Mikhail Bulgakov’s first novel, The White Guard, weaves an affecting story about the power of human connection in times of crisis. First serialized in 1925, albeit not to completion, and informed by his own experiences, it employs psychological realism to capture life in Ukraine during the catastrophic Russian Civil War, which had ended only a few years earlier. That experience included the wildfire spread of “uncertain knowledge.” Not surprisingly, rumors—as well as talk of rumors—abound in The White Guard, providing a window into a world fraught with uncertainty.
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The Effects of Nuclear Weapons was by far the most popular handbook of nuclear defense during the Cold War. Adapted from an original publication of the Los Alamos Scientific Laboratory (1950), the handbook was amended and made commercially available for popular use (1957), revised (1962), reprinted (1964), expanded (1977), and even illicitly translated into Russian for use in the Soviet Union (1960). Edited by Samuel Glasstone, a prolific author of science textbooks, The Effects of Nuclear Weapons was described as a “comprehensive summary of current knowledge on the effects of nuclear weapons” and commended by the Federal Civil Defense Administration as “the definitive source of information on the effects of nuclear weapons.”
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In Notre-Dame de Paris, Victor Hugo (1802–1885) wrote, “the book will kill the edifice.” Spoken by Archdeacon Claude Frollo, this phrase signified the view that the Renaissance was “that setting sun we mistake for a dawn.” Understood as a revolution in tectonics away from the organic and toward the classical, the Renaissance had separated sculpture, painting, and architecture—carved and parceled them out from what was formerly a single edifice of Gothic construction. The mechanism? Printing. Whereas Gothic architecture had reflected and affirmed the entire intellectual investment of society, the various arts and sciences were now contained in books.
Continue reading “The Book Will Kill the Edifice? Mechanics Manuals and Learning to Draw in the Early and Mid-Nineteenth Century” →