Plagues and the Fall of Empires

 

 Plague in Marseilles, 1720

Yesterday (November 2nd), I read an article in Junior Skeptic (included in Skeptic Magazine). It told the history of plagues, of epidemics, of pandemics. How an unknown disease killed upwards of 20% of the population of Athens (404 BCE). How a plague during Marcus Aurelius’s reign (161-180 CE) killed 20% or more of the citizens of Rome. How the first wave of bubonic plague killed somewhere between 25 and 50 million people in Europe (it reached Constantinople in 542). The second plague pandemic killed about 1/3rd of the European population, and some settlements were wiped out completely. (The last plague epidemics occurred in the 1600s and 1700s.) How smallpox ravaged Europe. How the Europeans brought smallpox to the Americas, killing up to 90% of indigenous populations.

In every case, major political and economic change followed. Athens lost the Peloponnesian War. Rome became weak, and finally lost its hegemony a couple of centuries later. The bubonic plague finished off the western Roman Empire. And so on. A little extra research showed that the second and third waves of bubonic plague caused Europe-wide wars and re-arranged the remnants of the Roman Empire. Even the Spanish Flu of 1918-19 caused disruption: the Roaring 20s were as much a reaction to it as to the Great War.

And generally speaking, people forgot the great plagues almost as soon as they fizzled out. School histories tend to ignore them. In fact, I didn’t know about the Athenian epidemic until I read this article; and I thought I had learned a pretty good overview of ancient Greek history.

We don’t want to be reminded that we are subject to the random appearance of pathogens. Even now, when SARS-COV-2 is infecting people, there are many who claim it’s a hoax, or no worse than the flu, or caused by G5 phone towers, or whatever. Anything, it seems, rather than face up to the terrifying truth: we have no defences against new pathogens. And another, much less convenient, truth: that these new pathogens transfer from animals to us. Which means that as climate change alters ecosystems, it also alters the interactions between humans and other animals, and so increases the odds that a new pathogen will emerge.

One of the factors in today’s US presidential election is covid-19. Mr Trump persists in downplaying its severity and perils. Mr Biden persists in using covid-19 as a symbol for Mr Trump’s failures as a President.

We shall see what happens. But in any case, the American Empire has begun its downward trajectory.

See Wiki’s article on SARS-COV-2

Pandemic statistics: bad news, good news.

Katharine Cove, Lake Superior, 2001

 

This morning's US covid-19 death count is 231,566. Canada stands 10,262. See Johns Hopkins Covid-19 Dashboard for more. That's the bad news. The good news is that the case-fatality rate is decreasing: fewer infected people are dying. The reason is a mix of good and bad news: In both countries the infection rate of younger people has gone up. Older people die at ten times the rate (or more) of younger people. So there's what at first glance looks like a paradox: much higher daily case numbers, not many more daily deaths.

Other considerations: 

a) Younger people tend to be the wage earners, so their higher case numbers affects the labour market, which is already a mess because the pandemic has reduced demand, and so reduced the need for labour.

b) The long-term effects of covid-19 range from longish recovery times to varying degrees of physiological and cognitive damage. The data suggest that 5% or so of covid-19 recover with such in long-term effects. In the long run, that could have worse effects than the present infection rates.

c) The economy is in serious trouble, because too many people are still thinking in terms of getting back to normal. The pandemic has shown that a very large segment of our economy has relied on discretionary spending, aka as whim and desire. This segment will not return to its former profitability.

d) We hear a lot about anti-mask demonstrations, but in general, most people do wear masks, which I think means that we are generally more aware of our connections to the larger community. Which brings me to that last comment for today:

e) Most of us have found that we haven't taken the casual daily contacts, the greetings, and chats etc seriously enough. We need social connection, we need face-to-face connection. Screens and tinny voices coming from inadequate speakers aren't enough.

 

Mermaids greet a Captain Hailborne

A mermaid from a clip-art collection. The picture caption reads "Capt. Hailborne At St. Johns Newfoundland", the details suggest the 1600s, but the mermaid's welcoming gesture is a fantasy.

Jane Ash Poitras, a deliberate artist

 Virginia Eichhorn Consecrated Medicine. (2004) An illustrated monograph about Jane Ash Poitras, to accompany an exhibition at the Thunder Bay Art Gallery. Poitras is deliberate artist, she plans her works with meanings and messages in mind. Here, the meaning is indigenous medicine, and the colonial dismissal of indigenous knowledge and wisdom.

 

     The pictures are not easy; they’re neither elegant nor pretty. They are layered compositions of collaged images in several media, surrounded by or overlaid with painted symbols and figures and texts. These add up to densely complex and not easily grasped meanings. One must read the work like a book, which I think is Poitras’s intent. Reading is both an intellectual and an emotional investment in constructing meaning. The layered images make us re-read the texts, and create both ironic distance and dissonant emotions. We both deconstruct and reconstruct meanings.  It’s a journey from comforting cliche to unsettling insight. I think that’s what she intends.
     Her personal history is I think the impetus for her art. She was a homeless indigenous child found and raised by an elderly German immigrant woman. She embarked on a conventional career as a university-educated micro-biologist. She apparently always maintained links to her heritage. She was not assimilated after all. But reconnecting to her indigenous self meant deconstructing the settler persona acquired in her adoptive home, and reconstructing her Cree self. Making art was her method. Her artworks invite us to share in her journey. Reading her art, we follow her on that journey, and we deconstruct the comfortable settler persona we’ve developed. What do we construct out of the wreckage? I hope it’s a new awareness of and respect for the indigenous people who were here first.
     Poitras is part of the quest for what it means to be Canadian. It doesn’t mean what it was in colonial times. It doesn’t mean what it’s become in our multi-culturalist present. What does it mean, then? I don’t think we have the answers, but Poitras’s work contributes to the conversation. It’s a conversation whose meaning is constant reconstruction of the answers.
     Go look at Poitras’s art if you get a chance. ****

The Song of the Three Holy Children (Illustrated by Pauline Baynes)

 

 

    Pauline Baynes. The Song of the Three Holy Children (1986) A beautifully illustrated hymn from the Apocrypha, beginning O all ye works of the Lord, bless ye the Lord: Praise him and magnify him for ever. It’s an addition to the Daniel, each verse names of lists one of the works of the Lord. Baynes had a good career as an illustrator, good enough that she could choose projects like this one. She adapts her style to the text, in this case alluding to medieval paintings and book illustrations. She has an eye for the telling line, and loves bright colours. Her books are always a pleasure to look at.

     A lovely example of the book as object. ***

 

Gardening Advice

 

Gerald M. Knox. Lawns, Groundcovers, and Vines (Better Homes and Gardens pamphlet 1988) Nicely done summary on the topic, good photos, useful information, but no warnings about invasiveness of some of the plants described. Good reference for a beginner, good reminders for the experienced gardener. Begins with the “fundamentals” (soils, water, fertilisers, tools), then treats each title topic, and wildflowers and summer bulbs. The climate zone map that ends the book is drawn in black and white, which makes it hard to read. Good buy if you find it at a yard sale. ***

A Mixed Threesome: Art, Model railroading, Tolkien.

Notebook Magazine (Issue Two, 2007) Issued by a “An Edmonton Art and Writing Collective”. Works are accompanied by answers to a standard interview. The art is generally pretty good, some with a regrettable tendency to shock and annoy, the rest interesting experiments in style and media. The writing is at best average, most of it should have been edited. Much of it assumes that if you have an interesting story to tell, you don’t need to make it interesting.
     I looked up all the contributors online. Most have disappeared from public view, but Timothy Atherton (photos), Heather Millar, Stephanie Jonsson, Bruce Barry are among the few that have continued to make art. Interesting mag, not a keeper. **

Art Curren. Kitbashing HO Model Railroad Structures (1988). Kitbashing??? The art of using the parts of kits as raw material, rearranging them, cutting and splicing them, and of course painting them and adding new signage, in order to create a structure that better fits the layout design. Curren was a master at doing this. Some of his creations are fairly obvious variations on the basic kit, e.g., Maple Street, five houses made from the same farmhouse kit. Others are new designs, e.g., the Perry Shibble Fruit & Produce Co-op, which began life as a small brewery. That name shows his skill at creating groaners, too, but by the mid-80s punning names were already becoming unfashionable.
     Curren writes well, tossing in the odd warning of possible mishaps, and ‘fessing up to changes he made when he realised his original concept didn’t work out. As inspiration this book is excellent. As a set of project instructions it’s pretty good, too, as most of the kits are still available, most in new packages. Cheap plastic kits will be with us for a long time, and for the modeller willing to ignore instructions, mess with a perfectly good kit, and practice painting and weathering skills, they will continue to provide raw materials for unique buildings better suited to a layout theme than the originals..
     Out of print, but recommended if you can find a copy. ****

     J. R .R. Tolkien. Smith of Wootton Major (1967; 2nd edition 1975) Illustrated by Pauline Baynes, a distant connection through an aunt. That’s why I bought the book, a very handsome object, beautifully printed on heavy paper. The story itself feels like an experiment in folktale, with its chronicle-like stringing together of events, minimally sketched characters, and matter-of-fact assumption of magic and Faery as realities.
     At a feast of the Great Cake a boy swallows a Faerie star, which not only gives him a talent for singing, but grants him access to Faery, which he visits regularly. The cook’s Prentice is implicated in all the major events, guiding the human actors into making the choices that are best for them, and for Faerie too.
     I enjoyed reading the book. The black and white drawings are well done, but lower the production values of the book-as-object. Apparently, the publishers didn’t think it worth the cost of commissioning colour. No doubt a collector’s item for the Tolkien fan. It merits its own entry in Wikipedia. ***