In SCIENCE AS A CONTACT SPORT, Stephen Schneider tells us a vitally important story about a subject that is of enormous interest to all of us: the insIn SCIENCE AS A CONTACT SPORT, Stephen Schneider tells us a vitally important story about a subject that is of enormous interest to all of us: the inside story of why it has taken so long to understand and acknowledge the crucial issues involved in climate change.
Schneider describes a number of important paradigm shifts in this book. As a participant from the beginning, when climatologists were creating new instruments and assembling new data about human impacts on the earth's climate, he documents the protracted and often fierce battles between the traditional empirical approach of observation, experience, and experimentation and a theoretical approach based on multiple computer modelings of possible futures. It hasn't been easy for traditional scientists to acknowledge that, while experimentation and observation can answer many questions, these methods can only be used to describe what was and is, not what might be. It has also been difficult to convince traditional discipline-based science (what Schneider calls "keepers of the disciplinary faith") that climate science must be interdisciplinary, involving oceanographers, soil scientists, meteorologists, anthropologists, agronomists, social scientists, and many more.
Schneider also discusses the resistance of many scientists to the "use" of science as an instrument of public policy. When should scientists tell policy makers what their findings are and what the models predict and suggest ways that policy might be shaped? How confident must a scientist be before she testifies to Congress about destruction of the ozone layer, for instance, or the melting of Arctic ice? Some scientists will never have enough definitive data to risk making public statements (sometimes for fear of jeopardizing their funding); others feel that the outcomes are so important that they're willing to speak up with less than 95 percent confidence.
And "speaking up" is itself problematic, given the inclination of most scientists to do their work beyond the reach of the media. Scientists generally prefer to publish their work in peer-reviewed journals and stay out of the newspaper headlines. They distrust scientists (such as Schneider and Carl Sagan, another important science communicator) who welcome opportunities to share what they know with a wider audience, as on the Tonight show.
The climate change battles aren't over. But it is extremely useful, some four decades into the development of climate sciences, to have this insider's view of the paradigm shifts that have taken place, the positions that have defined various outcomes, and the efforts that scientists have made to shape public policy--as well as the efforts of politicians (such as in the Reagan, Bush One, and Bush Two administrations) to manage science for political ends. Schneider is an important and credible witness to what is likely to be the most significant scientific revolution of the last half-century. ...more
Loved this long, intimate look into an evolving relationship between two remarkable women. From passion to deep friendship at a fascinating time in AmLoved this long, intimate look into an evolving relationship between two remarkable women. From passion to deep friendship at a fascinating time in American history. But watch out for fictionalizations in the chapter intros and explanatory notes: Streitmatter adds gratuitous and incorrect detail and misleading characterizations that aren't supported by sources. Just one example (of several I've documented): the dates in the note on p. 59 are completely wrong, according to the White House Usher's Log for that week--which leads him to draw the wrong conclusions. I've knocked my original 4-star rating to a 3-star rating because of these issues....more
Enjoyed the small-town politics (city management vs. the cops), depth of characterizations, details of setting, sure-footed pacing. Some elements of tEnjoyed the small-town politics (city management vs. the cops), depth of characterizations, details of setting, sure-footed pacing. Some elements of the plot seemed rather implausible, but that's the nature of thrillers. How have I missed this author? I'd put him in the same rank as Michael Connelly....more
So much herb lore packed into this reference book! Not a how-to manual (although there's some of that), but a collection of poetry, shamanic wisdom, aSo much herb lore packed into this reference book! Not a how-to manual (although there's some of that), but a collection of poetry, shamanic wisdom, and cultural understandings of plants that humans have used to alter consciousness. Belongs in the library of every serious herbalist....more
Nature writing is changing. The surest mark of that change is the fact that Gretchen Legler's book, On the Ice: An Intimate Portrait of Life at McMurdNature writing is changing. The surest mark of that change is the fact that Gretchen Legler's book, On the Ice: An Intimate Portrait of Life at McMurdo Station, Antarctica, was chosen as the best book of environmental creative writing published in 2005-2006 by the Association for the Study of Literature and the Environment.
On the Ice is the story of what it means to find home, and heart, in the frozen place at the bottom of the world. With other artists, Gretchen Legler was offered the opportunity to spend a season in Antarctica under the auspices of the National Science Foundation Artists and Writers Program, to tell the story of the land, to try her hand "at making some human sense of its vastness and its terrible beauty." It was a quest, she says, not only to explore and discover new lands, but also inner worlds, "places that I hoped being so far from my ordinary self would help me find."
Antarctica as a place is extraordinarily far from the places our ordinary selves inhabit, and Legler wants us not just to know but to feel the distance, and to feel it as the explorers of a century ago must have felt it. She sleeps in a room that is only a stone's throw from the hut where Robert Scott set off in 1911 for his tragic bid to reach the Pole: "Good God, this is an awful place," he wrote. She spends time with other explorers who are looking even farther back, into the unthinkably remote geologic past of the Polar region, into samples of sea floor at Cape Roberts, goes naked into the coldest water on the globe, and ventures into ice caves in the Erebus glacier, blue caves, blue, blue "like an endlessly deep hole in your heart . . . a color that is like some kind of yearning, some unfulfilled desire, or some constant, extreme joy." And then there is the sea ice, glowing "peach and pink, nearly neon, buttery yellow, lavender, jade, and indigo," colors painted by Edmund Wilson, Scott's chief scientist, whose watercolors, she says are filled with, focused on light and color, color and light. And finally, there is the Pole, a "sacred destination," she says, not only for explorers but scientists and, yes, artists and writers, who find it the perfect place to look down into the mysteries at the earth's heart and up, into the mysteries of the universe, "the very farthest edge of darkness."
On the Ice is a luminous study of a remarkable place, a place that is so sublime as to almost defy human description. But as humans, we must place ourselves: we long to live in place and to make even the remotest place a home. And so the book is also about the men and women who live there, about the scientists, support staff, builders, workers, engineers, electricians, cooks, communications technicians--all the people it takes to make a home in an inhospitable place. These are people, by and large, who are willing, perhaps even anxious, to shed their ordinary selves and live in an extraordinary way, coping with the isolation and the cold and the loneliness, building a community of fellow-travelers, each with his or her own sometimes desperate reasons for coming to a place so unimaginably distant and different from the places where the rest of us live. These are funny people, weird people, misfits, heroes, people who live on hope and thrive on hard truths, people who have come away from the "real" world to invent themselves in a different reality.
But On the Ice isn't just about the place or the people. It's about Legler's own journey to the frozen wastes within herself, into her own frozen heart, which is thawed, incredibly, by the power of love. "How do you come to know place?" she asks. "How do you come to know self? . . . How do you let go of wounds and resentments and fierce anger, not begrudgingly, but as an act of grace?" She finds the answer to this age-old question in her relationship with Ruth, an electrician who helps her to shed "all that junk . . .all those layers of old self" and discover a new and loving self, a warm and passionate heart, in this frozen world. Some readers, particularly those who believe that books of natural history ought to exclude the historian's experience, may think that this part of the journey should have been omitted, as not quite worthy of the heroic spectacle that is the Antarctic. But that's the way it's always been, Legler reminds us: the personal has always been defined, she says, as "somehow gossipy or small, beyond or below the reach of proper recording." But why? Why do we deny the human perspective of place, since this is the only perspective we have? And why exclude the innermost experience, merely to focus on the outer? "Why obscure the intimate?" Legler asks. "Why shorten the story of the glorious complexity and depth of the human in order to make a neater, grander tale?"
Legler's journey--and her record of it--is all the more remarkable because it is an intimate journey, not only to the farthest place on earth but into the deepest desires and dreams of the human spirit. It's a singularly brave journey, as heroic in its way as the journeys of Scott and Shackleton and Amundsen, one more exploration of the truest human question: what it means to be at home on this earth. There are a great many books that will give you the cold, hard facts about the Antarctic. But as a book about place, a chronicle of life at the bottom of the world, and an intensely honest record of a spiritual journey, On the Ice is the most richly illuminating of a...more
If you liked Goldberg's other books, you'll love this one--it's more of the same. Strong on writing topics (Look out your bedroom window. Write for 10If you liked Goldberg's other books, you'll love this one--it's more of the same. Strong on writing topics (Look out your bedroom window. Write for 10), less strong on structure. Use this as a source for writing prompts; for memoir, supplement with other how-to books....more
The "ER story," from the point of view of Eleanor's friend, Marion Dickerman. ER, Dickerman, and Dickerman's life partner, Nancy (Nan) Cook, became clThe "ER story," from the point of view of Eleanor's friend, Marion Dickerman. ER, Dickerman, and Dickerman's life partner, Nancy (Nan) Cook, became close friends in 1922, when ER was beginning to be active in New York Democratic politics. The book documents their friendship through the building of Val-Kill Cottage, the establishment of the furniture factory, and ER's teaching at Todhunter (where Dickerman was the principal and all three had a financial interest). Cook and ER became estranged in 1937, when the furniture factory was closed, and she and Dickerman eventually left Val-Kill. An excellent reference re: the friendship and partnership as Dickerman saw it, although (perhaps not surprisingly) the description of the breakup is less than candid. Photographs....more