Birkin's Cat (Notes on Sexual Politics and Feline Philosophy in Women in Love)

Portrait Gray Tabby Cat

Photograph by Maika 777

fineartamerica.com

I.

I wasn't surprised to discover that Rupert Birkin owned a grey tabby cat. Is there anything more noble, after all, than a young male cat with long legs and a slim back?

What was surprising, however, was to discover that Birkin based his sexual politics and philosophical thinking on star equilibrium as much upon observations of Mino the cat as upon his (mis)reading of Nietzsche.

Thus, when watching Mino amorously interact with a stray she-cat that has wandered into the garden from the woods, Birkin can't help metaphysically musing on gender relations and the need for superfine stability, even if this requires cruelty and, ultimately, the submission of the female to the male ... 


II.  

"The young cat trotted lordly down the path, waving his tail. He was an ordinary tabby with white paws, a slender young gentleman. A crouching, fluffy, brownish-grey cat was stealing up the side of the fence. The Mino walked statelily up to her, with manly nonchalance. She crouched before him and pressed herself on the ground in humility, a fluffy soft outcast, looking up at him with wild eyes that were green and lovely as great jewels. He looked casually down on her. So she crept a few inches further, proceeding on her way to the back door, crouching in a wonderful soft, self-obliterating manner, and moving like a shadow.
      He, going statlily on his slim legs, walked after her, then suddenly, for pure excess, he gave her a light cuff with his paw on the side of the face. She ran off a few steps, like a blown leaf along the ground, then crouched unobtrusively, in submissive, wild patience. The Mino pretended to take no notice of her. He blinked his eyes superbly at the landscape. In a minute she drew herself together and moved softly, a fleecy brown-grey shadow, a few paces forward. She began to quicken her pace, in a moment she would be gone like a dream, when the young grey lord sprang before her, and gave her a light handsome cuff. She subsided at once, submissively."    

"The eyes of the stray cat flared round for a moment, like great green fires staring at Birkin. Then she had rushed in a soft swift rush, half way down the garden. There she paused to look round. The Mino turned his face in pure superiority to his master, and slowly closed his eyes, standing in statuesque young perfection. The wild cat's round, green, wondering eyes were staring all the while like uncanny fires. Then again, like a shadow, she slid towards the kitchen.
      In a lovely springing leap, like a wind, the Mino was upon her, and had boxed her twice, very definitely, with a white, delicate fist. She sank and slid back, unquestioning. He walked after her, and cuffed her once or twice, leisurely, with sudden little blows of his magic white paws."

- D. H. Lawrence, Women in Love

III.

Ursula, who happens to be watching this alongside Birkin, is angry and upset at the male cat's use of violence to bully the female, as she perceives it. Birkin, amused by her indignation, tries to explain that this is a normal part of feline intimacy and, it's true of course, that feline sexual behaviour does involve a certain amount of unpleasantness (spraying, fighting, biting, etc.).*

Ursula, however, is unconvinced and continues to insist that Mino is a bully - like all males. This clearly irritates Birkin, who replies:

"'He is not a bully. He is only insisting to the poor stray that she shall acknowledge him as a sort of fate, her own fate: because you can see she is fluffy and promiscuous as the wind. I am with him entirely. He wants superfine stability."  

Which, I suppose, is one way of putting it and one possible explanation. Though it could just be that Mino wants to penetrate the she-cat and that his male dignity and higher understanding are but fanciful notions belonging to Birkin. That's certainly what Ursula thinks: "'Oh it makes me so cross, this assumption of male superiority! And it is such a lie! One wouldn't mind if there were any justification for it.'"

Clearly, Birkin thinks there is some justification for it - and that it is neither a sadistic lust for cruelty nor a naked will to power, describing the latter as base and petty, even though, clearly, his reading of Nietzsche - like Lawrence's own - is a poor and selective one at best.

For Birkin, Mino's behaviour - and, presumably, male sexual behaviour in general - can best be thought of as a desire to impose upon female chaos masculine order and thus bring about a state of "transcendent and abiding rapport" between the sexes that benefits them both. Paradise is a state of pure equilibrium in which each party is a star balanced in conjunction.

And that, for Birkin, is what love is all about - fulfilment, not individual or personal freedom: "'Love is a direction which excludes all other directions. It's a freedom together, if you like." Ideal love and ideal freedom, he says, ultimately result in chaos and nihilism.

But, again, Ursula isn't having any of it: "'I don't trust you when you drag the stars in,' she said."

Notes

* Things probably aren't helped - speaking from the female cat's point of view - by the fact that the male has a barbed penis and that penetration therefore causes a certain amount of discomfort (although I'm not sure it's fair to describe the male cat's penis as a horrifying engine of pain, as one feminist commentator described it). Upon withdrawl, these keratinised penile spines rake the walls of the she-cats vagina, removing the semen of love rivals and helping to trigger ovulation. 

See: D. H. Lawrence, Women in Love, ed. David Farmer, Lindeth Vasey and John Worthen, (Cambridge University Press, 1987), Ch. XIII, pp. 148-152.

D. H. Lawrence: A Tale of Two Kitties

I. The Death of Mrs Nickie Ben

For cat lovers, there's a very distressing scene early on in D. H. Lawrence's first novel, The White Peacock (1911). Cyril, the narrator of the story, and his sister, Lettie, are out walking in the woods and fields surrounding the local reservoir, when the latter suddenly lets out a cry:

"On the bank before us lay a black cat, both hind-paws torn and bloody in a trap. It had no doubt been bounding forward after its prey when it was caught. It was gaunt and wild; no wonder it frightened the poor lapwings into cheeping hysteria. It glared at us fiercely, growling low."

Whilst Lettie stands looking on and lamenting the cruelty of man, Cyril takes action:

"I wrapped my cap and Lettie's scarf over my hands and bent to open the trap. The cat struck with her teeth, tearing the cloth convulsively. When it was free, it sprang away with one bound, and fell, panting, watching us."

This is no anonymous stray cat, however. This is a creature known to Cyril: Mrs Nickie Ben, who belongs at Strelley Mill, the home of his friend George Saxton. And so he wraps the poor creature in his jacket and carries her there. 

Unfortunately, however, she is too badly injured to be saved, one of her paws having been broken: "We laid the poor brute on the rug, and gave it warm milk. It drank very little, being too feeble." Even the presence of her mate, another fine-looking black cat, doesn't rouse her. And besides, he seems indifferent to her suffering: 

"Mr Nickie Benn looked, shrugged his sleek shoulders, and walked away with high steps. There was a general feminine outcry on masculine callousness."

George decides to put the cat out of her misery. His preferred method of doing so - and the quickest - is to "'swing her round and knock her head against the wall'", but Lettie protests. And so he decides to drown her: "We watched him morbidly, as he took a length of twine and fastened a noose round the animal's neck [...]"

George smiles as he walks to the garden pond and then drops "the poor writhing cat into the water, saying 'Goodbye, Mrs Nickie Ben'". Vile deed done, he hauls the cat out, amused by the grotesque character of the corpse.

He then buries her in a shallow grave, commenting to Cyril and Lettie: "'I had to drown her, out of mercy [...] If the poor old cat had made a prettier corpse, you'd have thrown violets on her.'"

II. Lady Chatterley's Pussy

Interestingly, there's another black cat who also comes to a sticky end in Lawrence's final novel. In chapter six of Lady Chatterley's Lover (1928), Connie goes for a walk in the woods - as she often did on one of her bad days. The sound of a gun shot nearby startles her out of her vague indifference to her surroundings.

Going to investigate, she hears the sound of a man's voice, followed by the sound of a child sobbing. The thought that someone might be ill-treating the latter rouses Connie's anger: "She strode surging down the wet drive, her sullen resentment uppermost. She felt just prepared to make a scene."

It was the keeper - Mellors - and a little girl, wearing a purple coat and moleskin cap. The latter was crying, to the irritation of the former: "'Ah, shut it up, tha false little bitch!' came the man's angry voice", though, not surprisingly, this only  made the child wail louder. 

Connie marches up to them, with her dark blue eyes blazing, demanding to know what's going on. He salutes her ladyship, but with a faint smile all too like a sneer on his face and he tells her - in broad vernacular - that she'd best ask the child, not him, what the problem is. And so Connie turns to the "ruddy, black-haired thing of nine or ten", saying: "'What' is it, dear?'" with conventionalised sweetness of tone.

     

The child, however, continues to sob; violently, but also self-consciously. In the end, Connie bribes her with a sixpence. This placates the brat and enables her to speak: "'It's the - it's the - pussy!'"

It turns out that the keeper - her father - has shot a poaching cat: a big black cat, that now lies stretched out and bleeding amongst the bramble. Connie is repulsed by the sight and she turns on her soon-to-be lover and tells him it's no wonder the child was upset.

She tries to further reassure the child (whilst secretly disliking the spoilt, false little female), before escorting her home to her grandmother, leaving Mellors to dispose of the dead moggie in a manner undisclosed.


III.

Whether these two scenes reveal anything of import about Lawrence's views on black cats, cruelty, and sexual politics is debatable.

But what they do demonstrate is that there's more than one way to kill a cat and that underlying all of Lawrence's fiction is not so much a naive or innocent vitalism, but a fascination with violence and death and the part these things play in life as a general economy of the whole. In other words, Lawrence's philosophy is a form of tragic pessimism - but a pessimism of strength.   

 

See:

D. H. Lawrence, The White Peacock, ed. Andrew Robertson, (Cambridge University Press, 1983), pp. 12-13.

D. H. Lawrence, Lady Chatterley's Lover, ed. Michael Squires, (Cambridge University Press, 1993), pp. 58-59.

Further Reflections on a Black Cat

Gino Severini: The Black Cat (1910-11)
Oil on canvas (54.4 x 73 cm)

Edgar Allan Poe's short story The Black Cat (1843) not only influenced many other writers, but also those working within the visual arts, including, for example, the Italian Futurist Gino Severini, whose painting above was included in the first Futurist exhibition, held in Paris, in 1912. 

But perhaps the most interesting work drawing inspiration from Poe's disturbing tale of alcoholism, animal cruelty, and domestic violence, is the 1934 film, The Black Cat,* directed by Edgar G. Ulmer and starring Boris Karloff and Bela Lugosi (the first of eight films to pair the gruesome twosome).

Actually, despite listing Poe's name in the credits, Peter Ruric's screenplay (based on Ulmer's scenario) has no resemblance to the narrative events of Poe's story and the film gets its real inspiration from the life of Aleister Crowley, particularly Karloff's character, Hjalmer Poelzig, a mad Austrian architect with a penchant for chess and black cats, who comes to a grisly end shackled to an embalming rack and skinned alive. 
 
Although it was a box office hit, the film didn't much impress the critics upon its original release, who mostly found it, in the words of one reviewer, more foolish than horrible.

However, Ulmer's movie is now recognised as a bizarre and stylish masterpiece; one that unfolds with the crazy logic of a nightmare and brilliantly develops the psychological horror genre with its creepy atmosphere, sinister soundtrack and an emphasis on the darker (more perverse) elements of the human psyche; including the propensity for incest, sacrifice, necrophilia, and devil worship.

Click here for the trailer

Notes

* Not to be confused with the 1941 film also entitled The Black Cat, dir. Albert S. Rogell and starring Basil Rathbone, which also claims to have been inspired by Poe's short story and also features Lugosi in a cameo role.  

Readers might be interested in a sister post to this one, Reflections on a Black Cat (In Memory of Pluto): click here. 

This post is for Anna, the Italian dental nurse.

Reflections on a Black Cat (In Memory of Pluto)

She is a very fine Cat; a very fine Cat indeed!  
Photo: SA / 2020

I.

Ever since she first wandered into the house and, subsequently, my affection, this beautiful black cat has brought something greater than good luck or prosperity; something that might even be described as a form of solace.

Indeed, I'm now of the view that angels have whiskers rather than wings. Or that even shape-shifting demons can bring us comfort and companionship in times of great distress, far exceeding the paltry friendship and gossamer fidelity of mere man.

II.

Of course, I'm not the first to have noticed this, or to have a particular fondness for satanic black cats. Samuel Johnson, for example, was very attached to his feline companion, Hodge, and Edgar Allan Poe also owned a sable-furred familiar, which he described as "one of the most remarkable black cats in the world - and that is saying much; for it will be remembered that black cats are all of them witches".*

Poe also wrote a very disturbing short story entitled 'The Black Cat' (1843), featuring a pussy called Pluto; "a remarkably large and beautiful animal, entirely black, and sagacious to an astonishing degree", who sadly has the misfortune of having a drunken madman for an owner ...**

One night, the latter - who is also the narrator of the tale - comes home pissed out of his head as always, and takes umbrage at the fact that the cat is avoiding him. He tries to grab hold of the terrified creature, but the latter bites him. And so the man takes out a knife and, with the kind of sadistic cruelty that shamefully characterises humanity, cuts out one of the cat's eyes:

"The fury of a demon [had] possessed me. I knew myself no longer. My original soul seemed, at once, to take its flight from my body; and a more than fiendish malevolence, gin-nurtured, thrilled every fibre of my frame [...] I blush, I burn, I shudder, while I pen the damnable atrocity."

From that moment on, the animal understandably flees in terror at his master's approach. At first, the man, who, prior to this incident, had been very close to his cat - "Pluto was my favorite pet and playmate. I alone fed him, and he attended me wherever I went about the house" - feels deep remorse and regrets his cruelty. But this feeling gives way to irritation and a spirit of perverseness:

"Of this spirit philosophy takes no account. Yet I am not more sure that my soul lives, than I am that perverseness is one of the primitive impulses of the human heart - one of the indivisible primary faculties, or sentiments, which give direction to the character of Man. Who has not, a hundred times, found himself committing a vile or a silly action, for no other reason than because he knows he should not? Have we not a perpetual inclination, in the teeth of our best judgment, to violate that which is Law, merely because we understand it to be such?" 
 
Thus, one day, in cold blood, he takes poor Pluto into the garden and hangs him from a tree; tears streaming from his eyes, and with the bitterest remorse eating at his heart; "because I knew that in so doing I was committing a sin - a deadly sin that would so jeopardize my immortal soul as to place it [...] even beyond the reach of the infinite mercy of the Most Merciful and Most Terrible God."

Strangely, that same night his house catches fire, forcing the man and his wife to flee. Returning the next day to examine the smoking ruins, he discovers an image of a gigantic cat with a rope around its neck imprinted on the single wall still standing.

Poe could, I think, have ended the story here. But he doesn't. Continuing the tale, the narrator tells us how, some time later, still feeling guilty and beginning to miss Pluto, he adopts a similar looking cat - it even has an eye missing. However, he soon regrets doing so, as the animal merely amplifies his feelings of guilt and bad conscience:

"I soon found a dislike to it arising within me. This was just the reverse of what I had anticipated; but - I know not how or why it was - its evident fondness for myself rather disgusted and annoyed. By slow degrees, these feelings of disgust and annoyance rose into the bitterness of hatred. I avoided the creature; a certain sense of shame, and the remembrance of my former deed of cruelty, preventing me from physically abusing it. I did not, for some weeks, strike, or otherwise violently ill use it; but gradually - very gradually - I came to look upon it with unutterable loathing, and to flee silently from its odious presence, as from the breath of a pestilence."

Then, one day, the cat gets under his feet causing him to nearly fall down the cellar stairs. Enraged, the man grabs an axe with the intention of killing Pluto 2. He is stopped from doing so by his wife - which is good for the cat, but bad for the woman, as, in vexed frustration and possessed by evil thoughts, he vents his murderous rage on her instead, burying the axe deep in her brain: "She fell dead upon the spot, without a groan."

He decides to conceal the body behind a brick wall in the cellar - "as the monks of the middle ages are recorded to have walled up their victims" -  rather than bury it in the garden, for example, and run the risk of being seen by nosy neighbours.

Unfortunately, in his haste to dispose of the body, he accidently entombs the cat and when the police come to investigate the woman's reported disappearance and search his house ... Well, you can guess what happens: a loud, inhuman wailing - "half of horror and half of triumph, such as might have arisen only out of hell" - gives the game away. Tearing down the wall, the police discover the rotting corpse of the wife and the howling black cat sitting atop the body. 

Poe's tale, then, is in part a revenge fable; the revenge of the feline object. And the narrator not only deserves his fate on the gallows, but to be denied his place in heaven which, as Robert A. Heinlein once remarked, is determined by how we behave toward cats here on earth ...


Notes

* Edgar Allan Poe, 'Instinct Versus Reason - A Black Cat', in Alexander's Weekly Messenger, vol. 4, number 5, (Jan 29, 1840), p. 2. Click here to read online.

** 'The Black Cat' was first published in the August 19, 1843, issue of The Saturday Evening Post. It can be found in vol. 2 of The Works of Edgar Allan Poe (The Raven Edition) and read online courtesy of Project Guttenberg: click here. 

For further reflections on the figure of the black cat, click here. 

Shoes Please (My Favourite Mission: Impossible Moment)

I wouldn't describe myself as a fan of Tom Cruise's Mission: Impossible film series: I wouldn't, for example, queue up at the cinema to see one. But I'd probably watch if shown on TV, in much the same way as I'd always watch a Bond movie, without ever really being interested in the stories or characters, or excited by the action sequences and stunts.

Ultimately, guns and gadgets - as well as endless car chases and large explosions - mean nothing to me. And, as much as I enjoyed Simon Pegg's performances in Shaun of the Dead (2004) and Hot Fuzz (2007), I could do without him providing comic relief as the IMF's most unlikely (and perhaps most irritating) field agent Benji Dunn.         

What I do admire about the films, however, are the high production values and, of course, the iconic theme music, based on Lalo Schifrin's original version for the TV series (1966-73). I also like those queer little moments that are more memorable than the scenes within which they're embedded.

For example, in Mission: Impossible - Rogue Nation (2015), the fifth installment in the series, there's an assassination scene set at the Vienna State Opera which ends with Ethan Hunt (Tom Cruise) fleeing across the rooftop accompanied by an undercover MI6 agent, Ilsa Faust, played by the sublimely beautiful Anglo-Swedish actress Rebecca Ferguson.

In order to facilitate their escape, she asks Hunt to take off her shoes. It's a simple and practical request, but it's also by far the most captivating and erotically charged moment in the entire film; one that nicely follows on from an earlier scene, set in a torture chamber, where she and Hunt meet for the first time and he compliments her on her footwear (which she has removed in anticipation of trouble).

Apparently, the idea of Ilsa removing her shoes was Cruise's. I don't know what that tells us (if anything) about him, or what he imagined the gesture might indicate to audiences in the context of the film, but, as a podophile and shoe fetishist, I'm grateful for it.*  

* Note: I suppose it's meant to indicate her trust in and sexual attraction to Hunt. As a rule, when a woman instructs you to remove her shoes and points her naked foot in your face she is inviting you to kiss her instep and admire the length of her legs. 

See: Mission: Impossible - Rogue Nation, (dir. Christopher McQuarrie, 2015). The 'shoes please' incident on the roof of the Vienna State Opera, with Cruise and Ferguson, can be viewed on YouTube by clicking here.

The Man at Number 6 Meets Constantine Cavafy

Cavafy by Lorenzo Mattotti 

The New Yorker (March 16, 2009)

My next-door neighbour - the man at number 6 - came from another land, across another sea. He did so, presumably, in the expectation of finding another city - a better city - in which to make a home and raise a family. 

He's ended up, however, here on Harold Hill and living in a two-up, two-down former council house; which must feel cramped when you not only have a wife and two young children, but your in-laws and a dog to accommodate. 

And so, he's decided to singlehandedly rebuild the house; extend the kitchen, convert the loft, add a front porch and a new drive, etc. This has meant two years of drilling, hammering, and cement mixing; i.e., two years of noise and dust and having to look out onto what was once a pleasantly overgrown back garden but is now a building site-cum-rubbish dump: Wherever I direct my gaze, the ruins are all I see.

I suppose, if it makes him happy to spend all his free time toiling away and aspiring towards not only a bigger and better home, but a bigger and better life, that's really up to him. Personally, I have no such desire or ambition and don't hope for elsewhere. I'm tempted to tell him that no matter what improvements he makes to the house he remains the man at number 6, with the same wife, kids, and in-laws:

'Tis the same streets in which he'll walk the dog. 
The same district in which he'll grow old;
and inside the same house he'll turn grey. 

Ultimately, if within your own small corner you can't learn to be content, then you'll never be happy anywhere in the world ...

See: C. P. Cavafy, 'The City', Collected Poems, trans. Edmund Keeley and Philip Sherrard, (Princeton University Press, 1975): click here. 

Obviously, I'm riffing on this poem in this post and sampling lines from it. Readers should note, however, that I relied upon a new translation of the work by Maria Thanassa (2020) and not the one to which I link here.

There Will Always Be a Moon Over Baotou

Rare-earth waste discharged into Baotou's toxic lake

ChinaFotoPress / Getty Images

I.

Inner Mongolia is a godforsaken, autonomous region of Northern China. It's rich in the kind of resources that the entire world craves; coal, natural gas, and rare-earth elements. Its largest city, Baotou, used to be famous for its deer; now it's mostly known for its steel production, its mines and, of course, its toxic lake which is so inhospitable that not even algae can grow there. 

Officially, the latter is known as the Baotou Tailings Dam and it lies about 20km outside the city. Owned by Baotou Steel, it contains the hellish waste from rare-earth refineries. In 2016, even the Chinese authorities finally had to admit that farmland in the surrounding area had been seriously contaminated, with dire health consequences for the people unfortunate enough to live there.


II.

I recalled this story when listening to someone speaking on the benefits of clean, green energy generated by wind farms. She probably also advocates for solar power with a similar degree of eco-enthusiasm, but I got the impression that her real love was for those giant, sexy steel towers with their fibre-glass blades a-whirring.

She didn't mention the birds and bats that are sliced and diced by those very same blades; nor did she mention the inconvenient truth that, despite many wealthy nations voluntarily despoiling their countryside and coastal areas by erecting monstrous turbines, wind power still makes almost zero contribution to global energy supplies (most renewable energy in fact comes from what some trendy types like to term traditional biomass, but which most of us still refer to as wood).

The problem, as Matt Ridley points out, is not that the wind turbines are inefficient machines; actually, they're marvels of engineering. But, unfortunately, there's a limit to how much power they can produce and their effectiveness is ultimately determined by the wind itself; a fluctuating stream of low-density energy that mankind gave up using long ago, for the simple reason that it's not very reliable or very good.

Oh, and she certainly didn't mention problems to do with resource consumption and environmental impacts - such as the toxic and radioactive pollution generated on a massive scale by the mining of rare-earth metals for the magnets used in the turbines. If you want to know just how filthy clean energy really is, ask the poor people of Baotou!  

Alas, that's not all - it gets worse for those who love chasing windmills:

"Wind turbines, apart from the fibreglass blades, are made mostly of steel, with concrete bases. [...] Steel is made with coal, not just to provide the heat for smelting ore, but to supply the carbon in the alloy. Cement is also often made using coal. The machinery of 'clean' renewables is the output of the fossil fuel economy, and largely the coal economy.

A two-megawatt wind turbine weighs about 250 tonnes, including the tower, nacelle, rotor and blades. Globally, it takes about half a tonne of coal to make a tonne of steel. Add another 25 tonnes of coal for making the cement and you're talking 150 tonnes of coal per turbine. Now if we are to build 350,000 wind turbines a year [...] just to keep up with increasing energy demand, that will require 50 million tonnes of coal a year. That's about half the EU's hard coal–mining output."

My aim in writing this post is not to lend support to the fracking industry or argue for the building of new nuclear power stations. I simply wish to acknowledge the futility of thinking that wind power can make a significant - and wholly innocent - contribution to world energy supply, as many environmentalists seem to believe.

Not only is this naive and mistaken, but, to quote Ridley once more, it's "counterproductive as a climate policy" and results ultimately in toxic lakes and deformed babies.

See: Matt Ridley, 'Wind turbines are neither clean nor green and they provide zero global energy', The Spectator (13 May 2017): click here. 

See also: Tim Maughan, 'The dystopian lake filled by the world's tech lust', (2 April 2015) on the BBC website: click here. 

Rise of the Xenobots

Image credit: Menno Van Dijk / Getty Images

One of the things that D. H. Lawrence disliked about machines was what he termed their iron insentience.

But such a charge becomes increasingly irrelevant in an age of artificially intelligent cyborgs, silicone sex dolls, and newly created xenobots - i.e., living machines, built by researchers in the United States, using stem cells obtained from African clawed frogs (Xenopus laevis).

Beings that, whilst not spawned in the usual manner, are nevertheless organisms composed of biological tissue and not the inanimate and imbecile devices that Lawrence knew, assembled in factories from metal and plastic and held together with nuts and bolts.

Not only are they capable of independent movement, but, when damaged, xenobots can heal their own wounds. Once they have completed their task and the energy in their cells runs out, they die and decay just like other biodegradable objects (including ourselves). Their unique properties suggest xenobots may, in the future, have numerous applications in medicine and in helping safeguard the environment.

The xenobots, which are currently less than a millimetre long, are designed by an evolutionary algorithm on a supercomputer. The program generates random three dimensional forms and then tests each design in a virtual environment. The best are then used to create further designs, so that in this way the xenobots might be said to evolve.

The scientists involved patiently waited for the 100th generation before then selecting a handful of designs to produce in the lab, using tweezers and other tiny tools to sculpt early-stage skin and cardiac cells harvested from frog embryos. The resulting xenobots were placed in dishes of water to keep them alive and where they could be observed gaily swimming about.

The plan is to eventually not only make them bigger, but more complex; to build xenobots with blood vessels and sensory cells, for example, using mammalian tissue so that they can survive on dry land. Of course, once you create new organisms who can experience pain and possess rudimentary cogntive ability (i.e., have nervous systems and tiny brains), then there are obviously ethical issues to be addressed.

Indeed, there are doubtless people reading this now who will be worrying - perhaps not unreasonably - about rapid and profound advances in bio-technology. But that's a discussion for another day. For now, it's just fascinating to consider the implications of man inventing machines that now generate new life forms, throwing the binary oppositions that are usually invoked by vitalists like Lawrence into confusion and disarray. 

See: Sam Kriegman, Douglas Blackiston, Michael Levin, and Josh Bongard, 'A scalable pipeline for designing reconfigurable organisms', Proceedings of the National Academy of Sciences, (Jan 2020): click here.

Thanks to Thomas Bonneville for bringing this research to my attention.

Why the Case is Never Closed

Whilst it's true that an investigation can in some sense be resolved, a case - like Pandora's box - can never really be closed.

To understand why that's so, one needs to recall the etymology of the word case. It derives from the Latin casus, but that's a translation of the Greek term ptōsis, meaning fall.

Thus, case, in a sense, is another word for fate; that which befalls the individual; an innumerable series of events, some big some small, all of which are determined by other events (and not by any external agency).  

Of course, the word has taken on extended and transferred meanings over the years, but when I use it in the title of posts - as I often do - I'm not simply using it in a legal, medical, or psychoanalytic sense, but as something impersonal and fateful; something over which the individual has no control (the individual, of course, being an unfolding of events in the same way that the author is a complex effect and function of the text).     

On Not Frightening the Horses

The Frightened Horse by Nykos Furcic

As one grows older, one's appreciation for etiquette and decorum - for acting in public at all times with propriety - grows ever more pronounced. Unseemly behaviour now seems uncalled for as well as uncouth.

Indeed, I find myself moving ever-closer towards the sophisticated position adopted by the aristocracy and memorably articulated by the English stage actress Mrs. Patrick Campbell: It doesn't matter what people do so long as they don't do it in the street and frighten the horses. In other words, public appearance matters more than private behaviour.       

This isn't - as some commentators mistakenly insist - a sign of bourgeois hypocrisy. It is, rather, an affirmation of hypocrisy as a noble value and social necessity (albeit rooted in performance and pretence).   

The British aristocracy never embraced 19th-century ideals of domestic respectability and sexual morality with the same enthusiasm as the middle-classes, tending to favour libertarian permissiveness over authoritarian puritanism.   

Perhaps that's why the British working class have always loved toffs and why the latter often make such fine actors ...