The New Folk Horror: Recent Work by Sarah Hall, Conor O’Callaghan, and Malcolm Devlin – Los Angeles Review of Books

 Of all the speculative genres, horror is particularly obsessed with place. Those who argue for science fiction as the most overtly political form of the fantastic often point to horror’s putative conservatism, its preference for isolated settings — old houses, bleak moorland, remote villages, that dodgy patch of wasteland on the edge of town — and its seeming indifference to the wider world. Yet one can also see horror’s obsession with place as, by extension, an obsession with history, with the past as it meets the present and offers warnings about the future. In this regard, horror is the most subversively political of literatures, mired in causality up to its armpits.

How a German Writer Made Peace with the Imprecision of English | Literary Hub

This means that Germans read and speak differently; we scan to the end of the sentence, then we go back and parse it. Understanding this, in my view, is crucial to understanding how English speakers and German speakers think differently. English speakers make it up as they go along; German speakers have to know where they’re going.

Choosy Eggs May Pick Sperm for Their Genes, Defying Mendel’s Law | Quanta Magazine

His hypothesis – that the egg could woo sperm with specific genes and vice versa – is part of a growing realization in biology that the egg is not the submissive, docile cell that scientists long thought it was. Instead, researchers now see the egg as an equal and active player in reproduction, adding layers of evolutionary control and selection to one of the most important processes in life.

Paul Nagy interviews Enrique Enriquez (pdf)

Paul Nagy interviews Enrique Enriquez (pdf)

Most contemporary art consists on understanding the poetry of objects. An object charged with associations, placed next to another object charged with its own associations, would elicit meaning just as words do….
That is what attracted me about the tarot in the first place. The visual language in the cards reveals… poetic images we read. We see how those streams of water being poured by the woman in The Star resemble the two dogs in The Moon, and we read: “Water runs like wild dogs.” If instead of the moon we have The Sun next to The Star, we read “Water wells up like the embrace of twins.” We find a suggestive image and we let it work on us. It takes the mind of a poet to decode it.