Two Tapirs

Earlier this month, Elise and I traveled to the Osa Peninsula, the appendage of tropical forest that juts off southwest Costa Rica into the Pacific Ocean. We chose that part of the country primarily to visit Corcovado National Park, a 164-square-mile protected area that the National Geographic Society once described, curiously, as the “most biologically intense place in the world.” (What does it mean for a place to be “biologically intense”? Do the spider monkeys all sound like Daniel Day Lewis?)

No roads lead to Corcovado’s heart, forcing tourists to approach by boat. We disembarked from our little landing craft onto a remote beach, cut through the jungle — led by our guide, Manuel, a serious steel-haired man with an encyclopedic knowledge of rainforest ecology — and emerged onto another beach. A small crowd of fellow hikers had gathered at the ecotone where the forest met the sand, and Manuel turned to us, unsmiling. “It is the tapir,” he said somberly. 

A Baird’s tapir — the largest terrestrial creature in Central America, and the animal I’d hoped most desperately to see! We scurried over, though the tapir was in no rush to evade the growing knot of onlookers. He wandered along the edge of the rainforest, at once hulking and graceful in the way of all megafauna, his robust body perched atop improbably thin legs. He paused and craned his neck, reaching up with his proboscis to grasp and strip a cluster of leaves and fruit. The proboscis — which, Manuel informed us, furnished a built-in snorkel during river crossings — was shockingly flexible and dexterous, and the tapir used the organ to pluck food nearly as nimbly as I would’ve used my hands. Another few million years of evolution and it would be an elephant’s trunk.

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The Uses of “Hand”

I grew up sewing most of my own clothes and developed an abiding and expensive fixation on beautiful fabric. Once I was in Florence at a store buying fabric, textiles (tessuti), as a gift for my mother. I stipulated in toddler-Italian a light wool (leggera lana) in blue (blu) for a dress for my mother (vestito per la mia madre). The sellers of tessuti in Florence are interested in gifts for mothers and full of information, opinions, and intensity. He hauled down from his shelves a bolt of wool, soft grey-blue, and unrolled it on the counter, thump thump, and ran the fabric out so I could see it was like no wool I had seen before. It was smooth, both light and firm; it caught the light; it was silky. He grabbed a handful of it, shook it a little, and said something in adult-Italian that I didn’t recognize but could still understand and answer. “It has a good hand,” I said. And he said “Si, assolutamente,” So I bought, at a price that was staggering but worthy of the hand, four yards of it.

We speakers of English use “hand,” taken direct from the Germanic, enthusiastically and variably: hand over, out of hand, hand to hand, first hand, handy. Physics experimentalists are sometimes said to have good hands. And since English is half Latin and “hand” is “manus,” we use manus similarly: manual, manufacture, manuscript.

The use I’m currently interested in was in a book in which one character asked another if he could read “secretary hand.” I’d heard the phrase, assumed in meant some kind of handwriting but looked it up anyway and such riches, not just one kind of handwriting but choices of handwriting depending on what was written, hand over hand, one hand after another!

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Submission

Abstract

Many years ago, some birds started breeding on an island. Several thousand of them still do. The world changes around them, but their basic needs have stayed the same. Will they be on the island much longer? We don’t know. We hope so. The signs are ambiguous.

Keywords: Seabirds, oceans, uncertainty

Introduction

A good introduction is a funnel. A funnel takes an otherwise unruly amount of material and feeds it through a small opening. It is a tool not so much of order as of constraint. Here, the unruly amount of material is the ecological state of the world. But we constrained ourselves to the changing nature of the ocean, and how that change affects some of the things that depend on it. That is a topic we can reasonably wrap our heads around, given the areas of our expertise.

We focused on birds. (We happen to like birds.) One species in particular, in one particular place. We have been watching this bird in this place for a while. During that time the ocean went through an especially severe change that lasted a few years. Thousands and thousands of animals died—not just birds, and not just here. (We are still determining the extent of the loss.) Then conditions returned more or less to “normal.” Whatever that means anymore.

We wanted to know how the birds we watched fared. More broadly, we want to know how they will survive in this world we’re making for them. But we can’t phrase our research question quite that way, so we will say something like: Given such-and-such marine states that we believe we can measure with some degree of accuracy, what did the birds do? How many laid an egg in a burrow, how many chicks hatched from those eggs, how many of those chicks survived to set off on their own?

To refine our thinking we reviewed the literature. It was often contradictory. We are left with our simple questions. Some of the answers were easier to come by than others. Here we report a few of the former.

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Winter Sunsets Are the Best Sunsets

Last week on my podcast, my co-host and bestie Rosemerry asked me the last time I’d experienced awe. The honest truth was, I experience it almost every evening this time of year. For reasons that I’ll explain shortly, winter sunsets are the best sunsets. They are very often awe-inducing, and that means that they’re good for you. As author Florence Williams explains in our recent episode and her book, The Nature Fix, awe can spark creativity and invite the muse. Awe can open us up and connect us to the world around us. Try it! The piece below first appeared here on February 26, 2021, but it’s just as relevant now.

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This post began with a question from my dear friend, the novelist and documentary filmmaker George Lerner. 

Looking over two years of footage from South Texas, I noticed something striking: I have lots and lots of glorious images filmed around sunset, but scant few decent shots at sunrise. Why is this, I wondered — is there a difference from an optical or geophysical perspective between sunset and sunrise?

George copied me on this question he sent to my dad, who has taught atmospheric physics. (How the three of us became close like family is a story for another day.) 

I had a knee-jerk answer to George’s question: the reason that sunsets are more amazing than sunrises is that you just see a hell of a lot more of them. So I chuckled to myself when I saw that Dad’s reply to George began, “I try to avoid the early morning hours so I do not see many sunrises.” (Neither of us are morning people.)

But it turns out that there’s more to it than just selection bias. There are scientific reasons that sunsets might be more scenic than sunrises. 

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Ask Mr. Cosmology

Time again to reach into the “Ask Mr. Cosmology” mailbag and see what readers want to know about . . .

The Wonders of the Universe!

Q: Does the word “creation” imply a Creator?

Mr. Cosmology: No, thank God.

Q: What does Mr. Cosmology think of the theorists who argue for the anthropic principle?

Mr. Cosmology: They’re always so me, me, me.

Q: How would Mr. Cosmology describe the difference between HST and JWST?

Mr. Cosmology: Wait, are we back to the whole Scrabble thing from a previous Ask Mr. Cosmology mailbag? If so, then HST =  6 and JWST = 14. Which is roughly the same proportion as the difference in their mirror sizes (2.4 meters versus 6.5 meters). The Creator works in mysterious ways! (Even so, acronyms aren’t admissible in Scrabble tournament play.)

Q: How far is the horizon?

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plant wisdom

Six or seven years ago, I bought a small, lopsided aloe plant from a holiday market for $7. I have neglected it for years, never changing its soil and rarely giving it enough light. It grew more and more crooked, and last year, its leaves (wait, do aloe have leaves? the fact that I don’t know feels like proof of my neglect!) shriveled and paled, so I was sure it would die. I decided fuck it, if it’s going to die, I’m going to put some of that nice aloe goop on my face. And then: what do you know? The damn thing sprang back to life somehow with not one but TWO clumps of sproutlings. The top popped off with new growth for no good reason.

I was reminded of this post I wrote in 2020 about the wisdom of plants, and how much I still have to learn from them. Is it corny to mention that this all happened during a period where I was feeling stuck in my writing life, and that the aloe’s rebirth coincided with a burst of new ideas? Well, it’s true.

Here’s my 2020 post, in case you missed it the first time, or would like to revisit some more corny plant lessons.

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Science Poem: To the Sylacauga Meteorite

Colored pencil drawing of a gold meteor streaking downward through a dark sky.

NOTE: The images in this post are best viewed on a desktop device or tablet, not a phone.

One dim November afternoon in Alabama in 1954, 34-year-old Ann Hodges curled up on her couch, pulled the quilts around her body, and fell asleep. She woke in pain and disorientation to a house full of smoke, a hole in the roof, and a large, rough rock on her living-room floor. She’d been struck by a 4.5-billion-year-old meteorite.

Ann checked in to the hospital the following day. The enormous, eerie bruise on the left side of her body would eventually fade, but the event itself changed the course of Ann’s entire life. She became a celebrity overnight, appearing on the cover of Life magazine. She stopped sleeping. The military seized the space rock, then returned it, and then the Hodges’ landlady sued them for custody, arguing that the house and everything that crashed into it was rightfully hers. Ann’s marriage ended, and her health disintegrated. She died in a nursing home at age 52.

Every single aspect of this story is haunting, but what stood out to me the first time I heard it years ago was the prologue: a 34-year-old woman lying down on a Tuesday afternoon in the mid-1950s. I have no evidence to support this, save my own experience and projections, but something about that scene feels like depression to me. My heart goes out to Ann. I imagine her feeling simultaneously adrift and trapped in her own life, powerless to make a change. And then—

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