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What’s the Story?
A discovery engine for meaningful knowledge, fueled by cross-disciplinary curiosity.
A Brain Pickings project edited by Maria Popova in partnership with Noodle.
Twitter: @explorer
Adam Gopnik
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What I wonder about is why we love our children so asymmetrically, so entirely, knowing that the very best we can hope for is that they will feel about us as we feel about our own parents: that slightly aggrieved mixture of affection, pity, tolerance and forgiveness, with a final soupcon - if we live long enough - of sorrow for our falling away, stumbling and shattered, from the vigour that once was ours.

[…]

Our love for anything cannot be explained by our possession of genes, any more than our love for football can be explained by our possession of feet. … It is not that the big emotions we feel - love or lust or loyalty - are more mystical than their biological origins but exactly that they are far more material, more over-loaded with precise dates and data, associations and allegiances, experiences and memories, days and times.

The mechanism of life may be set in motion by our genes, as the mechanism of football is set in motion by our feet, but the feelings we acquire are unique to our own weird walk through time.

My own best guess about the asymmetry of parental love lies in a metaphor borrowed from the sciences. Merely a metaphor, maybe, but one that - as metaphors can - touches the edge of actuality.

One of the rules of mathematics and physics, as I - a complete non-mathematician - read often in science books, is that when infinity is introduced into a scientific equation it no longer makes sense. All the numbers go blooey when you have one in the equation that doesn’t have a beginning or an end.

Parental love, I think, is infinite. I mean this in the most prosaic possible way. Not infinitely good, or infinitely ennobling, or infinitely beautiful. Just infinite. Often, infinitely boring. Occasionally, infinitely exasperating. To other people, always infinitely dull - unless, of course, it involves their own children, when it becomes infinitely necessary.

Adam Gopnik on the pain when children fly the nest.

Pair with history’s most moving letters of parental love.

As every poet knows, it is emotion under the force of limits, emotion pressed down and held down to strict formal constraints, that makes for the purest expression.

Adam Gopnik echoes Anaïs Nin.

Bukowski would agree.

Maps are the places where memories go not to die but to live forever.
Anyone who tells you their rules for a happy marriage doesn’t have one.
Remember Charles Darwin’s timelessly delightful list of the pros and cons of marriage? Adam Gopnik analyzes it for the BBC.
Mail was already the miracle of the age. In correspondence, the new science passed back and forth through Europe, almost as fluidly as it does in the e-mail era. It’s astonishing to follow the three-way correspondence among Tycho Brahe, Kepler, and Galileo, and see how little time was lost in disseminating gossip and discovery. Human curiosity is an amazing accelerant.
Adam Gopnik on Galileo. Complement with this amazing visualization of Enlightenment-era correspondence, social networking circa centuries ago.
Evolution is not an alternative to intelligent design; it is intelligent design, seen from the point of view of a truly intelligent designer.
It’s hard to overstate how important the telescope was to Galileo’s image. It was his emblem and icon, the first next big thing, the ancestor of Edison’s light bulb and Steve Jobs’s iPhone. A Tuscan opportunist to the bone, Galileo rushed off letters to the Medici duke in Florence, hinting that, in exchange for a job, he would name the new stars after the Medici. He wanted to go back to Florence, partly, it seems, because he wanted to persuade the smart, well-educated Jesuits who clustered there to accept his world picture. Sell the powerful Jesuits on the New Science, he thought, and you wouldn’t have to worry about the Inquisition or the Pope. Galileo felt himself already under enough religious pressure to continue to encode all talk of his discoveries in his correspondence with Kepler. He even sent him a letter about the phases of Venus in cipher, ending, “Oy!” Really, he did. Heilbron suggests, smilingly, that this hints at Jewish ancestry. (No evidence exists that Kepler replied “Vey!”)
Adam Gopnik on Galileo

The overwhelming majority of those children would have been saved with effective gun control. We know that this is so, because, in societies that have effective gun control, children rarely, rarely, rarely die of gunshots. Let’s worry tomorrow about the problem of Evil. Let’s worry more about making sure that when the Problem of Evil appears in a first-grade classroom, it is armed with a penknife.

[…]

On gun violence and how to end it, the facts are all in, the evidence is clear, the truth there for all who care to know it—indeed, a global consensus is in place, which, in disbelief and now in disgust, the planet waits for us to us to join. Those who fight against gun control, actively or passively, with a shrug of helplessness, are dooming more kids to horrible deaths and more parents to unspeakable grief just as surely as are those who fight against pediatric medicine or childhood vaccination. It’s really, and inarguably, just as simple as that.

The New Yorker’s Adam Gopnik on the science of and the simple truth about gun control
In the larger, inevitable human accounting of New York, there are gains and losses, a zero sum of urbanism: The great gain of civility and peace is offset by a loss of creative kinds of vitality and variety…. There is always a new New York coming into being as the old one disappears.
Adam Gopnik, and other favorite New York writers, on Central Park
The interesting questions about stories, which have, as they say, excited the interests of readers for millennia, are not about what makes a taste for them “universal,” but what makes the good ones so different from the dull ones, and whether the good ones really make us better people, or just make us people who happen to have heard a good story.
On The New Yorker, Adam Gopnik critiques The Storytelling Animal.