belongs to human history. (It is not "historical," in the strict sense, because the Cahokians left no written records.) At its peak in the 12th century, this settlement along the Mississippi River bottomland of western Illinois, a few miles east of modern-day St. Louis, was probably larger than London, and held economic, cultural and religious sway over a vast swath of the American heartland. Featuring a man-made central plaza covering 50 acres and the third-largest pyramid in the New World (the 100-foot-tall "Monks Mound"), Cahokia was home to at least 20,000 people. If that doesn't sound impressive from a 21st-century perspective, consider that the next city on United States territory to attain that size would be Philadelphia, some 600 years later.
In a number of critical ways, Cahokia seems to resemble other ancient cities discovered all over the world, from Mesopotamia to the Yucatán. It appears to have been arranged according to geometrical and astronomical principles (around various "Woodhenges," large, precisely positioned circles of wooden poles), and was probably governed by an elite class who commanded both political allegiance and spiritual authority. Cahokia was evidently an imperial center that abruptly exploded, flourished for more then a century and then collapsed, very likely for one or more of the usual reasons: environmental destruction, epidemics of disease, the ill will of subjugated peoples and/or outside enemies.
Some archaeologists might pussyfoot around this question more than Pauketat does, but it also seems clear that political and religious power in Cahokia revolved around another ancient tradition. Cahokians performed human sacrifice, as part of some kind of theatrical, community-wide ceremony, on a startlingly large scale unknown in North America above the valley of Mexico. Simultaneous burials of as many as 53 young women (quite possibly selected for their beauty) have been uncovered beneath Cahokia's mounds, and in some cases victims were evidently clubbed to death on the edge of a burial pit, and then fell into it. A few of them weren't dead yet when they went into the pit -- skeletons have been found with their phalanges, or finger bones, digging into the layer of sand beneath them.
In "Cahokia: Ancient America's Great City on the Mississippi," Pauketat tells the story of what we now know, or can surmise, about the intriguing and bloody civilization that built Cahokia -- which looks comparable to a Mesopotamian or Greek city-state -- and also the tragic story of why it was overlooked and misunderstood for so long. Reading his book, one constantly marvels at the hair-raising archaeological discoveries that fly in the face of conventional understandings of Native American life, and mourns for how much more that could have been discovered is now lost or destroyed.
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