Mundane Monday: Line of RVs

This road lines Rengstorff Park in Mountain View, where I live. There was a nice little geocache in the park that I found with my daughter today. But I want to call attention to this line of RVs parked here, stretching back as far as the eye can see.

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Unfortunately this view has become all too mundane in recent years:

The Mundane Monday Challenge is under new ownership. Check it out at K Ottaway’s Rural Mad as Hell Blog.

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Film Review: Tomb Raider

This film could be called “white woman’s burden.” It mirrors social progress in a number of ways, and in others shows how far we still have to go, especially in this genre. I haven’t seen the original Angelina Jolie version of Tomb Raider, and I don’t play the Lara Croft video games, so I’m coming to this review as an outsider. My husband likes blockbuster adventure movies and superhero movies and I often do too. This one seemed like a blend of Batman and Wonder Woman with a little Isak Dinesen thrown in.

A real character?

Alicia Vikander is compelling in the lead role and is fun to watch. While that is certainly progress from Lara Croft’s origins as a character so top-heavy you wonder how she could possibly haul that chest out of bed, let alone up the side of a cliff, it’s a rather low bar to clear.

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This film starts out appearing to give her a genuine character arc. She is shown full of braggadocio and naiveté in equal measure. That she’s realistically tough in the boxing ring and fast on a bike make some of her later stunts a little less Mary-Sue-ish. And it makes sense that a poor little rich girl with more bravery than sense would get taken advantage of by muggers in Hong Kong.

Disappointing Men

But the other characters, especially the men, are disappointing. Lu Ren, who takes Lara by boat to the remote island where their fathers both disappeared, could be a much more multifaceted character than he is. He too has lost his father in mysterious circumstances and is apparently suffering from depression and alcoholism. He nonetheless survives a disastrous shipwreck, shrugs off being shot in the shoulder, and bounces back from a direct blow to the face to become a handy sidekick and helper when Lara needs him most. He spends most of the film taking this sort of abuse, sometimes for laughs. Daniel Wu, who plays Lu Ren, is a charismatic, famous actor in China, and deserves better. Some actual chemistry between these two characters would have gone a long way.

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Sprout

Her father, Richard Croft, starts out more promising. Appearing to have lost his fragile grip on reality, at first he thinks he is hallucinating when he sees Lara on the island. But the flashbacks that show their relationship are saccharine-sweet and confusing in their timeline.  The camera lingers on a goodbye scene between Richard a roughly 8-year-old Lara, to the point that it makes you think that that must have been when he disappeared. Which would make the current Lara all of 16 . . . but wait . . . she’s really 21.  When teenage Lara finally shows up in the final flashback, it’s redundant.

Her relationship with her father seems to consist solely of his leaving and promising to come back. And surely an eccentric, slightly mad, grief-stricken billionaire titan of industry could have come up with a better nickname for his daughter than “Sprout.” I was reminded for some reason of an underwhelming scene between a young Tony Stark and his father. Superhero movies are obsessed with parents, particularly fathers, yet they never seem to understand, or be able to dramatize, what kids really need from these figures.

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Several times during the movie, it is hinted that Richard might actually be mad, or at least that his mental health has been compromised by grief and isolation. It is further suggested that Lara herself is skeptical about her father’s quest but blinded by her love and respect for him. That she shares this skepticism with Lu Ren and with the antagonist, Mathias Vogel, could have made for some gripping psychological mind games as the legends of Himiko are explored during the climax. But this opportunity too is squandered.

The fruits of privilege

This iteration of Tomb Raider proves that women can be believable, relatable action heroes, something that was actually in question 30 years ago. But this female hero has only gotten as far as Bruce Wayne and Charles Xavier before her. A rich, privileged white person uses the fruits of that privilege to fight villains that look like herself and grapple with the ugly legacy of colonialism. The modern Lara Croft is a breakthrough character for white women, maybe, but not for the majority of the human race.

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This movie, thankfully, doesn’t take itself all that seriously. This is what saves it from being a self-important mess. At one point, as Lara’s situation gets even more dire, she looks at the camera and says “Really?”

We would all do well to watch this film in that spirit.

Check out my review, and others, on MovieBabble!

We are the World Blogfest: Strings for Haitian Musicians

This is the second year that the Musicians of the Utah Symphony (MOTUS), led by their music director Thierry Fischer, have gone to Haiti to teach young musicians there in an orchestra institute. Last year’s institute received coverage in The Salt Lake Tribune, the Deseret News, and others.

Fischer said the students’ work ethic and eagerness to learn quickly dispelled any qualms about “talking about intonation when they don’t have a roof over their heads.” Beyond musical technique, he hopes the lessons learned at the institute strengthened skills and traits the students can use throughout their lives: “persistence, consistency, determination, discipline.”

–Salt Lake Tribune, April 30, 2017

The Utah Symphony musicians are in Haiti right now for this year’s Institute, and are blogging about it here on Tumblr: MOTUS in Haiti.

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Kate (L) with Mercedes (R), the principal flutist at the Utah Symphony

A violinist friend of mine, Kate Little, pictured at left and on the Tumblr blog, collected used-but-usable strings to be sent along with the musicians in their luggage. The climate in Haiti is such that strings deteriorate quickly, so they can make good use of our old used strings that are still in decent shape.

Kate put out a call for strings in some online music groups that I am a part of and I collected them from friends and teachers and sent them on to Kate, who gave them to the traveling musicians to take in their luggage.

The collection of strings pictured here is a selection of what was donated by friends I play music with in local community orchestras. It includes violin, viola, and cello strings! My son’s cello teacher also gave me a large envelope containing strings, collected from her professional colleagues and her own closet.

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The orchestra under Maestro Fischer is currently rehearsing Tchaikovsky’s 5th symphony!

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We are the World Logo

We Are the World Blogfest,” posted around the last Friday of each month, seeks to promote positive news. There are many oases of love and light out there, stories that show compassion and the resilience of the human spirit. Sharing these stories increases our awareness of hope in our increasingly dark world. The #WATWB co-hosts for this month are:  Belinda Witzenhausen,  Sylvia McGrath, Sylvia Stein,  Shilpa Garg, and Eric Lahti. Please check out their posts and say hello!

Mundane Monday: Yacht Club

Yacht Clubs aren’t usually considered mundane, but this isn’t your ordinary yacht.

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My husband and I were out geocaching this weekend to get points for a geocaching challenge called Planetary Pursuit. The more caches we find, the more points we get and the further we travel from the sun.

This cache was located in the historic South Bay Yacht Club in Alviso. Its website makes it look like a nice place where you can socialize on the waterfront. It’s no longer just for men or just for rich people.

There also weren’t many yachts there, except for this lonely, moldy Boaty McBoatface. I hope now that spring is here someone will come and give this poor thing a bath.

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The Mundane Monday challenge is under new ownership. Thanks to K Ottaway and Rural Mad as Hell Blog for keeping it going!

Film Review: A Wrinkle in Time

The book by Madeleine L’Engle on which this movie was based was one of my childhood favorites. I looked forward to the film eagerly because I wanted to see a gifted director do justice to the material. I thought that many of the changes were promising updates for modern audiences, able to bring the book’s uplifting message of love to more people.

On an even more personal note, my still-unfinished novel, Hallie’s Cache, was inspired by A Wrinkle in Time. In both stories, a misfit young teen girl looks for her missing father and grows into herself in the process. A Wrinkle in Time was rejected from 26 publishers before going on to win the Newberry Medal and become one of the most beloved children’s books of the 20th century. There has been a previous attempt at making a movie out of this material in 2003, with mixed success. It has always defied categorization: is it for adults or children? Is it fantasy or science fiction? Is it too Christian or not Christian enough?

After watching the current version, I’m not convinced that it’s possible to make a good movie out of this book. The director, Ava Duvernay, did everything right: she assembled a great cast and approached the project with care, respect, and a wide open vision. And I enjoyed it on its own terms; I identified with Meg and her teenage problems. I found Storm Reid to be an appealing and relatable actress. I rooted for her and her friends to save her father. I loved the trippy visuals, the costumes, the animations. I even cried for the brokenness in the world, as gently as it was portrayed, and cheered for the family’s reunion. But it wasn’t the story that packed the emotional punch that I remembered and loved all these years. Opening to mixed reviews and eclipsed at the box office, it is likely to remembered, if at all, as a footnote to Duvernay’s career.

As much as I hate to admit this about a childhood favorite book, the problem is likely not with the filmmakers, but with the source material. Written in 1962, A Wrinkle in Time is of a particular time and place. The book’s characters are all European-Americans, redheads or mousy-brown-haired with Anglo-sounding names like Charles Wallace and Dennys (who, with his twin brother, is wholly absent from this movie). It famously opens with the Bulwer-Lytton cliche: “It was a dark and stormy night,” as Meg watches a thunderstorm from her lonely, cluttered attic room. For these reasons, and because of the three witches, the gossip about Mr Murry’s disappearance, and the neighbor’s sheets drying on the line, I had always pictured it taking place in an eccentric, secretive New England small town–a small town with a dark side like the ones that L’Engle herself, and her contemporary Shirley Jackson, lived in and raised their families.

Bringing this story out into the bright Southern California sunshine as this movie did took too much of the edge off. Certainly there are edgy areas of Southern California too, but we didn’t see those. The Murrys’ home is gorgeous and spacious. The middle school Meg attends is a well-resourced model of ethnic diversity headed by principal of color who is a three-time science teacher of the year award winner. This muddies the rationale for why Meg is bullied by the other students. In the book, Charles Wallace is an odd prodigy, perhaps a savant on the autism spectrum although that was not understood at the time the book was written, and Meg gets in trouble at school for defending him from bullies. She is thereby always his protector, and her actions at the end of the book, when her fierce love saves Charles Wallace from IT’s clutches, are perfectly in character and make emotional sense.

In the movie on the other hand, Charles Wallace is still a prodigy, but he appears quite well tolerated, happy, and self-contained, and he doesn’t need Meg to protect him. If anything, he is the one protecting Meg. Meg’s outcast status is instead attributed to her father’s disappearance. But in present day California, with so many children being raised by single parents and blended families, her father’s disappearance would not be the scandal it was in 1962. Her loneliness can and does lead her to act out further, but it is a feeble justification for her school situation as depicted here.

Details of what happened on Camazotz are also compressed in the movie. The book’s depiction of Camazotz, the planet that has given in to evil, gives off a sort of Kafkaesque bureaucratic banality. Complete conformity to a 1950s suburban nuclear family ideal is expected, and outsiders’ food turns to dust in their mouths. “IT,” the master controller, appears in the book as a disembodied brain on a dais. IT appeals to Charles Wallace and seduces him to ITs side because of ITs ability to control and impose order on messy human impulses. IT was a metaphor for the tyranny of a society that values and runs on brains and intellect alone and disregards love. That in the book there are two battles against IT and that Meg must make the decision on her own to return to Camazotz and rescue Charles Wallace compound the sense of foreboding and dread, as well as making Meg’s triumph sweeter and more meaningful when she does ultimately rescue him.

The movie, however, shows little of Camazotz; the scene with the kids bouncing balls in unison seems like a confusing non-sequitur rather than a Potemkin village masking the fear and desperation of the populace. After her father and Calvin are defeated, Meg is forced immediately into lonely battle with IT. This battle scene was disappointing. Some of the creepy tree-like things with branches might have supposed to have been neurons with dendritic trees, but the overall connection of the movie’s IT to an emotionless, loveless, disembodied brain capable of the ultimate in mind control was weak.

The rescue scene itself focused too much on whether Meg herself was lovable in spite of her faults and not enough on the transforming power of Meg’s sacrificial love for Charles Wallace. The book is unapologetically Christian in outlook, reflecting L’Engle’s own Christian faith and naming Jesus as one of the warriors against the darkness that enveloped Camazotz. I believe that L’Engle intended Meg’s love for Charles Wallace here to be selfless and Christlike, yet her Christian imagery and references have been dropped from the movie, to its detriment. Mrs. Who quotes and references many world religions; Christianity could have been included there. And why not acknowledge Jesus’ role, and the role of faith for many Christians, in fighting evil? True to her character, the scientist Meg would likely remain skeptical, and that would be okay too. Warriors can come from all faith traditions, and from no faith tradition.

The other big problem with this story is the science, the so-called “Wrinkle in Time” itself, known in both the movie and the book as a tesseract. Back in 1962 at the dawning of the Age of Aquarius, when the theory of relativity was new and humans hadn’t yet gone to the moon, the idea that you could bend space-time with your mind by “tuning” it to the right frequency might have been a little more believable than it is now. There is a scene in the movie in which Dr. Murry is shown giving a seminar about how tessering works. Jeers and guffaws of disbelief come from the audience; as well they would in real life. He sounds like a New Age motivational speaker in the tradition of Werner Erhard, or a trickster like Uri Geller.

I still remember when an annoying boy in my physics class explained to me what a tesseract “really” was: a cube within a cube, a projection of 4-dimensional space into 3 dimensions the way the drawing of a cube on paper as a square within a square was a projection of 3-dimensional space onto 2. There was nothing about wormholes or traveling 93 million miles with just your mind. Talk about disappointing! It wouldn’t have taken much to give Dr. Murry in the film a high-tech device that would make tessering possible, or some novel psi powers based on his and his wife’s research. These would have to be hand-wavey and entirely fictional of course, but good shows have been based on less. What doesn’t work is asking us to accept that New Age mumbo-jumbo somehow became true for this family because they “believed in themselves.”

As a smart girl who was interested in science, I believed too long in this book’s oversimplified and inaccurate version of how science works. Meg’s parents worked together in a homemade lab; when her father disappeared, her mother continued her experiments in the kitchen, bunsen burner on one counter, soup on the other. There was no mention of grants, funding, students, safety regulations, collaboration outside the family unit, or even publication. It’s a more romantic and family-friendly vision of doing science than has ever actually existed. Perhaps this vision was inspired by the real-life Curies, French Nobel Laureates Marie and Pierre and their children, who discovered radioactivity; yet their work had a visible dark side. Modern science is safer for its practitioners, and it is more open and collaborative than either what the Curies experienced or L’Engle’s vision. It is also more expensive and more technical, and requires more energy and perseverance than romantic genius for success. A film that wants to inspire young people in science in the 21st century would do well to tell a more accurate story about the scientific process. This film drops that ball completely.

I hope this movie inspires its young audience, but sadly, I don’t believe it’s memorable enough for that.

Thursday Doors: Clarion West

This is not the door to the actual Clarion West writers’ workshop in Seattle. I attended that workshop in 1987 just after I graduated from college and before I went to graduate school. I put writing away for a long time, studying neuroscience and raising a family. I’m not done with either of those activities, exactly, although I’m now an instructor with Science from Scientists rather than a graduate student, and my kids are teenagers. And I’m not done with writing either. No, I’m just starting back up.

This door belongs to the house of one of my Clarion classmates. Although we kept in sporadic touch after the workshop, attended a convention together, and still sent yearly holiday cards, I hadn’t seen her in person for about 25 years. In between then and now we had both gotten married, had kids, and pursued other interests.

When I moved back to CA I realized that she was not that far away; I could drive to her house in less than 2 hours. But it took more than 2 years for me to get the trip organized. Finally, my husband was on a big power trail geocaching trip, my son didn’t mind getting himself meals and was old enough to be left alone for a day, and so I went.

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We had an awesome time. I didn’t know that I would as I knocked at the very normal-looking door in the very normal-looking California suburb, but I suspected. With some friends–writers especially–time doesn’t pass the way you think.

Thursday doors is a weekly feature in which door lovers share their pictures from doors all around the world. Stop by Norm 2.0’s blog to say hello and see some of the others.

Playing Around With Telemann

cover-medium_large_fileI thought I had everything I needed to perform the Telemann viola concerto in May. I have a viola, I have a bow, I have the green-covered music. All the orchestra parts and a score can be downloaded from IMSLP.

But I keep finding new things to play around with.

1. A Baroque Bow. A couple of years ago, in response to the interest generated by this blog on violinist.com, I asked for and received a Baroque bow for Christmas. But after a few brief experiments, it never came out of the violin case. Was this just another one of those Christmas gifts that looks better under the tree?

It was a couple weeks into learning this concerto that it occurred to me to try the Baroque bow. In the article, Laurie Niles says that “it is much easier to play string crossings, certain gestures, double stops, voicing, etc. with a Baroque bow because of its unique shape and nimble nature.” The Telemann has all of these, and I when I did a one-after-another comparison between the modern and Baroque bow, I heard the tone improve with the Baroque. I was also able to easily perform a Baroque-shaped stroke, with the emphasis on the beginning of the note and a dying away at the end. Even though it’s technically a violin bow, I didn’t feel that I had a problem generating a robust, even sound. I didn’t even think the bow needed re-hairing.

2. Baroque tuning (A415). Ummm . . . no. Modern orchestras tune to the note A at a frequency of 440 Hz (A440), or even higher. But Baroque orchestras generally tuned a half-step lower than we do. In fact, when I was looking for recordings of the viola concerto, I found many that were performed with Baroque tuning, for example this one here:

This recording, by a group called the Juilliard415 ensemble, is a historically informed performance that uses Baroque instruments (not just bows) and pure gut strings. I enjoyed listening to this, especially the improvised ornaments added by the soloist, but I’ve made a conscious decision not to go all the way down this route. For one thing, I don’t own a Baroque viola. And, I’m not interested in giving up my chin rest.

I’ll also be playing in a moderately large church sanctuary with a larger orchestra than this one, and I’ll need to project. My modern viola with Evah Pirazzi strings can do this. Finally, the concert program also includes two Dvorak pieces, the “American” Quintet (in which I’ll be playing viola I) and the New World Symphony. These aren’t going to be in Baroque tuning. “Don’t do that to the orchestra!” pleaded the conductor. Okay, I won’t. But I did try tuning my viola down to A415 in practice and I thought it sounded mellower and the notes on the A-string didn’t stick out as much. Which leads me to:

3. Wound-gut A-string. I have new Evah Pirazzi Gold strings on my viola now, and I like them. Their core is made from a modern synthetic multifilament fibre, and they are rich and strong and project well. But the A, the highest viola string, sticks out in string crossings and is sometimes too loud or too strained or both. So I put a Passione wound gut A-string on my viola two days ago. It is not particularly mellow but it is sweeter and sounds less strained than the Evah Pirazzi Gold. I’m still letting it settle in, but I think I’m going to keep it.

4. Cadenzas, Tuttis, and Editions. The cadenzas I am performing were written by Milton Katims. They are in the International Edition. I like the way they sound and they are non-trivial in terms of difficulty. I will just note that it is really hard to find recordings of these cadenzas. Everyone has their own and everyone seems to have a different one.  This set of recordings, which seem to have been made by a viola teacher for his students, are quite good in terms of the solo part and have the Milton Katims cadenzas, but they don’t have any accompaniment, so they’re not that useful for playing along.

There is also disagreement about whether and how the soloist plays along with the orchestra in the Tutti sections. For example, the concerto is in one of the Suzuki viola books, and that edition has the first movement’s ending Tutti written out for the soloist to play too. My edition doesn’t have that; it has rests for the soloist. But my version of the 2nd movement has the soloist playing its ending Tutti along with the violins, in their octave in 5th position. Whereas the Suzuki version has it written out an octave lower for the soloist.

I decided to play all the ending Tutti sections. It’s one thing to be standing waiting to come in while the orchestra opens the piece, but in general I’d rather be playing than standing there. And as for playing fast 16th notes and string crossings in 5th position, I can do it. Go big or go home. 😉

5. It’s all in the wrist (except when it’s not). I tend to like to bow from the wrist, and I have a good flexible wrist that helps me play fast and do bariolage (both of which I love to do, especially with the Baroque bow), but too much of that can get in the way of a nice, smooth, legato tone. In fact, using my wrist too much–with virtually every bow change–can lead to crunching. So, I am playing a bit more from the elbow and arm and trying to keep the tone more smooth and even.

6. Recording myself. I’m a member of several Facebook groups that focus on playing stringed instruments. More on this later, but one thing these groups have in common is recording yourself and sharing the videos in the group. I have shared a handful of videos on my blog in the past, but those have usually been performances, not “warts and all” practices, and truth be told, even though I recognize its value, recording myself has always made me nervous and uncomfortable. I hate watching myself on video; it’s like a constant cringefest.

But with these Facebook groups the process is getting to be a little easier. They are closed groups so the videos are only shared with people who signed up for this and are in the same boat themselves. One group has a rule of no critique or advice unless explicitly requested by the original poster. They all encourage posters to be positive and supportive of each other. So I’ve been doing it: recording myself almost every day and posting it to Facebook. I am getting caught up enough in the process of recording–of setting up the tripod to hold my phone, of working out the camera angles, of just deciding what section or concept I’m going to record and post today, of writing a little blurb about the video, of uploading and making sure it’s in the right group and not on my general feed (ack!)–that I don’t have time to be nervous anymore. I have work to do, and the nerves just have to go away and let me do it.

Rehearsals start with the orchestra next week. Ready or not.

Book Review: 2022 (Percipience #1) by Ken Kroes

2022 (Percipience, #1)2022 by Ken Kroes

My rating: 3 of 5 stars

This was a thought-provoking, if flawed, book. I like near-future ecofiction and I like playing around in fiction with utopias, dystopias, and planned communities. Kroes’ ideas about these concepts are worth pursuing. How can you set up sustainable communities? Who pays for it? Who gets to (or has to) live there? How can you plan for these communities to last through what you expect will be a grim future? I wish more of the book had been devoted to questions like this.

I found the character development a little underwhelming. I didn’t believe Olivia would have been chosen for a top-secret microbiology project. Mikhail came across as a dork rather than an evil genius. It was almost comical that Diane and Olivia didn’t recognize the misnamed Hope before she burned down their trailer. And Spencer was completely mysterious to me–he seemed to just fit into whatever box the author needed at the moment: spy, dupe, model, love interest, puppy . . . None of the characters had a particularly unique voice, except for Sue, sometimes, which made the story periodically confusing, especially with all the head-hopping.

But simply viewing the characters as blank slates brings the reader up against the inconvenient truths the novel wants to examine: we humans are vulnerable and our behavior usually makes the problem worse. The institutions we expect to protect us, even the good guys, have their limits. And stress and danger make people do stupid, craven things. This book will stay with me longer than it deserves to based on the writing alone. It depicts is a future we want to avoid, made more frightening because it is populated by people who are so ordinary and banal.

View all my reviews

Already? Why I don’t like Daylight Saving Time anymore

I haven’t blogged yet this month and suddenly it’s mid-March already. Tonight we set the clocks ahead one hour. This time of year brings out a predictable spate of articles about the history of Daylight Saving Time (not “Savings” Time) and partisans on both sides weigh in.

The one thing everyone seems to agree on is that they hate changing the clocks. I used to not mind it as much as I do now, but that was before it was so G-d-awful early in the year. Daylight saving time started in the USA in 1918 with the idea of saving energy. That means it is 100 years old this year. I actually remember the biennial clock ritual as a child with a little fondness. Thinking it through helped me understand clocks, timekeeping, time zones, circadian rhythms, and jet lag a little better. And somehow the stakes were lower for sleeping in.

But we don’t currently observe your grandfather’s Daylight Saving Time. The first federal standards established that DST would start on the last Sunday in April and end the last Sunday in October. But in 2007 and 2008, DST was extended by another month, into March and November. This extension was politically motivated and driven by candy and golf industry lobbying. The hoped-for energy savings have not materialized.

This is when I started to get angry about this issue. Nobody asked us: there was no popular vote on this change, and no consideration for what the time shift does to the human body clock.

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Daylight Saving Time doesn’t actually save anything. It just shifts light from the morning, when it is needed to entrain the body’s internal clock, to the evening, when it contributes to insomnia. Especially when instituted so early in the year, before the equinox (before the day is even as long as the night) it puts everyone in a state of perpetual eastward-going jet lag.

The body’s clock never actually adjusts to daylight time. The spring forward clock change is associated with a 25% increase in the risk of heart attacks  and an increase in traffic accidents on the Monday following the time change (Be careful out there!) And it’s in exactly the wrong direction to help sleep-deprived teens be able to get up for school. Daylight Saving Time is one of many factors that disconnect humans from the natural world.

I think we should just end this 100-year-old experiment altogether, and live on standard time all year round. But I’d settle for a return to the standards of the 1960s and early 1970s, when turning the clocks ahead really meant the coming of spring.

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The Brain—is wider than the Sky

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