How the bilingual brain works

I am terrible at learning languages. Over the years, I’ve struggled to get by with high school French and the bits and pieces of Spanish that I picked up living in South Florida. Before trips, I have crammed traveler’s Greek, Italian, Russian, and even Japanese, but I have never gotten beyond basics. Needless to say, I am in awe of folks who are bilingual or even multilingual. But how do they do it.

Now science may be providing some answers. The article How do bilingual brains navigate between languages? Scientists discover ‘geometric neural map.’describes new research just published in Cell, and it begins with the below paragraph:

“Anyone who speaks more than one language knows the feeling of expressing the same thought through entirely different linguistic lenses. A new study by researchers at Rice University and Baylor College of Medicine reveals that the key to this translation ability is a shared geometric map of neural responses in the hippocampus.”

It also discusses how neuroscience and AI may be converging on similar conclusions or underlying principles. This is fascinating research. However, the research was based on only four speakers of English and Spanish. Still, it leaves many questions to consider.

– Does the conceptual map somehow exist independent of language, or is it created with the learning of your first language? I would bet on the latter.

– English and Spanish share Indo-European structure and Latin-alphabet orthography. Does the mapping differ if you have completely different phonetics (e.g., Chinese) or very different grammar (e.g., Japanese)? Only one or the other? Both? If so, is there a threshold for “different”?

– One of the study’s senior authors described the brain as “keeping languages distinct enough to avoid interference.” But that refers to the proposed neural geometry of meaning, not necessarily to every retrieval slip we make while speaking—and multilingual people do mix things up. ​

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Fairy tales are about trouble

Fairy tales are about trouble, about getting into it and out of it, and trouble seems to be a necessary stage on the route of becoming. All the magic and glass mountains and pearls the size of houses and princesses beautiful as the day and talking birds and part-time serpents are distractions from the tough core of most of the stories, the struggle to survive against adversaries, to find your place in your world, and to come into your own. Difficulty is always a school, though learning is optional. Fairy tales are almost always the stories of the powerless, of youngest sons, abandoned children, orphans, of humans transformed into birds and beasts or otherwise enchanted away from their own selves and lives. Even princesses are chattels to be disowned or sold by fathers, punished by stepmothers, or claimed by princes, though they often assert themselves in between and are rarely as passive as the cartoon versions. Fairy tales are children’s stories not in who they were made for but in their focus on the early stages of life, when others have power over you and you have power over no one.

The Faraway Nearby by Rebecca Solnit

 

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First Book of Jazz

When I was in the 7th grade, my wonderful English teacher—shout out to Mrs. Fine—introduced me to the poetry of Langston Hughes. I was immediately hooked. Somehow I never knew until recently about his marvelous introduction to jazz that he wrote for children.

Prolific poet, social activist, novelist, playwright, and columnist Langston Hughes is considered one of the fathers of jazz poetry, a literary art form that emerged in the 1920s and eventually became the foundation for modern hip-hop.

In 1954, the 52-year-old Hughes decided to channel his love of jazz into a sort-of-children’s book that educated young readers about the culture he so loved. The First Book of Jazz was born, taking on the ambitious task of being the first-ever children’s book to review American music, and to this day arguably the best. Hughes covered every notable aspect of jazz, from the evolution of its eras to its most celebrated icons to its geography and sub-genres, and made a special point of highlighting the essential role of African-American musicians in the genre’s coming of age. Hughes even covered the technicalities of jazz — rhythm, percussion, improvisation, syncopation, blue notes, harmony — with remarkable eloquence that, rather than overwhelming the young reader, exudes the genuine joy of playing.

Alongside the book, Hughes released a companion record, The Story of Jazz, featuring Hughes’ lively, vivid narration of jazz history in three tracks, each focusing on a distinct element of the genre. You can hear them here.

 

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A short history and glimpse of the future

R.Crumb

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running toward life

In a long ago edition of the Paris Review, writer Ray Bradbury responded to a question about a mysterious character, Mr. Electrico, who appeared in “Something Wicked This Way Comes.”

“Yes, but he was a real man. That was his real name. Circuses and carnivals were always passing through Illinois during my childhood and I was in love with their mystery. One autumn weekend in 1932, when I was twelve years old, the Dill Brothers Combined Shows came to town. One of the performers was Mr. Electrico. He sat in an electric chair. A stagehand pulled a switch and he was charged with fifty thousand volts of pure electricity. Lightning flashed in his eyes and his hair stood on end.

The next day, I had to go the funeral of one of my favorite uncles. Driving back from the graveyard with my family, I looked down the hill toward the shoreline of Lake Michigan and I saw the tents and the flags of the carnival and I said to my father, Stop the car. He said, What do you mean? And I said, I have to get out. My father was furious with me. He expected me to stay with the family to mourn, but I got out of the car anyway and I ran down the hill toward the carnival.

It didn’t occur to me at the time, but I was running away from death, wasn’t I? I was running toward life. And there was Mr. Electrico sitting on the platform out in front of the carnival and I didn’t know what to say. I was scared of making a fool of myself.

I had a magic trick in my pocket, one of those little ball-and-vase tricks—a little container that had a ball in it that you make disappear and reappear—and I got that out and asked, Can you show me how to do this? It was the right thing to do. It made a contact. He knew he was talking to a young magician. He took it, showed me how to do it, gave it back to me, then he looked at my face and said, Would you like to meet those people in that tent over there? Those strange people? And I said, Yes sir, I would. So he led me over there and he hit the tent with his cane and said, Clean up your language! Clean up your language! He took me in, and the first person I met was the illustrated man. Isn’t that wonderful? The Illustrated Man! He called himself the tattooed man, but I changed his name later for my book. I also met the strong man, the fat lady, the trapeze people, the dwarf, and the skeleton. They all became characters.

Mr. Electrico was a beautiful man, see, because he knew that he had a little weird kid there who was twelve years old and wanted lots of things. We walked along the shore of Lake Michigan and he treated me like a grown-up. I talked my big philosophies and he talked his little ones.

Then we went out and sat on the dunes near the lake and all of a sudden he leaned over and said, I’m glad you’re back in my life. I said, What do you mean? I don’t know you. He said, You were my best friend outside of Paris in 1918. You were wounded in the Ardennes and you died in my arms there. I’m glad you’re back in the world. You have a different face, a different name, but the soul shining out of your face is the same as my friend. Welcome back.

Now why did he say that? Explain that to me, why? Maybe he had a dead son, maybe he had no sons, maybe he was lonely, maybe he was an ironical jokester. Who knows? It could be that he saw the intensity with which I live. Every once in a while at a book signing I see young boys and girls who are so full of fire that it shines out of their face and you pay more attention to that. Maybe that’s what attracted him.

When I left the carnival that day I stood by the carousel and I watched the horses running around and around to the music of “Beautiful Ohio,” and I cried. Tears streamed down my cheeks. I knew something important had happened to me that day because of Mr. Electrico. I felt changed. He gave me importance, immortality, a mystical gift. My life was turned around completely. It makes me cold all over to think about it, but I went home and within days I started to write. I’ve never stopped.

Seventy-seven years ago, and I’ve remembered it perfectly. I went back and saw him that night. He sat in the chair with his sword, they pulled the switch, and his hair stood up. He reached out with his sword and touched everyone in the front row, boys and girls, men and women, with the electricity that sizzled from the sword. When he came to me, he touched me on the brow, and on the nose, and on the chin, and he said to me, in a whisper, “Live forever.” And I decided to.”

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Holiday Weekend House Party

Here in the sad old USA we are in the midst of a long holiday weekend and a motivation-sapping heatwave. So, it’s a great time to stay indoors and chill. There’s no better way to do so than with an hour long set by the inimitable Idris Elba.

The beloved actor has been a DJ since he was 14 years old. He recently DJed a house party for Black House Radio and it looks like everyone had a lot of fun. (see video below or at the link above)

You can also find this mix on Soundcloud, along with many more of Elba’s mixes.

 

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Civil Disobedience

If the injustice is part of the necessary friction of the machine of government, let it go, let it go: perchance it will wear smooth–certainly the machine will wear out… but if it is of such a nature that it requires you to be the agent of injustice to another, then I say, break the law. Let your life be a counter-friction to stop the machine. What I have to do is to see, at any rate, that I do not lend myself to the wrong which I condemn.

― Henry David Thoreau, Resistance to Civil Government (1849)

 

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Macédoine

 

Inside Darwin’s bookshelves: a project to catalogue his personal library.

International pop superstar Dua Lipa and the historic Portuguese bookstore Livraria Lello have teamed up to launch the Manifesto Library. Opening today, June 27, 2026, the space serves as the first permanent, physical expression of Lipa’s Service95 Book Club. Dedicated to literature that challenges power, censorship, and dominant social narratives, the library aims to protect intellectual freedom.

The new collection is housed inside Livraria Lello’s cultural auditorium, a striking venue designed by Pritzker Prize-winning architect Álvaro Siza. Curated around 100 specific titles, the library organizes its books into four core contemporary themes: Power, Control, Voice, and Memory. Rather than acting as a static archive of banned media, the project is envisioned as a living cultural space designed to foster public reading, debate, and community programming.

Here you will find one hundred books that ask questions, or have been questioned. Some have been banned by school districts for themes of race or sexuality. Others, written for LGBTQIA+ readers, have been restricted from display. In some cases, the author has paid for their words with their life.”

“Brandon Sanderson (2026 Tolkien Lecture, recorded 19 May 2026), “On Fantasy“: “What of the fairy-stories that Tolkien so loved? How many of the people telling them believed in those fairies? … As I believe intent is important, I cannot categorize most works existing before the 1800s as being fantasy … With … fantasy being fiction, which is impossible, which is presented with intentional fantasy aesthetics … I want to explore what fantasy as a genre looked like before Tolkien, then talk about his innovations … I’m sufficiently convinced that the first true secondary world fantasy is Phantasmion by Sara Coleridge”. While good news for Coleridge and Tolkien, whole sub-genres of literature depicting impossible events via intentional fantasy aesthetics were imagined as fiction long, long before the 1800s.”

Lifts in Film: a collection of movie & TV scenes featuring elevators, including Speed, The Shining, Drive, Mad Men, Die Hard, Pulp Fiction, The Silence of the Lambs, and many more.

It’s a whimsical kind of Friday, and what’s more whimsical than a little circus? Viel Glück, when translated from German into English, means a very chipper, “Good luck!”

“America is just the country that shows how all the written guarantees in the world for freedom are no protection against tyranny and oppression of the worst kind. There the politician has come to be looked upon as the very scum of society.”

– Peter Kropotkin

Bonhoeffer on Stupidity

From “Letters and Papers from Prison,” by Dietrich Bonhoeffer

Stupidity is a more dangerous enemy of the good than malice. One may protest against evil; it can be exposed and, if need be, prevented by use of force. Evil always carries within itself the germ of its own subversion in that it leaves behind in human beings at least a sense of unease. Against stupidity we are defenseless. Neither protests nor the use of force accomplish anything here; reasons fall on deaf ears; facts that contradict one’s prejudgment simply need not be believed—in such moments the stupid person even becomes critical—and when facts are irrefutable they are just pushed aside as inconsequential, as incidental. In all this the stupid person, in contrast to the malicious one, is utterly self-satisfied and, being easily irritated, becomes dangerous by going on the attack. For that reason, greater caution is called for when dealing with a stupid person than with a malicious one. Never again will we try to persuade the stupid person with reasons, for it is senseless and dangerous.

If we want to know how to get the better of stupidity, we must seek to understand its nature. This much is certain, that it is in essence not an intellectual defect but a human one. There are human beings who are of remarkably agile intellect yet stupid, and others who are intellectually quite dull yet anything but stupid. We discover this to our surprise in particular situations. The impression one gains is not so much that stupidity is a congenital defect but that, under certain circumstances, people are made stupid or that they allow this to happen to them. We note further that people who have isolated themselves from others or who live in solitude manifest this defect less frequently than individuals or groups of people inclined or condemned to sociability. And so it would seem that stupidity is perhaps less a psychological than a sociological problem. It is a particular form of the impact of historical circumstances on human beings, a psychological concomitant of certain external conditions. Upon closer observation, it becomes apparent that every strong upsurge of power in the public sphere, be it of a political or a religious nature, infects a large part of humankind with stupidity. It would even seem that this is virtually a sociological-psychological law. The power of the one needs the stupidity of (page 44 begins) the other. The process at work here is not that particular human capacities, for instance, the intellect, suddenly atrophy or fail. Instead, it seems that under the overwhelming impact of rising power, humans are deprived of their inner independence and, more or less consciously, give up establishing an autonomous position toward the emerging circumstances. The fact that the stupid person is often stubborn must not blind us to the fact that he is not independent. In conversation with him, one virtually feels that one is dealing not at all with him as a person, but with slogans, catchwords, and the like that have taken possession of him. He is under a spell, blinded, misused, and abused in his very being. Having thus become a mindless tool, the stupid person will also be capable of any evil and at the same time incapable of seeing that it is evil. This is where the danger of diabolical misuse lurks, for it is this that can once and for all destroy human beings.

Yet at this very point it becomes quite clear that only an act of liberation, not instruction, can overcome stupidity. Here we must come to terms with the fact that in most cases a genuine internal liberation becomes possible only when external liberation has preceded it. Until then we must abandon all attempts to convince the stupid person. This state of affairs explains why in such circumstances our attempts to know what “the people” really think are in vain and why, under these circumstances, this question is so irrelevant for the person who is thinking and acting responsibly. The word of the Bible that the fear of God is the beginning of wisdom declares that the internal liberation of human beings to live the responsible life before God is the only genuine way to overcome stupidity.

But these thoughts about stupidity also offer consolation in that they utterly forbid us to consider the majority of people to be stupid in every circumstance. It really will depend on whether those in power expect more from peoples’ stupidity than from their inner independence and wisdom.

 

 

 

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Birds of America

If you’re in Maine, you might want to check out First Fridays at Bowdoin College’s Special Collections Library. On the first Friday of every month, people gather together for a surprise. Some of them have even placed bets on the reveal. When News Center Maine attended First Friday, the crowd was even bigger than usual as it was alumni weekend, and quite a few people skipped other planned events to see… a page being turned. Yes, one page every month, for ten years now. But this is a special book, kept under glass, with the regular page-turning times to prevent sun damage to the paper. What will be revealed on the next page? The librarians know, but they aren’t telling. What kind of book inspires this kind of interest? You’ll have to watch the video for that, and you’ll be delighted to find out.

NB: if the video above fails to launch in your browser, please click on the Link. 

 

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Geographic Oddities

I don’t think that anybody would challenge the notion that the United States is a really, really weird place, but there are some geographic oddities in the video below that you might find fascinating. RealLifeLore selected some interesting facts that just don’t seem like they make any sense, unless you live in the area they’re talking about. Or if you learned geography from a globe instead of a Mercator map -which is the way geography should be learned, but it doesn’t happen much.

NB: If the video does not open in your browser click HERE .

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