Even Tierra del Fuegans Do It
The Uncashed Metaphor of Natural Selection
Justin E. H. Smith
1.
In their classic 1979 article, "The Spandrels of San Marco and the Panglossian Paradigm,"
Stephen Jay Gould and Richard Lewontin fault the adaptationist program
for its failure to distinguish current utility from reasons for origin;
its unwillingness to consider alternatives to adaptive stories; its
reliance upon plausibility alone as a criterion for accepting
speculative tales, and, as they put it, for "its failure to consider
adequately such competing themes as random fixation of alleles,
production of non-adaptive structures by developmental correlation with
selected features… the separability of adaptation and selection,
multiple adaptive peaks, and current utility as an epiphenomenon of
nonadaptive structures." They announce that in the critique they are
offering, they are proceeding in the spirit of "Darwin's own
pluralistic approach to identifying the agents of evolutionary change."
Spandrels, or the tapering triangular spaces formed by the intersection of two rounded arches at right angles, are, as they explain, "necessary architectural byproducts of mounting a dome on rounded arches." In other words, you can't have an arch without a spandrel, and you need an arch in order to support a roof. If you ask the architect why he put the spandrel there, he will tell you you don't understand architecture.

Will
there be no end to this tiresome "national conversation" as to whether
a black man trumps a white woman, or vice versa, on our nation's list
of the wronged? One possible end might arrive, of course,
when another white man is elected in November and American politics
returns to business as usual. In the meantime, I would
like to join the conversation, if only in order to bring to light the
inanity of the relevant comparison, based as it is on a presumption of
analogy between two social groups that are distinguished, conceptually
and in reality, from the dominant group for entirely different reasons:
in the one case, the distinction is based on a relatively short,
500-year history of economic subordination; in the other, it is a consequence of an evidently universal structural feature of human societies.
Judith
Warner is in my head, and she won't leave. She's been in there for three
weeks. Now I don't mean I've been thinking intensely about Judith
Warner for three weeks. I mean she is actually in there, perceiving the
world through my eyes, seeing everything I see, peeing standing up when
I pee standing up. Seeing it all.
Before you there was nothing,
In
what spokespeople for both parties are calling an act of "unprecedented
interference," a strongly pro-government newspaper in the authoritarian
republic of Belarus has offered its own endorsements in the US
presidential primaries. Analysts contend that this operation was
likely directed by president Aleksandr Lukashenko himself, and was
meant to serve as a critical response to the international community's
past efforts to monitor elections in Belarus. The US government and
the Organization for Security and Cooperation in Europe strongly
denounced as illegitimate the 2006 Belarus elections, in which
Lukashenko received more than 80% of the vote and opposition parties
were not permitted to campaign. As of press time, the 

MC Hammer once boasted: "You're '87 and I'm '89." With time, the
force of this taunt has weakened considerably, and it should serve as a
lesson to anyone who associates too strongly with the Zeitgeist. Yet, whenever Hammer's lyric replays in my mind, I find myself protesting: No, no, I too
am '89. Then, or around then, is when everything more or less came
together, when potentials became actual, when my fate became sealed.
It was also then that those surrounding me, and the intensity of
everything they took seriously, appeared at the peak of their
immortality.
Shostakovich for his part declared that all of his symphonies are, in the end,
epitaphs. He did not mean, in the spirit of a hip-hop toast, that
through his music he would 'bury' his enemies and dance on their
graves. He meant that his friends were buried quite against his
wishes, and that through his music he hoped to commemorate them. Now I
am not a composer of symphonies, but only, however much I resist the
title, a composer of 'posts'. Nonetheless, I have recently developed
the sense that no matter what topic I'm treating, everything I write
comes out as a sort of obituary, even if the subject happens not to be
dead (yet). 