• 03Jul

    Charles Darwin’s four-year naturalist expedition on the HMS Beagle took him to South America, the Galapagos, across the Pacific, Australia and back to South America. Darwin’s Voyage of the Beagle is almost strictly a naturalist’s diary. Very little of the journal is devoted to telling stories unless they illustrate a natural phenomena; there is no overarching narrative and very little can be gathered of his fellow sailors.

    Darwin was indeed interested in people however and the Voyage is as much an anthropological study as it is a geological or biological one. Descriptions and impressions of natives in different parts of the world are some of the richest parts of the Voyage, particularly his experiences with the “filthy”, aggressive New Zealanders.

    But Darwin reserved his most passionate commentary on contemporary humanity for the last pages of his book. The Beagle briefly returned to Brazil “to complete the chronometrical measurement of the world” before sailing home to England. Darwin tells the story of his visit mostly through his “enjoyment in tropical scenery” then departs with some words on slavery.

    On the 19th of August we finally left the shores of Brazil. I thank God, I shall never again visit a slave-country. To this day, if I hear a distant scream, it recalls with painful vividness my feelings, when passing a house near Pernambuco, I heard the most pitiable moans, and could not but suspect that some poor slave was being tortured, yet knew that I was as powerless as a child even to remonstrate. I suspected that these moans were from a tortured slave, for I was told that this was the case in another instance. Near Rio de Janeiro I lived opposite to an old lady, who kept screws to crush the fingers of her female slaves. I have stayed in a house where a young household mulatto, daily and hourly, was reviled, beaten, and persecuted enough to break the spirit of the lowest animal. I have seen a little boy, six or seven years old, struck thrice with a horse-whip (before I could interfere) on his naked head, for having handed me a glass of water not quite clean; I saw his father tremble at a mere glance from his master’s eye. These latter cruelties were witnessed by me in a Spanish colony, in which it has always been said, that slaves are better treated than by the Portuguese, English, or other European nations. I have seen at Rio de Janeiro a powerful negro afraid to ward off a blow directed, as he thought, at his face. I was present when a kind-hearted man was on the point of separating forever the men, women, and little children of a large number of families who had long lived together. I will not even allude to the many heart-sickening atrocities which I authentically heard of;—nor would I have mentioned the above revolting details, had I not met with several people, so blinded by the constitutional gaiety of the negro as to speak of slavery as a tolerable evil. Such people have generally visited at the houses of the upper classes, where the. domestic slaves are usually well treated; and they have not, like myself, lived amongst the lower classes. Such inquirers will ask slaves about their condition; they forget that the slave must indeed be dull, who does not calculate on the chance of his answer reaching his master’s ears.

    It is argued that self-interest will prevent excessive cruelty; as if self-interest protected our domestic animals, which are far less likely than degraded slaves, to stir up the rage of their savage masters. It is an argument long since protested against with noble feeling, and strikingly exemplified, by the ever-illustrious Humboldt. It is often attempted to palliate slavery by comparing the state of slaves with our poorer countrymen: if the misery of our poor be caused not by the laws of nature, but by our institutions, great is our sin; but how this bears on slavery, I cannot see; as well might the use of the thumb-screw be defended in one land, by showing that men in another land suffered from some dreadful disease. Those who look tenderly at the slave owner, and with a cold heart at the slave, never seem to put themselves into the position of the latter; what a cheerless prospect, with not even a hope of change! picture to yourself the chance, ever hanging over you, of your wife and your little children—those objects which nature urges even the slave to call his own—being torn from you and sold like beasts to the first bidder! And these deeds are done and palliated by men, who profess to love their neighbours as themselves, who believe in God, and pray that his Will be done on earth! It makes one’s blood boil, yet heart tremble, to think that we Englishmen and our American descendants, with their boastful cry of liberty, have been and are so guilty: but it is a consolation to reflect, that we at least have made a greater sacrifice, than ever made by any nation, to expiate our sin.

    It may seem at first to be a striking departure for a naturalist to exclaim on slavery but these are hardly separate issues for Darwin (as could be said for Henry David Thoreau, intimate with Darwin’s writings). In the Voyage of the Beagle, Darwin avoids broad conclusions on biological and geological forces but the holistic view of the world that will later contribute to his theory of evolution is already evident.

    Darwin, as a geologist, was considerably interested in the forces of the Earth on the landscapes he visited: the mountains of Chile, inland deserts of Australia and Pacific atolls for example. When Darwin looked at a rock formation, he considered the powers that molded it. But he looked at a bird in the same way, considering the slower, more patient forces behind its shape and color… like a rock.

    Similarly, through Darwin’s periscope, slavery serves to make a point about what he has observed in nature. Slavery, serving as a perfect example of human cruelty, is a unique phenomenon in nature. Nowhere in his voyage did Darwin witness cruelty except when encountering humans. Darwin understood better than anyone in his time how brutal nature was but it was not cruel. To abolish slavery, particularly in the Americas, was to bring humankind more in line with the laws of nature he observed in his trip around the world.

  • 09May

    In woodworking, the dovetail joint is not only a joy to cut, fit and finish but it is one of the sturdiest ways of joining a right angle. The dovetail joint is most often employed with boxes and drawers. The Shakers frequently used the dovetail joints for a wide variety of furniture, most notably with blanket chests and chests of drawers.

    The plain dovetail joint consists of a pin and a tail. Multiple pins are cut into the ends of one board. Three or more pins are advised for sturdiness. Because of the decorative quality of the dovetail, the pins should be cut from the sideboards to face through the tails cut in the front board. The pins are shaped with a simple pull saw. As much waste is cut out with a table saw or jig saw. The last of the waste, particularly between the pins, is removed patiently with a chisel.

    Once the pins are cut (in this case only two), they are traced on to the board they will fit. The tails are then cut with a pull saw and the waste is chiseled out. It’s best to err on the inside of your pencil marks. The pins can later be chiseled down when the boards are being joined.

    Both the pin and the tail are cut about one eighth of an inch deeper than the width of the joining board. It’s better to have wood sticking out than not having enough to make a strong joint.

    To get a dovetail joint right, the pin and the tail must fit snugly and require a good whack with a mallet to get into place. It’s said that a perfect dovetail joint doesn’t require glue and will never weaken.

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  • 07Apr

    The lines and patterns in leaves are universal in life. While the patterns are easy to describe, their meaning is not. Abstracted rules for survival could include dividing and reaching. The need for food is most apparent in the tree which divides itself into branches upon branches to harvest more sunlight and, of course, in the roots which must divide and reach to absorb soil nutrients and anchor the growing tree. The stalk and mid-rib of the leaf are as the trunk of the tree; the lateral veins as branches. While the metaphor does not extend to specific function, the dividing and reaching is there.

    Pressing and labeling leaves may be an errand for kindergardeners or 19th century naturalists. That is, if you are into crafts, this may be a boring exercise. However, if you can look into a leaf and see more - unspoken or misunderstood laws of nature, for example - seek out your favorite leaves, a frame and a nice piece of paper… and be sure you have identified the species accurately.

    The leaf on the right is from the Kentucky Yellowwood. This leaf was taken from a tree in City Hall Park in downtown Manhattan. This leaf has been tucked away in a tree-spotting book for six months identified as “black walnut”. This tree, however, has never born walnuts. Why? Because this amateur tree-spotter looked at the leaf only. The bark and fruit of the tree can’t be ignored. Thus, the Kentucky Yellowwood (or Cladrastis kentukea) is framed as a reminder to evidence thoroughly before reaching a conclusion on the species. Remember: leaf, bark AND fruit.

    The leaf to the left is that of the hallowed American Chestnut (Castanea dentata). Once the most sought-after and revered tree (side from the white pine for mainmasts) for its superior hardwood and fruit (yes, the chestnut), the American Chestnut was completely wiped out by a foreign fungus in 1908. It was one of the earliest and most comprehensive cases of invasive species. The American Chestnut is usually felled by the fungus before it reaches maturity.

    This chestnut leaf was taken from a grove owned by the state of Connecticut for the purpose of breeding a fungus resistant chestnut. (The horticultural equivalent of bringing back the American Buffalo.) There were once two leaves pressed in the tree-spotting book but the wider of the two lost an eighth of an inch and its distinct teeth.

    If you decide to frame your own leaves in this way, please email a photo and some background. Spring is here so you won’t have to wait much longer for big, beautiful - and universal - leaves to press and frame.

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  • 04Apr

    Edgar Allen Poe’s only novel, ‘The Narrative of Arthur Gordon Pym of Nantucket’, familiarly ‘Arthur Gordon Pym’, was a response to criticism of the unprofitability of his short stories. Poe, with some sarcasm, responded by putting his stamp on the popular American sea adventure. The novel is told from Pym’s perspective and Poe pretends to be only the editor of the manuscript. Pym’s adventure from Massachusetts to the South Pacific is a series of anxious sea tales including violent mutiny, shipwreck, swarming sharks, ghost ships, cunning savages and, of course, being buried alive.

    In 1930, the Limited Editions Club published Pym with woodblock prints by commercial designer Rene Clarke. Most of the illustrations are adventure scenes including the gull flying over the shipwrecked Grampus with a man’s liver hanging from its beak as well as less atrocious moments.

    But what’s most interesting are two portraits. The first is of the half-savage mutineer Dirk Peters, Pym’s sole companion at the mysterious ending.

    Pym, or Poe, regarding Dirk Peters:

    Two savages fell, and one, who was in the act of thrusting a spear into Peters, sprung to his feet without accomplishing his purpose. My companion being thus released, we had no further difficulty. He had his pistols also, but prudently declined using them, confiding in his great personal strength, which far exceeded that of any person I have ever known. Seizing a club from one of the savages who had fallen, he dashed out the brains of the three who remained, killing each instantaneously with a single blow of the weapon, and leaving us completely masters of the field.

    Clarke’s portrait is truly of a mutineer capable of dashing out brains.

    The other portrait is of Too-wit, the chief of the savages, who springs a night time attack on the Jane Guy after lulling the crewmen with kindness and grace.

    This edition was come upon in the hard-cover classics corner of New York City’s Strand Bookstore, bursting with 19th Century American literature. 1500 copies of this edition were signed by the illustrator. Those copies fetch anywhere between $50 and $200 online. Unsigned but in impeccable condition (the pages are pristine and hardly dulled), this edition - for which $20 was paid - could go for $50 to $75. It will join other old books more valuable to the intellectually curious than the collector.

    REFERENCE

    The Narrative of Arthur Gordon Pym of Nantucket (Google Books)

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  • 22Jun

    I am currently reading a volume of two transcendentalist essays: Ralph Waldo Emerson’s Nature and Henry David Thoreau’s Walking. I began reading Walking on the subway this morning and was much relieved to read this opening excerpt after Emerson’s, in my opinion, drier style:

    I have met with but one or two persons in the course of my life who understood the art of Walking, that is, of taking walks — who had a genius, so to speak, for sauntering, which word is beautifully derived “from idle people who roved about the country, in the Middle Ages, and asked charity, under pretense of going a la Sainte Terre,” to the Holy Land, till the children exclaimed, “There goes a Sainte-Terrer,” a Saunterer, a Holy-Lander. They who never go to the Holy Land in their walks, as they pretend, are indeed mere idlers and vagabonds; but they who do go there are saunterers in the good sense, such as I mean. Some, however, would derive the word from sans terre without land or a home, which, therefore, in the good sense, will mean, having no particular home, but equally at home everywhere. For this is the secret of successful sauntering. He who sits still in a house all the time may be the greatest vagrant of all; but the saunterer, in the good sense, is no more vagrant than the meandering river, which is all the while sedulously seeking the shortest course to the sea. But I prefer the first, which, indeed, is the most probable derivation. For every walk is a sort of crusade, preached by some Peter the Hermit in us, to go forth and reconquer this Holy Land from the hands of the Infidels.

    It is true, we are but faint-hearted crusaders, even the walkers, nowadays, who undertake no persevering, never-ending enterprises. Our expeditions are but tours, and come round again at evening to the old hearthside from which we set out. Half the walk is but retracing our steps. We should go forth on the shortest walk, perchance, in the spirit of undying adventure, never to return, prepared to send back our embalmed hearts only as relics to our desolate kingdoms. If you are ready to leave father and mother, and brother and sister, and wife and child and friends, and never see them again — if you have paid your debts, and made your will, and settled all your affairs, and are a free man — then you are ready for a walk.

    Many travel writers have explored the idea of wandering and, further, the importance of movement to living, even life. Bruce Chatwin comes to mind and, of course, Jack Kerouac too. John Steinbeck’s Travels with Charley is another good exploration of what it means to wander. But they treat the philosophical underpinnings of the simple act of walking - or sauntering - through stories, fact and fiction.

    In Walking, Thoreau is writing a thoughtful essay with only minor personal reference on what he considers to be a spiritual topic: going for a walk in the woods. Compared to what else is on my bookshelf, this is a unique perspective. It is also Thoreau’s unique perspective that one without a home is in fact at home everywhere. Prove me wrong; this is a favorite topic of mine and I’d love to know Thoreau is not alone.

    Now for you etymology lovers, Thoreau’s musing on the origin of saunter is more than you’ll find anywhere else. Others suggest that it comes from the French s’aventurer or s’auntrer (to adventure with oneself) or have no idea at all.

    Whatever the root meaning of the word, go forth and saunter!

    REFERENCE

    Walking (Google Books)

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  • 11Jun

    The objective of my Introduction To Woodshop class is to build two things: a mallet, with which I will use to build all my future furniture, and a simple end table.

    The mallet was a lot of fun to make. Making this mallet, I learned all about the power tools and hand tools around the woodshop. It is three pieces of wood: the two halves of the head and the handle. The halves of the head are grooved (with a table saw no less!) to fit the handle. The whole lot is glued together and a sliver of wood is pounded into the top for further tightness.

    Here is my mallet, just glued together, waiting to dry. You can see the sliver of wood in the center. I will then spend some time going over it heavily with sandpaper.

    The table we are building is two pieces: the table top and the leg structure. The table top is four pieces of wood glued side by side. The leg structure is four 24″ legs glued together into a base on which the table top will rest. Simple. And I learned pretty quickly that this was going to be a flimsy table. As you’ll see in a later post, I joined the legs together with an under-structure (there’s probably a word for that) to make it sturdier.

    We doweled the joints to make them stronger. You drill a hole through the two pieces of wood you are joining, pour some glue into the hole and pound a dowel in. Here is a dowel just hammered into place with my mallet. I will then saw off the dowel and sand it down so it’s nice and smooth.

    Joinery is the next thing I want to learn. Knowing my joints aren’t weak will make me feel more confident making furniture.

    I have not had any significant problems with the construction of either (I am pleased to say) though there are some things I need to improve on.

    In particular, I am an impatient sander. I need to slow down and do several more rounds with the power sander. That’s something I will have to work on because I won’t be much of a furniture maker with hasty sanding jobs. But that’s what I hoped to gain from this class: lessons in patience.

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  • 03May

    I have been interested in furniture craft as long as I can remember. In recent years, as I’ve become more interested in antiques and Americana, I have been exposed more than ever to the art of furniture-making. Learning about all things furniture has become a private hobby of mine.

    Last year, I found a series of woodshop classes online at a place called 3rd Ward in Brooklyn. I was originally going to start an introduction class in February but I sat on it for a while and then never set it up. Caitlin and her family bought me the class for my birthday and today I had my first class.

    There are two objectives to this class. First, to create a mallet which I will then use to fit joints, etc. Second, to create a small end table. The mallet is a good introduction it seems because it introduces you to all the basics: reading specs, tools, electric saws, safety, sanding, fitting joints, glue, etc.

    Here’s my mallet so far…

    We’re using a hardwood, red oak. Those two pieces of wood represent my first experience lowering a saw to make a cross cut and pushing a long plank through a table saw. (This was my goal for the day: to overcome the fear of saws.) I got a little further than this picture. I sanded soft corners for the handle of my mallet and I used the table saw to carve a mortice in the head of the mallet.

    I also got some good reading tips and a whole lot more perspective on furniture. The folks at 3rd Ward were really nice. The class was very casual. And we were invited to hang back for the place’s 3rd Anniversary party and have some lunch and a drink. There was a class in a half hour about reclaiming lumber but I decided to head home.

    I’ll continue writing here about my woodshop experience.

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  • 09Mar

    It is a national pastime to celebrate the weaknesses of our Presidents and they in turn give us no shortage of material with untold numbers of scandals and affairs. Annie Kevans has painted the portraits of over two dozen Second Ladies, real or rumored, in a series “All the Presidents’ Girls”…

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    Notable mentions are Marilyn Monroe, Jefferson’s slavegirl Sally Hemings, Blaze Starr, Monica Lewinsky and Paula Jones. And there’s William Rufus DeVane King who had an affair with James Buchanan? Curious.

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  • 18Jan

    In reading an article by greendem at daily kos today, I learned that the original lyrics of “This Land is Your Land” as written by Woody Guthrie are much different from the song that we all learned in school.

    Those missing rebellious lyrics go something like this:

    There was a big high wall there that tried to stop me;
    Sign was painted, it said private property;
    But on the back side it didn’t say nothing;
    That side was made for you and me.

    In the shadow of the steeple I saw my people,
    By the relief office I seen my people;
    As they stood there hungry, I stood there asking
    Is this land made for you and me?

    Nobody living can ever stop me,
    As I go walking that freedom highway;
    Nobody living can ever make me turn back
    This land was made for you and me.

    Today, at the Inaugural concert at the Lincoln Memorial, Pete Seeger restored those lyrics to the song with everyone on the mall singing along (and with a little help from Bruce Springsteen).

    Big hat tip to greendem for the find.

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  • 17Jan

    The painter Andrew Wyeth died this week. Wyeth was recognized for his realist style depicting everyday American life. He was regarded as the “painter of the people” particularly as post-war American painting went in the direction of abstraction.

    I first learned about Andrew Wyeth when, on a trip to New York during college, I saw Christina’s World at MOMA…

    His was deeply connected to the American painting tradition. Still lifes, window paintings, farm scenes, windowside portraits, etc. His expression on the subject matter is the subtle sense that this scene is not what it is, that there is danger. It is American Gothic. And it’s definitely anachronist.

    REFERENCES

    Wikipedia

    Obituary

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