Space Toys May 2, 2012
Posted by Lofty Ambitions in Space Exploration, Writing.Tags: Art & Science, Space Shuttle
add a comment
This year’s Association of Writers and Writing Programs conference took place at the beginning of March in Chicago, and we posted about that (click HERE). Whenever our travels take us to Chicago, we try to smash as many activities as we possibly can into the few days in the city that we’ve considered our second home for the better part of two decades. In addition to our conference obligations, this year’s mad dash included a party for our usual assemblage of lifelong friends, meeting with our writing group, bumping into new and old colleagues, and seeing whatever family we can corral into trekking up to Chicago.
Doug spent a whole day spent chatting, shopping, and eating with his parents, and Anna joined in some of that fun after packing up the Tabula Poetica table at the AWP bookfair.
In a roundabout way, the Saturday that time spent with his parents got us to thinking a bit about how the blog has become a community effort, a family effort. After our return to California, our inklings about this communal effort were confirmed.
A few weeks after AWP, an unexpected package for Anna arrived at our door. Anna will declaim loudly that she hates surprises, unless that surprise is a gift. After a decisive unwrapping, the gift that emerged was a recast vintage Barbie doll, clad in a spacesuit with a helmet. We named her Astro-Barbie.
The Barbie doll is a complex cultural object, but as we’ve mentioned recently (see our Marlin Perkins post HERE), we’ve been thinking about our childhoods, and there’s no denying that Barbie and Ken were a part of growing up in the 1960s and 1970s. This particular Barbie doll is a reproduction of the 1965 vintage Barbie decked out as Gemini astronaut. As if to somehow atone for her maker’s 1992 anti-STEM (Science, Technology, Engineering, and Math) statement that “Math is tough,” a floating thought bubble is positioned next to our Barbie’s coiffure. The text reads, “Yes, I am a rocket scientist!” And, in all honesty, we think it rocks.
The plot thickened a few days later when Doug’s mother called to ask if we’d received any packages lately. She, and her favorite minion—Doug’s sister Suellen—were co-conspirators orchestrating the arrival of Astronaut Barbie. On the phone, Doug’s mom’s tone also made it clear that Doug should be expecting a gift in the mail any day. At first, Doug guessed that perhaps a similarly space-suited and booted Ken doll might be headed his way. Doug’s mom’s reaction, a hearty laugh laden with a “not even close” tone, convinced Doug to think a bit more. The day spent shopping in Chicago came to mind, and in particular, a stop at the Lego store in Water Tower Place. While there, Doug’s eye was drawn to the Shuttle Expedition Lego.
The Shuttle Expedition Lego kit has it all: astronauts and pad workers, orbiter (named Expedition, but around our house to be known as OV106), SRBs, fuel tank, even a few Lego lights for simulating that bathed-in-white-light look depicted in so many nighttime photos of the shuttle stack on the pad. The kit is reminiscent of many models that Doug built in his childhood, plastic vessels into which he poured time and effort, imagination and play, and time and money.
Time came up twice in that last sentence, and it was also one of the first things that Doug’s mom mentioned when he guessed that that was what she had put in the mail. She wondered openly when he would find the time to assemble OV106, and Doug did too. Then, just this week, while staring dreamily at the shuttle kit’s box, a habit Doug developed on childhood model building projects and a singularly important part of the process, he noticed that the part count was labeled prominently on the box: 1230 pieces. In one of those flashes of inspiration that hits us all from time to time, Doug realized that he could use building the model as a reward system for progress on writing projects.
Dividing the total number of pieces by four gives 307.5, which is a good page count goal for a novel manuscript. So, for every page that gets written, Doug can assemble together four pieces of OV106. We’ll keep you all informed as to how this space-shuttle as reward system works.
And if Anna finds some human-sized space boots that Astro-Barbie is sporting, she’ll set some serious goals for that reward.
For another Lofty Ambitions post about childhood toys, click HERE.
Guest Blog: Daniel Lewis March 19, 2012
Posted by Lofty Ambitions in Guest Blogs, Science, Writing.Tags: Art & Science, Biology, Museums & Archives
add a comment
At the end of last year, we wrote about the Huntington Library‘s “Beautiful Science” exhibit HERE. That exhibit was curated by Daniel Lewis, Chief Curator of Manuscripts (History of Science, Medicine, and Technology) and today’s guest blogger. If you can’t get to the Huntington Library yourself, you can watch a YouTube lecture about the exhibit by Lewis HERE.
Daniel Lewis is the author of the new book The Feathery Tribe and draws his guest post from his research into what it means to be an ornithologist. Whether or not you like birds, you’ll find that Lewis’s writing shows his enthusiasm for inquiry, his attention to detail, and his ability to make new, intriguing connections.
THE FEATHERY TRIBE: WHAT RESEARCH MEANS FOR WRITING
I mostly live to write. But more, I live to do original research, rooting around the sometimes-dusty (but often very clean) byways and side-roads of archives around the world, looking for correspondence that has often never been read by anyone other than the original recipient, and virtually none of which has ever been published. It’s a truism that it might take weeks of research to come up with a single sentence for a book. And it’s this kind of research that keeps the hamster wheel in my brain spinning and keeps me moving forward.
I’m an obsessive recorder and transcriber of archival information, storing correspondence I find in a database that records (among many other details) the correspondents, the date, the location written, the text of the letter itself, its call number and the collection it’s from, homegrown subject headings, a summary of the letter, and even where I transcribed the letter (dining room table, airport, hotel room, airplane, etc.). In the course of my most recent book The Feathery Tribe: Robert Ridgway and the Modern Study of Birds, just out from Yale University Press, I transcribed some 1,892 letters totaling 446,000 words, culled from archives around the world: the Natural History Museum in London; the Blacker-Wood Library in Montreal; the Smithsonian; the Bancroft Library in Berkeley; my own home institution, the Huntington Library; and others. I took all of this information, digested it, and tried to bend it into a particular notion.
I had an idea—after corresponding with the late great evolutionist Ernst Mayr, then in his nineties—that I should write a book about what it meant to be a professional in science, using the Smithsonian’s first Curator of Birds, Robert Ridgway, as the lens. What, after all, did it actually mean to be a professional then, and why did it matter? The answer can’t be reduced to a pat phrase, so I’ll resist doing so here, but it was the quest for the archival materials—correspondence, scribbled memos, postcards, marginalia—that fueled me.
Research turns up all kinds of things, some of which I was able to use in the book, but necessarily, much else that I couldn’t. Scientists are people too, as I’m fond of saying, but they also bring a wonky precision to their letters that can thrill.
People writing about birds for descriptive purposes took a variety of approaches to shorten, simplify, and clarify bird identities. One common practice was to refer exclusively to a number in a standard checklist as a shorthand reference in correspondence, assuming the recipient had the same guide in hand. Naturalists’ and collectors’ letters the world over were thus often filled with long strings of numbers, rather than bird names. Referring to a common checklist’s numbering system, a British birder writes in 1907 to his brother, “Before joining the main road, I saw a Reed Bunting; counting up, I found I had [seen eleven different birds]: 1.2.132.188.195.234.243.259.277.278.453.”
Some inventive collectors went so far as to suggest new symbological languages to identify, with a single symbol, such things as a male bird in its first plumage, a male in mature plumage, a bird of unknown sex but of a determinate age, and so on, as noted in the image above.
Letters like these intrigue, and for me, they warrant going down a rabbit hole (almost always dusty) to find out more about scientists’ motivations, urges, and idiosyncratic passions. In the case of the people writing about birds, it was all that they wanted to do. “I am still in the medical profession (I see you took your degree too) but I don’t like it a bit. My life is ornithology,” one German physician wrote to a Smithsonian staffer in 1899, one who also happened to have earned a medical degree but then took a job working with birds.
Coming from diverse backgrounds, and often with great expertise in other areas, numerous people happily applied innovation to the discipline of ornithology. Passionate comments like this ornithologist’s motivated me to look at intersections of all kinds in trying to reach a meaningful set of descriptions of just what constituted a professional in science in the late nineteenth and early twentieth century.
Lofty Ambitions Blog Trailer March 16, 2012
Posted by Lofty Ambitions in Information, Writing.Tags: Last Chance to See, Space Shuttle
2 comments
This week, we played with our iMovie software and came up with this blog trailer for Lofty Ambitions. For this piece, we decided to focus on following the end of the space shuttle program and, in particular, the last flight ever, that of Atlantis last July. If you want to know more about our adventures represented in this video, check out our series “Last Chance to See.”
Mmmm…Lovell’s of Lake Forest March 7, 2012
Posted by Lofty Ambitions in Collaboration, Space Exploration, Writing.Tags: Apollo, Museums & Archives
add a comment
At Ragdale, the dinner meal isn’t served on Saturday evenings. There are plenty of tasty leftovers for residents to eat, but we took the opportunity on our second Saturday to traipse down to Lovell’s of Lake Forest, a restaurant started by Gemini and Apollo astronaut Jim Lovell and now owned and run by his son, Jay. We weren’t sure what to expect. We found good food, good service, good space artifacts, and good new writer friends!
Anna & Doug in front of "Steeds of Apollo," a painting by Lumen Winter that hung in the St. Regis Hotel. The painting was bought at auction by Tom Hanks and given to Jim Lovell.
Dinner and a Moon rock at Lovell's
Novelists Emily Gray Tedrowe, author of Commuters, and Rebecca Makkai, author of The Borrower
Downstairs at Lovell's, the lounge is surrounded by artifacts, everything from a letter from Princess Grace to the wine bottle from the restaurant's opening night to NASA artifacts.
Lovell's displays models and more models.
Lovell's features lots of artwork, both paintings and photographs, many signed by astronauts.
Apollo 8, which included the famous Christmas Eve reading, was awarded an Emmy. You can see our post about that HERE.
Captain James Lovell
Our two weeks at Ragdale were an amazing writing experience. Our dinner at Lovell’s was a terrific bonus. Jay Lovell serves up the absolutely best dinner you’ll ever find at an aerospace museum. No matter where we find ourselves, we look around and find something unexpected.
Lofty Ambitions at AWP February 29, 2012
Posted by Lofty Ambitions in Collaboration, Guest Blogs, Information, Writing.Tags: Books, Nuclear Weapons, Radioactivity
add a comment
We’re really excited that both of us are presenting at The Association of Writers and Writing Programs Conference this year and that our presentations are directly related to what we do at Lofty Ambitions.
CLICK TO READ LOFTY POSTS HIGHLIGHTING AWP PRESENTERS:
December 19: Kristen Iversen, author of the forthcoming Full Body Burden
January 16: Jeff Porter, author of Oppenheimer Is Watching Me
February 8: In the Footsteps (Part 12): Doug on “Purloining the Letter”
February 6: M. G. Lord, author of The Accidental Feminist and Astro Turf
February 15: In the Footsteps (Part 13): Anna of “Fallout & Facts”
February 20: Tom Zoellner, author of A Safeway in Arizona and Uranium
Doug will talk about archives and the use of letters in fiction and creative nonfiction on a panel called “Purloining the Letter” on Thursday, March 1, at 10:30a.m. in the Lake Ontario Room of the Chicago Hilton. Our recent visit to the CalTech archives is also related his talk; read that post HERE.
Anna is the organizer for a panel called “Fallout & Facts: Creative Nonfiction in the Nuclear Age,” which will be held on Friday, March 2, at 1:30p.m. in Continental B at the Chicago Hilton. It’s a great topic for this year in the Windy City because it’s the 70th anniversary of the first controlled nuclear reaction, which Enrico Fermi set off at the University of Chicago.
AWP actually begins today with set-up for the bookfair. For the first time, Chapman University, Tabula Poetica, and the Fowles Center for Creative Writing have a table at the AWP Bookfair—D-21. So Anna will be setting up posters and book displays this afternoon. You can find the list of the booksignings at the table on the Tabula Poetica homepage—click HERE.
We also want to give a nod to Tiffany Monroe, an MFA student at Chapman University, who is presenting on a panel called “MFA Students Speak Up” on Friday, March 2, at 9:00a.m. Tiffany will also help us with the bookfair table.
If you’re in Chicago this coming weekend, you can meet Chapman University authors in person on Saturday, when the bookfair is open to the public. Stop by Table D-21 any time 9a.m.-3p.m. that day. Look for the Lofty duo around town!
Guest Blog: Tom Zoellner February 20, 2012
Posted by Lofty Ambitions in Guest Blogs, Science, Writing.Tags: Books, Nuclear Weapons, Physics, WWII
1 comment so far
Today, we feature our colleague Tom Zoellner. He’s part of Anna’s panel called “Fallout & Facts: Creative Nonfiction in the Nuclear Age. Check out the rest of the panelists in our other recent guest posts: KRISTEN IVERSEN, JEFF PORTER, and M. G. LORD. And if you’re at AWP, join us for the panel on Friday, March 2, at 1:30p.m.
Tom’s latest book is A Safeway in Arizona, part memoir, part history, part cultural commentary, all an exploration of Arizona as the context of the shooting rampage that injured Gabrielle Giffords, his friend. But we asked him to be a guest blogger at Lofty Ambitions because his previous book is Uranium, which won the Science Writing Award from the American Institute of Physics and garnered him a spot on The Daily Show.
IN THE PALM OF MY HAND
Here is an experience that will make you want to wash your hands immediately—holding a stick of pure uranium. It was about the size of a small mechanical pencil, pure ebony in color, and it left dusty smudges on my hands. I was standing among mill workers at the Ranger Mine, which is located in the midst of some spectacular outback jungle in Australia. The stick of uranium was used in the mill’s lab for assaying purposes. I wanted to look like a tough guy so I inspected it like any other rock and casually handed it back to the technician. But more than anything, I really wanted to wash my hands.
That uranium wasn’t dangerous by itself. The number of unstable U-235 atoms that create the famously explosive critical mass was present at a perfectly safe ratio of 1 to 140, and the stick was not about to catch fire in the way that uranium can spontaneously self-combust when sliced thinly (an interesting state called “pyrophoricity”). The dust on my hands was radioactive, but the signature was small and only hazardous if I put my fingers to my nose and inhaled deeply. From there, it would get caught in fragile lung tissue and emit alpha, beta, and gamma particles at a constant rate. This is what slowly killed so many miners in the dusty adits of the American Southwest and the East German mountains during the Cold War.
I had been writing about uranium for several months at that point, relearning matters of basic atomic physics that had been long forgotten from high school. I had traveled to old mines in Utah and the Czech Republic and interviewed UN diplomats in Vienna. I had visited the site of a deserted mine in Africa once described as a “freak of nature” by a Manhattan Project official because it held ore at a purity level of 62%, which had never been seen before and hasn’t been seen since. That mine, named Shinkolobwe for a particular kind of thorny fruit, gave up most of the material used in the Hiroshima and Nagasaki blasts and continues to leak unknown quantities of ore to local buyers.
But holding this stick of 99% pure concentrated uranium—far better than anything Shinkolobwe yielded in the raw—was my first up-close experience with the subject that I had been chasing for months. It was sort of like a biographer of an elusive subject who talks to multiple friends and acquaintances and then unexpectedly gets introduced to the person in the flesh.
I wanted the moment to be more special than just being passed a lab sample. But after all, this was just an inanimate object. It could not talk. It could only sit there in my palm and chuck off (I couldn’t help but envision it) little packages of protons and neutrons at a rate far faster than the speed of sound, fast enough to travel around the earth’s equator in about two seconds. These alpha particles could be blocked with a barrier as thin as a sheet of paper and my bare skin was adequate protection. But still. This little wand contained a power unlike anything else in nature. It had an instability about it which could be exploited with the proper application of massive industrial force—the immense cascading rows of centrifuges and gaseous diffusion chambers which we had built in secret cities during the war and which Iran was now hiding underneath mountains to shield from American and Israeli spies and bombers.
I felt as if I should have spent more time holding this stick, thinking about this weird little trick of the universe that it held inside. Here was a small sliver of the rock buried in the earth’s crust that had the power to end all life on the planet. One that posed an overwhelming moral test for humanity ever since World War II ended with a uranium-powered exclamation point. There is much we don’t know about uranium and much we don’t know about our future with this mineral after just under seventy years of coexistence with its concentrated form.
Has the scientific genius of mankind outstripped our abilities to take care of the planet, and each other? Have we learned enough not just to crack open an atom, but how to get along despite our racial and political differences? Will we be able to keep our species alive in a world where we have access to such awesome means of destruction?
These thoughts didn’t come in that moment. Other things were on my mind. I wanted to look like a tough guy in front of the miner and chemists, and I handed the uranium back, keeping my faintly dusted hands casually at my side. And when a safe amount of time had passed, I found a reason to excuse myself to the men’s room and there I washed my hands twice with soap.
In the Footsteps (Part 13) February 15, 2012
Posted by Lofty Ambitions in Writing.Tags: Books, Nuclear Weapons, Physics, Radioactivity
3 comments
On Friday, March 2, Anna will present at a panel entitled “Fallout & Facts: Creative Nonfiction in the Nuclear Age.” Her four fellow panelists on this topic are guest bloggers at Lofty Ambitions. Today, Anna shares some of what she will talk about at the Association of Writers and Writing Programs Conference in Chicago.
On February 29, we’ll post more information about AWP, including links to our recent AWP-related posts.
FALLOUT & FACTS: CREATIVE NONFICTION IN THE NUCLEAR AGE
Mary Lee Leahy and Anna (law school graduation)
The nuclear age began in Chicago seventy years ago, when Enrico Fermi conducted the first controlled nuclear reaction at the University of Chicago, where my mother earned her law degree a little more than twenty years later.
For a few months in the 1970s, my mother was the Director of the Illinois Environmental Protection Agency, the state-level regulator of nuclear power plants. She was also the person in the state whom the military contacted when there was a lost nuclear weapon. That happened once while she was director.
Illinois has six operating nuclear power plants, more than any other state. More than 30,000 people live within fifty miles of Braidwood and also within fifty miles of the Quad Cities plant, the secondary radius considered in danger if an accident were to occur. The two units at the Quad Cities plants went online in 1973, and their licenses are good until December 2032. In 2006, almost half of the state’s electricity came from these six power stations. Illinois gets more electricity from nuclear than from coal, even though Illinois has mined coal for more than 200 years. I’m not advocating coal; it’s dirty in its own right. But I grew up here and think of Illinois as a coal state, not a nuclear state.
Andrew Leahy & Anna
My father, though, is my more imperative connection to the topic of the nuclear age. He served most of his requisite military service in Pirmasens, West Germany, where the United States had deployed tactical nuclear weapons. These weapons were rotated in and out of the facility where my father was stationed. To do his work, my father descended by elevator with a partner, each of whom had a different code that had to be entered before the elevator would take them underground. My father’s job was, in his words, to scrape corroded uranium off the bombs. He wore no special protection for this work, only a badge that, as he remembered years later, he threw into bin at each week’s end. He was told that this dosimeter measured his exposure to radioactivity, but he figured that the Army didn’t check all the badges and keep track. He never saw any records that referred to his exposure levels.
Anna, Brigid, and Andy Leahy
My father was diagnosed with terminal liver cancer just before my sixteenth birthday, though two separate exploratory surgeries did not reveal an originating tumor. The doctors went over my father’s history. Their conclusion—though the cause of cancer is never completely conclusive—was that my father’s illness was the result of his exposure to radioactivity during his military service.
Anna, Andy, and Brigid Leahy (with Benji)
This history began showing up in my writing in graduate school, first in a poem about his military work and in a fragmented story. When I held the first copy of my poetry book my hand five years ago, I opened it and found this history. Sven Birkerts, in The Art of Time in Memoir, “Memoir begins not with event but with the intuition of meaning—with the mysterious fact that life can sometimes step free from the chaos of contingency and become story.” For me, an intuition about connections—my father’s death and Chernobyl, for instance—began to gnaw at me. Birkerts asserts that, for him, part of the draw to memoir came with age:
A curious thing happened to me personally and as a writer when I entered my late forties, that time zone I reluctantly acknowledge as marking the onset of middle age. Quite suddenly, at least in retrospect, my relation to my own past changed. […] It was as if that past, especially the events and feelings of my younger years, had taken a half step back, had overnight, following no effort on my part, arranged themselves into a perspective. No, ‘perspective’ isn’t quite right, for that suggests a fixed, even static arrangement. Rather, these materials had, without their losing their animation or their savor, became available to me.
Indeed, over the last two years, I’ve paid more attention to this topic, have learned to savor my available past, and have started to think of more of my writing as memoir.
J. Robert Oppenheimer, Anna, General Leslie Groves
We’ve written a lot about nuclear history and our connections to it at Lofty Ambitions blog, including an ongoing, currently 13-part series called “In the Footsteps.” The length of blog posts—most of ours run long at about1000 words—has offered us a way to understand the possibilities and pieces in what otherwise is the large topic of the nuclear age. Blogging as an aspect of creative nonfiction has helped us address a problem that Peter Turchi raises in Maps of the Imagination. He writes the following:
Anna in Lamy, NM (train station for Manhattan Project arrivals)
If we attempt to map the world of the story before we explore it, we are likely either to (a) prematurely limit our exploration , so as to reduce the amount of material we need to consider, or (b) explore at length but, recognizing the impossibility of taking note of everything, and having no sound basis for choosing what to include, arbitrarily omit entire realms of information. The opportunities are overwhelming.
What to include and exclude and how to organize remain challenges for me as a creative nonfiction writer, especially when dealing with a cultural topic like nuclear history. We’ve all lived the nuclear age. As Susan Griffin puts it in A Chorus of Stones, “For perhaps we are like stones; our own history and the history of the world embedded in us, we hold a sorrow deep within and cannot weep until that history is sung.”
Update from Ragdale and A Nuclear Birthday February 11, 2012
Posted by Lofty Ambitions in Collaboration, Science, Writing.Tags: Books, Einstein, Nuclear Weapons, Physics, Radioactivity, WWII
add a comment
On Thursday evening, after dining on walnut burgers, chipotle sweet potatoes, and sautéed spinach, we built a fire in the fireplace and settled in for a long editing session. We spent more than four hours working our way aloud through the two chapters we’ve drafted since our writing residency began.
Yesterday, it snowed in big clumps. From our second-floor windows, we watched the snow fall. Anna went outside for a short walk and to take some photos. Then, we tried to outline the rest of the chapters, doling out our ideas to the remaining chunks of pages we imagine. We try to outline the next two in more detail, put the ideas in the order they should appear. We have an idea of how long the chapters will be so we move a few things to a later chapter. But because of our experience drafting this project over the last week, we aren’t estimating the number of words or pages we expect an idea to take.
We have a sense of what we want to accomplish before we leave, and we’re pretty sure that, even if everything goes well, we would need three more days than we have. That said, we’re appreciative of the time we do have remaining here at Ragdale.
Today, we also pause to consider Leo Szilard, who was born on this date in 1898. As a Manhattan Project physicist, perhaps the first one, he fits into our “In the Footsteps” series, and he’s someone who’s long interested us.
Born in Hungary, he attended the Institute of Technology in Berlin, where he hung out with the likes of Albert Einstein and Max Planck. With that kind of company, it’s no wonder he ended up thinking, by 1933, after fleeing the Nazis and landing in London, about how a sustained nuclear reaction might work. There are several stories, most told at one time or another by Szilard himself, about how his idea that fission might lead to a bomb came to Szilard, but it’s clear that he was at least partly inspired by reading H. G. Wells’ The World Set Free. By the late 1930s, he was teaching at Columbia University, thinking uranium would be the right element for such a nuclear reaction, and soliciting Einstein’s endorsement of a letter he wanted to send to President Roosevelt. The letter from Einstein to Roosevelt led to the development of the Manhattan Project, and hence the suggestion that Szilard was the first physicist on the project.
Szilard moved on to the University of Chicago, where he helped Enrico Fermi build the first controlled nuclear reaction and held the patent with Fermi for that first nuclear reactor, which they referred to as a “pile.” In this coming week’s regular Wednesday post, we offer a sneak-peek of Anna’s AWP presentation on creative nonfiction in the nuclear age, which mentions this historic event of December 2, 1942, an event that, in a real sense, marked the beginning of the nuclear age.
Metallurgical Lab (Fermi on left in first row, Szilard in light coat second from right)
As the United States grew closer to having a useable nuclear weapon, Szilard became concerned about its use against Japan and pushed unsuccessfully for a test demonstration. He was also disturbed that the military would have control over nuclear weapons and that scientists were not being involved in policy.
Shortly after the war, Szilard gave his attention to biology and even fiction writing, with a collection of short stories related to his experiences and the Cold War and in which dolphins tell the story of our demise. He also met with Soviet Premier Nikita Kruschev and suggested a hot line between the White House and the Kremlin and, during the Cuban Missile Crisis, rushed to Geneva in hopes of establishing a dialogue between the president and the premier. Only a few months after joining the Salk Institute in 1964, Leo Szilard died in his sleep from a heart attack.
Enrico Fermi, Szilard’s partner in the first nuclear reactor, died of stomach cancer at age 53. Szilard later developed bladder cancer. Szilard’s cancer didn’t kill him, though it might have if he hadn’t undergone radiation and then, much to his doctors’ chagrin and by his own treatment design, more radiation. He had radioactive silver implanted in the tumor. Such implantation radiation treatment was highly unusual then but has since become one common way to treat prostrate cancer.
Szilard’s unconventional thinking didn’t stop with his science. He was known for soaking in a hot bath in the mornings to think and to take breakfast. Taking a hot bath today, perhaps with a glass of wine, might be the most fitting way to celebrate Szilard’s birthday. In 1951, he married Dr. Trude Weiss after they had been pen pals and confidantes for more than twenty years. We like this part of the story especially, in large part because we, too, knew each other twenty years before running off and doing something foolish like that. Szilard and Weiss, though, would spend most of the marriage living apart, something with which we’re not unfamiliar.
Szilard’s legacy, then, as a nuclear scientist and a human being is, like so many of the people about which we are drawn to write, a complex one. He was the Humanist of the Year in 1960, mingling in the ranks of Margaret Sanger and, later, Linus Pauling, Carl Sagan, Helen Caldicott, Margaret Atwood (who will be at AWP in a few weeks), and Bill Nye. Not a bad group overall and certainly eclectic.
In the Footsteps (Part 12) February 8, 2012
Posted by Lofty Ambitions in Collaboration, Science, Writing.Tags: In the Footsteps, Museums & Archives, Nobel Prize, Nuclear Weapons, Physics, WWII
add a comment
Lofty Ambitions is going to AWP, the Association of Writers and Writing Programs Conference. Doug will present on a panel called “Purloining the Letter” on Thursday, March 1, at 10:30a.m. in the Chicago Hilton. As we’ve peeked at letters and telegrams written in bygone days, we’ve learned a lot about archives and how to read these documents. Doug’s expertise as a scientist and as a librarian continues to be a great asset for us, and he’s sharing some of that here at Lofty Ambitions as well as at AWP.
To read the rest of our “In the Footsteps” series, click HERE or on that tag in the tag cloud in the sidebar. To read posts by those presenting presenting at the AWP panel “Fallout & Facts: Creative Nonfiction in the Nuclear Age,” click HERE or on the Guest Blogs category in the menu up top, then scroll for Tom Zoellner, M. G. Lord, Jeff Porter, and Kristen Iversen, whose forthcoming book will be featured in Barnes & Nobel’s Summer Great New Writers program.
PURLOINING THE LETTER: DOCUMENTS OF THE MANHATTAN PROJECT
Doug & Enterprise at NASM
I’m currently working on an espionage novel, set during the Manhattan Project. the Lofty Duo has done a fair bit of research, including working in the archives of the Library of Congress, where we’ve read through some boxes of the papers of J. Robert Oppenheimer, scientific director of Los Alamos laboratory during the Manhattan Project. Although I’d taken away several fascinating tidbits from that research project, after hearing Alan Furst discuss methods for building a vocabulary that authentically recreates a historical period, I silently admonished myself for not being more methodical in my own use of the letters, memos, notes, and other ephemera in Oppenheimer’s papers. All these types of documents—letters, memos, telegrams, notes, and other ephemera—play the same role in my research because they, unlike a private journal or a publication intended for the general public, are written for a specific audience.
Since that realization inspired by Furst’s talk, I’ve been more focused in my research use of letters and other materials. I think about my usage as fitting a few primary categories:
- Language and vocabulary development. This aligns with Furst’s suggestions in recreating a time period but has also helped me in creating verisimilitude by learning the military and scientific jargon of the era.
- Events confirmation. This helps me align my novel’s plot with the recorded events.
- Character development. Each document reveals aspects of the person who wrote it and also of the person who was intended to receive it.
Samuel Goudsmit to Robert Bacher (CalTech Archives)
A concrete example of the type of historically accurate vernacular that I needed to develop in my novel is the list of codenames assigned to important Manhattan Project scientists. Nobel Laureates Enrico Fermi and Niels Bohr, for example, were assigned the names Farmer and Baker respectively. The use of code names, primarily for communications and travel purposes, is described in a number of books and biographies about the era. In the richly annotated book Robert Oppenheimer: Letters and Recollections, authors Alice Kimball Smith and Charles Weiner include a letter from Oppenheimer to the project’s military head, General Leslie Groves, wherein the left-leaning academic encourages the security-obsessed military man to consider assigning code names by saying, “it would be preferable if such well known names were not put in circulation.” Not only do I better understand the practice of codenames, but also the way in which the practice was discussed.
From Max Planck (CalTech Archives)
The second way in which letters have played a role in my novel has been to develop my understanding of the sequencing of events associated with the Manhattan Project. The beginning of the project itself is associated with a specific letter, signed by Albert Einstein in October 1939 and hand-carried to President Roosevelt. Roosevelt’s response was to create a committee to investigate the feasibility of this research. For a program that would ultimately consume $2B dollars, the Manhattan Project got off to a very modest start, spending in the neighborhood of $5K in 1939 and 1940. The papers of Robert Bacher in CalTech’s archives detail the extent of this work. Even more important, by the letters’ very nature—one-to-one communication between the involved scientists—the documents point to the fact that none of the involved parties anticipated the scope of what was to come. That in-the-moment record can be even more important than the hindsight of a historical text that looks back long after the events.
The third letter-use category that I have defined for my own work has been their use in character development, both fictional and historical. Of particular interest to me, for instance, was a recommendation letter written by Richard Feynman, which I encountered in the papers of Robert Oppenheimer in the Library of Congress. Much has been written about Feynman’s quirky, non-conformist character (including much in his own voice, in books that he penned). And yet, after making my way through most of Feynman’s books and several books where Feynman appears, nothing could make his unconventional ways as tangible as a single letter—written for a single person, Oppenheimer—wherein Feynman suggests that a candidate for a job (at the prestigious Institute for Advanced Studies) will make his greatest contribution by being fantastic at parties.
Other aspects of working with letters in archives can be helpful as well. Recently, I listened to Knox College Professor Doug Wilson discuss how Abraham Lincoln’s predilection for producing multiple drafts of letters has actually influenced the course of scholarship. In a somewhat unusual situation, the final copies of Lincoln’s letters have been archived at the Library of Congress, while the drafts are at the Huntington Library. By comparing the two collections, Wilson discovered that the Library of Congress actually had gaps in its Lincoln Collection, that drafts existed where there was no remaining final copy in the Library of Congress. My research thus far indicates that this tendency to produce multiple drafts of letters (usually one or two handwritten versions that were then typed up, sometimes with a carbon copy, perhaps by a secretary) is also common in the papers of Manhattan Project scientists. While this hasn’t been consciously reflected in my novel by characters writing drafts of letters, it has provided me with an insight into how these people thought, how they planned and revised. It has also caused me to wonder on several occasions about how many of my colleagues draft and revise emails before sending them, as I often do.
Letter from Albert Einstein, 1913 (Huntington Library)
I’ll conclude this post as a librarian myself, with some practical advice regarding working with letters in archives. First, call ahead and make an appointment. Particularly in these times of economic uncertainty, archives are overworked and understaffed. During our most recent archival visit to CalTech, drop-ins were turned away. In addition, librarians and archivists are best able to help those who help themselves. By contacting them prior to your visit, they will probably ask you for specifics regarding the materials that you wish to see. In larger archives, materials are often stored offsite. By planning ahead, those materials can be brought to the work area prior to your visit.
Also, think ahead about copyright. In some collections, statements about copyright are included. In others, not so much. Ask questions so that you know the extent to which you can quote or otherwise use documents and how you should credit that use. Depending on the date it was written, the copyright holder of a personal letter, for instance, is usually the writer of that letter, not the recipient or whoever happens to have it in her attic.
Lastly, be cognizant of the age of the materials that you handle. Tearing a letter in half as you pull it out of the box is a rotten way to start a research visit. Holding thin, fragile letters conveys a sense of the preciousness of these materials and their contents and a sense of proximity to the time in which they were written, as if you can hear the letter-writer’s footsteps receding down the hallway.
Guest Blog: M. G. Lord February 6, 2012
Posted by Lofty Ambitions in Collaboration, Guest Blogs, Writing.Tags: Art & Science, Books, Cognitive Science
add a comment
M. G. Lord is a cultural critic, journalist, and the author of Forever Barbie: The Unauthorized Biography of a Real Doll, Astro Turf: The Private Life of Rocket Science, and The Accidental Feminist: How Elizabeth Taylor Raised Our Consciousness and We Were Too Distracted by Her Beauty to Notice. Since 1995, she has been a frequent contributor to the New York Times Book Review and the Arts & Leisure section. Her work has appeared in numerous publications, including the New Yorker, Vogue, The Wall Street Journal, Los Angeles Times, Travel + Leisure, and Artforum. She teaches at the University of Southern California and will anchor the nonfiction division at the first annual Yale Writers Conference in New Haven this summer.
Photo by Collin Thalken
We became interested in M. G. Lord’s work after Doug saw her present on a panel about science writing at the Association of Writers and Writing Program Conference. You can read our post about that panel HERE. After that, Anna read Lord’s book Astro Turf (lots of good Jet Propulsion Laboratory stuff) and, when the opportunity arose, invited Lord to participate in the upcoming AWP panel on creative nonfiction in the nuclear age.
If you’ve been paying attention, you know that Lofty Ambitions is featuring each of the presenters on that creative nonfiction panel. Click HERE for the post by Kristen Iversen, author of the forthcoming Full Body Burden. Click HERE for the post by Jeff Porter, author of Oppenheimer is Watching Me. Tom Zoellner, author of Uranium and A Safeway in Arizona, will be our next guest blogger. And if you’re in Chicago on March 2, join us at 1:30p.m. in the Hilton, Continental B.
We’re especially interested in what she’s doing now, namely collaborating on her next book project, which has to do with neuroscience, and, in the process, exploring the technology of drawing.
DISTRACTING ONESELF INTO THE NEXT PROJECT
On February first, Bloomsbury USA published my new book, The Accidental Feminist: How Elizabeth Taylor Raised Our Consciousness and We Were Too Distracted by Her Beauty to Notice. As you may glean from the title, this is a departure from my previous book, Astro Turf, a family memoir of aerospace culture during the Cold War and an informal history of NASA’s Jet Propulsion Laboratory. Both books, however, have a common attribute—one that, I suspect has blighted books since Gutenberg invented moveable type: Publication is hell. Or, in any event, publication taxes an author’s nerves.
My strategy for dealing with such stress is to avoid anything written about my work, whether it’s positive or negative. Instead, I immerse myself in a fresh project, ideally one that has little in common with the book under scrutiny. This means not only a different subject but also a new medium. That brings me to my latest endeavor. In collaboration with Dr. Indre Viskontas, a neuroscientist who also happens to be an opera singer, I am working on a graphic novel that has to do with the brain.
By working, I mean both writing and drawing, the latter of which today seems more like engineering than art. Two decades ago, when I retired from a 12-year run as a political cartoonist for Newsday, all a caricaturist needed to excel was hand-eye coordination and a mean spirit. I drew malicious pictures with a crow quill pen on Bristol board. But in 2012, the best graphic artists are also software virtuosos. They render some or all of their cartoons digitally, either scanning pen-and-ink drawings into the computer or executing an entire image in a program such as Adobe Illustrator.
To say I lack an aptitude for engineering would be a gross understatement. Never mind that I developed great admiration for engineers while writing Astro Turf. Initially, I was so intimidated by the drawing software that I hired a tutor to help me with it—or, more accurately, to help me decide whether mastery was a realistic possibility. Our first session—on my tutor’s equipment—was psychologically brutal. After two hours of scanning existing drawings and manipulating them in Adobe Photoshop, we moved to the true baptism of fire: drawing directly on a tablet connected to the computer.
Aerial View of JPL (NASA)
All political cartoonists of my vintage—I was in college in the late 1970s—can draw Richard Nixon in their sleep. During Watergate, I taught myself to render the disgraced President on an Etch-a-Sketch, which back then was an eye-popping parlor trick. Compared with a tablet, however, the Etch-a-Sketch is an inexpensive, effortless drawing tool. Now, I faced a pricy, counterintuitive torture device. After another hour of tutoring, I managed to scratch out a digital approximation of Nixon’s flapping jowls and ski-jump beak. And I decided to commit both time and money to embracing the digital future.
Tablets come in two main styles: one on which you draw but your marks appear on a separate monitor; the other that is itself a monitor, so that you see what you have drawn beneath your stylus rather than feet away. As you can imagine, the latter iteration is pricier than the former. I was planning to go the cheap route until the universe sent me a message not to. Last month, a lifestyle magazine asked me to interview Rodolphe Guenoden, a DreamWorks animation supervisor. I expected we would talk about animated movies. But Guenoden’s great passion is graphic novels, and he showed me how he used hardware and software to render them digitally. He made drawing on a Wacom Cintiq—a tablet that also functions as a monitor—seem almost intuitive. I watched him change the way his lines appeared, simulating brushstrokes, pen lines, pencil marks. And I bought the Cintiq.
True, it took me three hours with a tutor to set it up. And another 45 minutes to figure out how to define the margins on a page. In the old days, with a T-square, I could pencil in margins while blindfolded. My hand still reaches for the pens and brushes on my desk. But I allow it to—even Guenoden does his initial storyboarding on paper.
A steep learning curve awaits. But that is exactly what I want. It is guaranteed to distract me from the vicissitudes of publication.
