from the world's big
On writing: What illuminates a story?
Don't be afraid to have the very experiences you aspire to write about — they will help you write more vividly, and from a genuine place of wonder.
Michael Pollan is the author of How to Change Your Mind and seven previous books including Cooked, Food Rules, In Defense of Food, The Omnivore's Dilemmaand The Botany of Desire, which received the Borders Original Voices Award for the best non-fiction work of 2001, and was recognized as a best book of the year by the American Booksellers Association and Amazon.com. PBS premiered a two-hour special documentary based on The Botany of Desire in fall 2009.
MICHAEL POLLAN: So this was an enormously challenging book to write. First of all, I knew very little about neuroscience. I knew very little about psychology, psychotherapy. And I had very limited experience of psychedelics. I had these mushrooms a couple of times in my 20s, but it was what people call a museum dose — enough to make the world sparkle, but not to lead to any kind of profound insights. So I was faced with the challenge of mastering a new subject, and I was faced with the challenge of trying these psychedelics because I realized I could not describe the experience strictly based on interviews with other people.
And that's how I work as a writer. One of the very important parts of my work is to find a way to have an experience that will illuminate the story. So when I wrote about food, I bought a cow and followed it through the food system, through the meat industry. And I apprenticed myself to a great baker to learn how to bake. And I feel that these kind of experiences, especially when you're doing it for the first time, gives you an ability to see things very freshly. And you have that sense of wonder that comes with first sight, and you also get the common possibilities of a fish out of water, doing something that he or she is not very good at and the learning that comes from that.
So one of the things I always think about when I'm starting a project like this is, what are the different perspectives that I need to bring to bear on this subject? I don't believe any one perspective can unlock a subject as complex as psychedelics. So you need to look at it — and this was true when I was writing about food and plants. Nonfiction gets interesting when you multiply the perspectives or layer the different lenses that you bring to. So you can look at this through the lens of neuroscience, say. A very interesting lens illuminates a lot.
But that doesn't tell you anything about the lived experience. Because neuroscience cannot reach consciousness. It has no tools for penetrating or measuring consciousness, except the absence of it. And so phenomenology — the accounts of lived experience are very important. And I could get those from the volunteers I interviewed and from my own experience. So I needed a memoiristic element, as well as the neuroscientific element. And then there's the historical lens. History always illuminates things. How did we get here? Why did it take so long to get here? What have we learned along the way?
So I realized, O.K., I'm going to need to do a chapter of history, or two. I'm going to need to do a chapter of neuroscience, a chapter of my own trips, and it gradually comes together. Each chapter is going to represent a different lens on this subject, and I'm going to circle it from these different points of view. And that, to me, is how you make nonfiction rich. Otherwise, you might as well write an article. And what necessitates a book is the fact that no one perspective will give you the picture you need, the full dimensional picture.
Within that frame, the most challenging part was describing the psychedelic trips. And William James famously said that the mystical experience is ineffable — beyond the reach of language. Well, I had an effort. I couldn't just let that lie and just say you had to be there. But it's very hard to describe because these are kind of pre-linguistic experiences.
One of the researchers I interviewed said — I said why are these experiences so hard to describe? And he said, well, imagine a cave man coming to New York in 2019, and he sees subways going by, and planes overhead, and people talking on phones, and the noise of traffic. And then he goes back to his friends in the cave, and what does he say? He says it's loud and fast, and he doesn't have the words for cell phone or the bustle of urban life. The language doesn't exist.
But I had to find the language, and so I approach those chapters with a great deal of trepidation and as much trepidation as I had about the trips themselves. And it took me a while to figure out how to write about it. Because I was trying to write for a general audience. I'm not writing for psycho nuts. I'm writing for people who've never had this experience, but might be curious. And I want to tell them what it's like. And it took me a while, but I gradually found a voice in which I could do it. And this comes through trial and error of writing an account and reading it and going, that sounds crazy. Or that sounds really banal. "Gee, you've had an insight that love is the most important thing in the universe. That's a Hallmark card."
The solution I found to that was to be very candid with my reader and essentially tell the narratives. And then break the fourth wall at various points, step out of the narrative, and say, "Look, I know how banal this sounds, but let's talk about banality for a little while. There's a very thin line between the profound and the banal. What is a platitude? Well, it's a truth that's lost its emotional force from sheer repetition. So how do we recover that?" Or, in another moment, where if something crazy happens, I would break the wall and say, "I know how crazy this sounds."
So I kind of move in and out of the experience, sort of the way a memoir writer would juxtapose the point of view of the 10-year-old with the adult and go back and forth. Because if you just stayed in the head of the 10-year-old, it would have no perspective. It might have vividness, but no perspective. And if you stayed in the head of the adult, it wouldn't be evocative. So memoirs, I realized — and I realized this teaching them because I teach writing — get their savor or their edge from that going back and forth in perspective. And I kind of did the same thing, not in a temporal dimension, but on this inside outside of the experience.
So I found my voice to write about it, and once I did, it was great fun to write about the trips. I've never had more fun as a writer. I loved describing them. And I and I would license the absolute madness of parts of the experience by saying, "Yeah, I know, it's crazy, but this is what happened." So this book was great fun to write. I was learning new things. I loved being at the beginning of the learning curve on this subject, rather than at the end. One of the reasons I moved from writing about food to this was I realized I had become an expert after three or four books on food.
And I don't like writing as an expert. I think readers don't like experts. I think they want someone to take them on a journey. And my education becomes the story that you follow. I always start out as an idiot in my writing. I'm naive. I don't know what's going on. I'm confused. I have questions in my head. I'm reluctant. I'm skeptical. And gradually, I build my knowledge. We learn things. Things happen. And by the end, we are experts, but we're not at the beginning. And I think that's a really important lesson for writing in general.
I think even though when you finish a research project, you have your conclusions, don't put them on page one. That's like starting the joke with the punchline. Storytelling is you start from knowing less, and you move toward knowing more. So that the novelty of this subject, the fact that I was very naive, was a virtue, or at least, made a virtue. So we shouldn't be afraid of our ignorance. We should use it in our storytelling.
- When it comes to writing a story, it's important to find a way to have an experience that will illuminate the narrative for readers — that is, an experience that fills you, the writer, with wonder and gives you a fresh take on things.
- A good way to make a nonfiction story rich is by tackling the subject with different lenses, by circling it from different points of views.
- Good storytelling is about taking readers on a journey. This said, instead of leading with your conclusion, begin from the time when you were naive about the subject at hand, and, as you relay the different things you learn, you will help your readers, in a down-to-earth way, move toward knowing more, too.
How to Change Your Mind: What the New Science of Psychedelics Teaches Us About Consciousness, Dying, Addiction, Depression, and Transcendence
- This Is How You Can Become a Damn Good Writer - Big Think ›
- Jordan Peterson's 10-step process for stronger writing ›
- Steven Pinker's 13 rules for writing better ›
Higher education faces challenges that are unlike any other industry. What path will ASU, and universities like ASU, take in a post-COVID world?
- Everywhere you turn, the idea that coronavirus has brought on a "new normal" is present and true. But for higher education, COVID-19 exposes a long list of pernicious old problems more than it presents new problems.
- It was widely known, yet ignored, that digital instruction must be embraced. When combined with traditional, in-person teaching, it can enhance student learning outcomes at scale.
- COVID-19 has forced institutions to understand that far too many higher education outcomes are determined by a student's family income, and in the context of COVID-19 this means that lower-income students, first-generation students and students of color will be disproportionately afflicted.
What conditions of the new normal were already appreciated widely?<p>First, we understand that higher education is unique among industries. Some industries are governed by markets. Others are run by governments. Most operate under the influence of both markets and governments. And then there's higher education. Higher education as an "industry" involves public, private, and for-profit universities operating at small, medium, large, and now massive scales. Some higher education industry actors are intense specialists; others are adept generalists. Some are fantastically wealthy; others are tragically poor. Some are embedded in large cities; others are carefully situated near farms and frontiers.</p> <p>These differences demonstrate just some of the complexities that shape higher education. Still, we understand that change in the industry is underway, and we must be active in directing it. Yet because of higher education's unique (and sometimes vexing) operational and structural conditions, many of the lessons from change management and the science of industrial transformation are only applicable in limited or highly modified ways. For evidence of this, one can look at various perspectives, including those that we have offered, on such topics as <a href="https://www.insidehighered.com/digital-learning/blogs/rethinking-higher-education/lessons-disruption" target="_blank">disruption</a>, <a href="https://www.nytimes.com/2020/02/20/education/learning/education-technology.html" target="_blank">technology management</a>, and so-called "<a href="https://www.insidehighered.com/sites/default/server_files/media/Excerpt_IHESpecialReport_Growing-Role-of-Mergers-in-Higher-Ed.pdf" target="_blank">mergers and acquisitions</a>" in higher education. In each of these spaces, the "market forces" and "market rules" for higher education are different than they are in business, or even in government. This has always been the case and it is made more obvious by COVID-19.</p> <p>Second, with so much excitement about innovation in higher education, we sometimes lose sight of the fact that students are—and should remain—the core cause for innovation. Higher education's capacity to absorb new ideas is strong. But the ideas that endure are those designed to benefit students, and therefore society. This is important to remember because not all innovations are designed with students in mind. The recent history of innovation in higher education includes several cautionary tales of what can happen when institutional interests—or worse, <a href="https://www.insidehighered.com/news/2016/02/09/apollos-new-owners-seek-fresh-start-beleaguered-company" target="_blank">shareholder</a> interests—are placed above student well-being.</p>
Photo: Getty Images<p>Third, it is abundantly apparent that universities must leverage technology to increase educational quality and access. The rapid shift to delivering an education that complies with social distancing guidelines speaks volumes about the adaptability of higher education institutions, but this transition has also posed unique difficulties for colleges and universities that had been slow to adopt digital education. The last decade has shown that online education, implemented effectively, can meet or even surpass the quality of in-person <a href="https://link-springer-com.ezproxy1.lib.asu.edu/article/10.1007/s10639-019-10027-z" target="_blank">instruction</a>.</p><p>Digital instruction, broadly defined, leverages online capabilities and integrates adaptive learning methodologies, predictive analytics, and innovations in instructional design to enable increased student engagement, personalized learning experiences, and improved learning outcomes. The ability of these technologies to transcend geographic barriers and to shrink the marginal cost of educating additional students makes them essential for delivering education at scale.</p><p>As a bonus, and it is no small thing given that they are the core cause for innovation, students embrace and enjoy digital instruction. It is their preference to learn in a format that leverages technology. This should not be a surprise; it is now how we live in all facets of life.</p><p>Still, we have only barely begun to conceive of the impact digital education will have. For example, emerging virtual and augmented reality technologies that facilitate interactive, hands-on learning will transform the way that learners acquire and apply new knowledge. Technology-enabled learning cannot replace the traditional college experience or ensure the survival of any specific college, but it can enhance student learning outcomes at scale. This has always been the case, and it is made more obvious by COVID-19.</p>
What conditions of the new normal were emerging suspicions?<p>Our collective thinking about the role of institutional or university-to-university collaboration and networking has benefitted from a new clarity in light of COVID-19. We now recognize more than ever that colleges and universities must work together to ensure that the American higher education system is resilient and sufficiently robust to meet the needs of students and their families.</p> <p>In recent weeks, various commentators have suggested that higher education will face a wave of institutional <a href="https://www.businessinsider.com/scott-galloway-predicts-colleges-will-close-due-to-pandemic-2020-5" target="_blank">closures</a> and consolidations and that large institutions with significant online instruction capacity will become dominant.</p> <p>While ASU is the largest public university in the United States by enrollment and among the most well-equipped in online education, we strongly oppose "let them fail" mindsets. The strength of American higher education relies on its institutional diversity, and on the ability of colleges and universities to meet the needs of their local communities and educate local students. The needs of learners are highly individualized, demanding a wide range of options to accommodate the aspirations and learning styles of every kind of student. Education will become less relevant and meaningful to students, and less responsive to local needs, if institutions of higher learning are allowed to fail. </p> <p>Preventing this outcome demands that colleges and universities work together to establish greater capacity for remote, distributed education. This will help institutions with fewer resources adapt to our new normal and continue to fulfill their mission of serving students, their families, and their communities. Many had suspected that collaboration and networking were preferable over letting vulnerable colleges fail. COVID-19's new normal seems to be confirming this.</p>
President Barack Obama delivers the commencement address during the Arizona State University graduation ceremony at Sun Devil Stadium May 13, 2009 in Tempe, Arizona. Over 65,000 people attended the graduation.
Photo by Joshua Lott/Getty Images<p>A second condition of the new normal that many had suspected to be true in recent years is the limited role that any one university or type of university can play as an exemplar to universities more broadly. For decades, the evolution of higher education has been shaped by the widespread imitation of a small number of elite universities. Most public research universities could benefit from replicating Berkeley or Michigan. Most small private colleges did well by replicating Williams or Swarthmore. And all universities paid close attention to Harvard, Princeton, MIT, Stanford, and Yale. It is not an exaggeration to say that the logic of replication has guided the evolution of higher education for centuries, both in the US and abroad.</p><p>Only recently have we been able to move beyond replication to new strategies of change, and COVID-19 has confirmed the legitimacy of doing so. For example, cases such as <a href="https://www.washingtonpost.com/education/2020/03/10/harvard-moves-classes-online-advises-students-stay-home-after-spring-break-response-covid-19/" target="_blank">Harvard's</a> eviction of students over the course of less than one week or <a href="https://www.nhregister.com/news/coronavirus/article/Mayor-New-Haven-asks-for-coronavirus-help-Yale-15162606.php" target="_blank">Yale's apparent reluctance</a> to work with the city of New Haven, highlight that even higher education's legacy gold standards have limits and weaknesses. We are hopeful that the new normal will include a more active and earnest recognition that we need many types of universities. We think the new normal invites us to rethink the very nature of "gold standards" for higher education.</p>
A graduate student protests MIT's rejection of some evacuation exemption requests.
Photo: Maddie Meyer/Getty Images<p>Finally, and perhaps most importantly, we had started to suspect and now understand that America's colleges and universities are among the many institutions of democracy and civil society that are, by their very design, incapable of being sufficiently responsive to the full spectrum of modern challenges and opportunities they face. Far too many higher education outcomes are determined by a student's family income, and in the context of COVID-19 this means that lower-income students, first-generation students and students of color will be disproportionately afflicted. And without new designs, we can expect postsecondary success for these same students to be as elusive in the new normal, as it was in the <a href="http://pellinstitute.org/indicators/reports_2019.shtml" target="_blank">old normal</a>. This is not just because some universities fail to sufficiently recognize and engage the promise of diversity, this is because few universities have been designed from the outset to effectively serve the unique needs of lower-income students, first-generation students and students of color.</p>
Where can the new normal take us?<p>As colleges and universities face the difficult realities of adapting to COVID-19, they also face an opportunity to rethink their operations and designs in order to respond to social needs with greater agility, adopt technology that enables education to be delivered at scale, and collaborate with each other in order to maintain the dynamism and resilience of the American higher education system.</p> <p>COVID-19 raises questions about the relevance, the quality, and the accessibility of higher education—and these are the same challenges higher education has been grappling with for years. </p> <p>ASU has been able to rapidly adapt to the present circumstances because we have spent nearly two decades not just anticipating but <em>driving</em> innovation in higher education. We have adopted a <a href="https://www.asu.edu/about/charter-mission-and-values" target="_blank">charter</a> that formalizes our definition of success in terms of "who we include and how they succeed" rather than "<a href="https://www.washingtonpost.com/opinions/2019/10/17/forget-varsity-blues-madness-lets-talk-about-students-who-cant-afford-college/" target="_blank">who we exclude</a>." We adopted an entrepreneurial <a href="https://president.asu.edu/read/higher-logic" target="_blank">operating model</a> that moves at the speed of technological and social change. We have launched initiatives such as <a href="https://www.instride.com/how-it-works/" target="_blank">InStride</a>, a platform for delivering continuing education to learners already in the workforce. We developed our own robust technological capabilities in ASU <a href="https://edplus.asu.edu/" target="_blank">EdPlus</a>, a hub for research and development in digital learning that, even before the current crisis, allowed us to serve more than 45,000 fully online students. We have also created partnerships with other forward-thinking institutions in order to mutually strengthen our capabilities for educational accessibility and quality; this includes our role in co-founding the <a href="https://theuia.org/" target="_blank">University Innovation Alliance</a>, a consortium of 11 public research universities that share data and resources to serve students at scale. </p> <p>For ASU, and universities like ASU, the "new normal" of a post-COVID world looks surprisingly like the world we already knew was necessary. Our record breaking summer 2020 <a href="https://asunow.asu.edu/20200519-sun-devil-life-summer-enrollment-sets-asu-record" target="_blank">enrollment</a> speaks to this. What COVID demonstrates is that we were already headed in the right direction and necessitates that we continue forward with new intensity and, we hope, with more partners. In fact, rather than "new normal" we might just say, it's "go time." </p>
Manly Bands wanted to improve on mens' wedding bands. Mission accomplished.
- Manly Bands was founded in 2016 to provide better options and customer service in men's wedding bands.
- Unique materials include antler, dinosaur bones, meteorite, tungsten, and whiskey barrels.
- The company donates a portion of profits to charity every month.
Iranian Tolkien scholar finds intriguing parallels between subcontinental geography and famous map of Middle-earth.
- J.R.R. Tolkien hinted that his stories are set in a really ancient version of Europe.
- But a fantasy realm can be inspired by a variety of places; and perhaps so is Tolkien's world.
- These intriguing similarities with Asian topography show that it may be time to 'decolonise' Middle-earth.
Mental decolonisation<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQzMDM0OS9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTY1MDU4Mjg3N30.pKS1PLxKYeJ6WDPAcleg7NCxzDn7Pddcg9rSJaul6no/img.png?width=980" id="56ee5" class="rm-shortcode" data-rm-shortcode-id="1d2ba98946accd12f7e0070c8d10154d" data-rm-shortcode-name="rebelmouse-image" alt="Menu page for Arda.ir, the website of the Persian Tolkien Society." />
Menu page for Arda.ir, the website of the Persian Tolkien Society.
Image: Arda.ir<p>Where on earth was Middle-earth? Based on a few hints by Tolkien himself, we've always sort-of assumed that his stories of "The Hobbit" and "The Lord of the Rings" were centered on Europe, but so long ago that the shape of the coasts and the land has changed. </p><p>But perhaps that's too easy and too Eurocentric an assumption; perhaps, like so many other things these days, Tolkien's fantasy realm too is in dire need of mental decolonisation.</p><p>And here's an excellent occasion: an Iranian Tolkienologist has found intriguing hints that the writer based some of Middle-earth's topography on mountains, rivers, and islands located in and near present-day Pakistan. </p><p>As mentioned in a previous article – recently reposted on the <a href="https://www.facebook.com/VeryStrangeMaps" target="_blank">Strange Maps Facebook page</a> on the occasion of the death of Ian Holm – Tolkien admitted that "The Shire is based on rural England, and not on any other country in the world," and that "the action of the story takes place in the North-West of 'Middle-earth', equivalent in latitude to the coastlands of Europe and the north shores of the Mediterranean."<br></p>
Non-European topography<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQzMDM1MC9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTY1NTQ4MzcyMX0.891LPW42L78fdrwUhXdgOab7cbhs3YOqZK4ukIQx-Rw/img.png?width=980" id="6741c" class="rm-shortcode" data-rm-shortcode-id="2b50c57cb3b8a3a1cc8a4696c89ad954" data-rm-shortcode-name="rebelmouse-image" alt="Map of Tian-shan, the Himalayas, and the Pamirs" />
If you look at it like that, yes: that does resemble Mordor...
Image: Mohammad Reza Kamali, reproduced with kind permission<p>Extrapolating from the location of the Shire in Middle-earth and from other clues dropped by Tolkien, geophysics and geology professor Peter Bird matched the geography of Middle-earth with that of Europe (more about that in the <a href="https://bigthink.com/strange-maps/121-where-on-earth-was-middle-earth?utm_medium=Social&utm_source=Facebook&fbclid=IwAR0ZFYK1EXrf4J3B3X5_U4hSAgidgBs24ZNTYV9QEFbz2qI34OA_DpZsn70#Echobox=1592583835" target="_blank">aforementioned article</a>).</p><p>However, seeing Middle-earth as a mere palimpsest for present-day Europe is to place an undue limit on the imagination of its creator. As Tolkien also said about the shape of his world: "[It] was devised 'dramatically' rather than geologically or paleontologically."</p><p>In other words, certain parts of Middle-earth may very well have been inspired by other places than European ones. It is telling that it took a non-European connoisseur of Tolkien's topography to find some examples. <br></p>
"Seen that map before"<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQzMDM1MS9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTY1MTQ3Njc3NH0.azDO1_NWm9q9FwMpmqBOV2troOX0ajAXS4lP2bLstJI/img.png?width=980" id="1b193" class="rm-shortcode" data-rm-shortcode-id="21c3d38b14503ba8edac18c0ef1cceb0" data-rm-shortcode-name="rebelmouse-image" alt="Map of Indus river" />
The Indus river is a prominent geographical feature of Pakistan. Its course is similar to that of the Anduin, the Great River of Middle-earth.
Image: Mohammad Reza Kamali, reproduced with kind permission<p>In an article published on <a href="https://arda.ir/" target="_blank">Arda.ir</a>, the web page for the Persian Tolkien Society, Mohammad Reza Kamali writes that during several years of cartographic study, "I found that maybe there are real lands [that] could have inspired Professor Tolkien, and some of them are not in Europe."</p><p>Around 2012, Kamali's eye stopped when it came across a Google Map of Central Asia that showed the mountain chain of the Himalayas, the peaks of the Pamirs bunched together in an almost circular area, and the huge, flat oval of the Takla Makan desert, bounded to the north by the Tian-Shan mountains. </p><p>"I had seen that map before," he writes. "This is of course Mordor, the land of Sauron and the dark powers of Middle-earth, where Frodo and Sam destroy the One Ring." </p><p>In <a href="http://lotrproject.com/map" target="_blank">Tolkien's world</a>, the Himalayas transform into Ephel Duath, the Mountains of Shadow; and the Tian Shan into Ered Lithui, the Ash Mountains. And the circle-shaped Pamirs "are the same shape and in exactly the same corner as the Udûn of Mordor, where Frodo and Sam originally tried getting into Mordor, via the Black Gate."<br></p>
Similar shapes<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQzMDM1Mi9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYxMDQyODMzNX0.KHrY7rDCNNaKKJQz-xn431APM2TqxGPCaMsqNvBe1xA/img.jpg?width=980" id="7a9fa" class="rm-shortcode" data-rm-shortcode-id="e87f1af97902201abc042640255606b2" data-rm-shortcode-name="rebelmouse-image" alt="Marine Corps helicopter flying over Tarbela Dam" />
A US Marine Corps helicopter flying over the Tarbela Dam on the Indus river in Pakistan. At its center: a former river island which may have been the inspiration for Cair Andros, a ship-shaped island in Middle-earth's Anduin river.
Image: Paul Duncan (USMC), public domain<p>Mulling over these similarities, Kamali became convinced that Tolkien's map work was heavily inspired by Asia. Looking further, he found more evidence. Consider Anduin, the Great River of Middle-earth, in whose waters the One Ring was lost for more than two thousand years. </p><p>On Tolkien's map, the Anduin bends toward the sea in a shape similar to that of another great river: the Indus, which runs the length of Pakistan. Like the Anduin, it flows to the west of a major mountain chain. A prominent feature of the Anduin is the river island of Cair Andros, just north of Osgiliath. Its name means 'Ship of Long Foam', a reference to its long and narrow shape, and the sharpness of its rocks, which split the waters of the Anduin like a prow. <br></p><p>Kamali is not entirely sure, but proposes that Tolkien may have been inspired by a similar-shaped island in the Indus. Now integrated into the Tarbela Dam, which was inaugurated in 1976, it would still have been a separate island in the 1930s and '40s, when Tolkien dreamed up his map.</p>
Kutch as Tolfalas Island<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQzMDM1NC9vcmlnaW4ucG5nIiwiZXhwaXJlc19hdCI6MTYwOTU5NjcyNn0.869W8iiowQb9_T3laFKOUe5o5UMXuMlSITb1VxRlC2g/img.png?width=980" id="9c49e" class="rm-shortcode" data-rm-shortcode-id="548bafc6042cc7515e07f77657aa161c" data-rm-shortcode-name="rebelmouse-image" alt="Map of Kutch" />
During the rainy season, the coastal region of Kutch, near the mouth of the Indus, turns into an island that resembles Tolfalas Island, near the mouth of the Anduin.
Image: Mohammad Reza Kamali, reproduced with kind permission<p>Turning our eyes to the mouth of the Anduin and Indus, we see another pair of islands, and Kamali is more certain about the real one having inspired the fictional one. The fictional one is Tolfalas Island, the largest island in Belfalas Bay. <br></p><p>At first glance, it doesn't seem to have a real-life counterpart near where the Indus joins the Arabian Sea. But take a look at the coastal part of the Indian state of Gujarat. It is known as <em>Kutch</em>, a name which apparently refers to its alternately wet and dry states. In the rainy season, the shallow wetlands flood and Kutch becomes an island – the biggest island in the Gulf of Kutch, and not too dissimilar to Tolfalas Island. </p>
General knowledge<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQzMDM1NS9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTYyMDIwODkyOH0.aInJedv3tiQo1LmW-M6D5LV699oeWNltxeYcVKWwtF0/img.jpg?width=980" id="9bc6e" class="rm-shortcode" data-rm-shortcode-id="01d97d3941f9ba732b4df35c3aedd977" data-rm-shortcode-name="rebelmouse-image" alt="British Indian Empire 1909 Imperial Gazetteer of India" />
1909 map showing British India in pink (direct British control) and yellow (princely states). Circled: Kutch, clearly recognisable as an island.
Image: Edinburgh Geographical Institute; J. G. Bartholomew and Sons, public domain<p>But are these similarities really more than coincidences? Why would Tolkien, who was based in Cambridge and steeped in English lore and Germanic mythology, turn to the Indian subcontinent for topographical inspiration? Perhaps because cartographic knowledge of that part of the world was far more general in Britain then than it is now. Until the late 1940s, the countries we know today as India and Pakistan were part of the British Empire. Detailed maps of the region would have been standard fare for British atlases. </p><p>Kamali is convinced that the topographical features on Tolkien's map of Middle-earth are not mere fantasy, but derive from actual places in our world, and were 'riddled' onto the map. In that case, we may look forward to more discoveries of Tolkien's real-world inspiration. <br></p>
From Frodingham to Frodo<img type="lazy-image" data-runner-src="https://assets.rebelmouse.io/eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJpbWFnZSI6Imh0dHBzOi8vYXNzZXRzLnJibC5tcy8yMzQzMDM1Ni9vcmlnaW4uanBnIiwiZXhwaXJlc19hdCI6MTU5NzgzMzE2OH0.uMd43VxS9WQSWr1Z0IQ-UxIhBYkERhxTU7hoPvNachk/img.jpg?width=980" id="05037" class="rm-shortcode" data-rm-shortcode-id="ff9aace7fc7c111df3639a276cedf63c" data-rm-shortcode-name="rebelmouse-image" alt="Photograph of J. R. R. Tolkien in army uniform" />
J.R.R. Tolkien in 1916, when he was 24. Around that time, he was stationed near the village of Frodingham, which may have given him the inspiration for the name of the main protagonist in Lord of the Rings.
Image: public domain<p>Here's one example of Tolkienography—if that's what we can call the effect of actual geography on this particular writer's imagination—which I gleaned myself, some years ago in East Yorkshire. A local historian told me that Tolkien had been stationed in the area during the First World War, and had apparently stored away some local place names for later use. The name Frodo, he said, derived from a town where he had attended a few dances – Frodingham, a village across the Humber in northern Lincolnshire, not far from Scunthorpe (<em>Scunto</em>? We dodged a bullet there). </p><p>Whether that story is entirely true or not is beside the point. As fantasy fans know, any grail quest is ultimately about the quest, not the grail. In fact, to quote Mr Kamali, the treasure is important only because it's well hidden, "by a clever professor who enjoys riddles."</p><p><em>Unless otherwise indicated, illustrations are from Mr Kamali's <a href="https://arda.ir/the-tale-of-the-annotated-map-and-tolkien-hidden-riddles/?fbclid=IwAR3RmtU0ZdyzQGlK-iCsUjho4LA2W279fwO9dt8vv90FX2IeO3zrfMuMToU" target="_blank">article</a> on <a href="https://arda.ir/" target="_blank">Arda.ir</a>, reproduced with kind permission. </em><br></p><p><strong>Strange Maps #1036</strong></p><p><em>Got a strange map? Let me know at </em><a href="mailto:firstname.lastname@example.org">email@example.com</a><em>.</em></p>
On Friday, NASA's InSight Mars lander captured and transmitted historic audio from the red planet.
- The audio captured by the lander is of Martian winds blowing at an estimated 10 to 15 mph.
- It was taken by the InSight Mars lander, which is designed to help scientists learn more about the formation of rocky planets, and possibly discover liquid water on Mars.
- Microphones are essentially an "extra sense" that scientists can use during experiments on other planets.
Listening for sounds on Mars<p>It's not the first time NASA has tried to capture audio on the Martian surface. The agency's Mars Polar Lander was outfitted with a microphone, but that craft ultimately crashed into the planet in 1999 after shutting its engines off too early. The Phoenix Lander managed to stick its landing in 2008, but NASA chose not to engage the craft's camera or microphone after a mission malfunction.</p><p>NASA plans to capture more audio from the red planet on its Mars 2020 mission. That lander will be equipped with two microphones that will, among other things, listen to what happens when the craft fires a laser at rocks on the surface. When that happens, parts of the rock will vaporize, causing a shockwave that makes a popping sound. The noises captured from interactions like these can <a href="https://www.space.com/32696-microphone-on-nasa-mars-rover-2020.html" target="_blank">help tell scientists about the mass and makeup of the rocks</a>.</p><p>In other words, microphones give scientists another "sense" to use during experiments on the Martian surface.</p>
The ocean's largest shark relies on vision more than previously believed.
- Japanese researchers discovered that the whale shark has "tiny teeth"—dermal denticles—protecting its eyes from abrasion.
- They also found the shark is able to retract its eyeball into the eye socket.
- Their research confirms that this giant fish relies on vision more than previously believed.
A. Anterior view of the whale shark, showing the locations of the eye (arrows). Note that whale shark eye is well projected from the orbit. Photo was taken in the sea near Saint Helena Island. B. Close-up view of the left eye of a captive whale shark (Specimen A).<p>Considering their dietary habits, vision was not thought be that important for whale sharks. This species is unique for not having any sort of eyelid or protective mechanism—until now, that is. Not only do dermal denticles protect their vision, the team, led by Taketeru Tomita, discovered that whale sharks have another trick:</p><p style="margin-left: 20px;">"We also demonstrate that the whale shark has a strong ability to retract the eyeball into the eye socket."</p><p>The researchers studied these massive sharks in an aquarium, offering them a rare look at one of the ocean's largest fish (They also studied deceased sharks). The eye denticle is different from the rest of the scales covering their body: they are designed for abrasion resistance, not ocean stealth. </p><p style="margin-left: 20px;">"The covering of the eye surface with denticles in the whale shark is probably useful in reducing the risk of mechanical damage to the eye surface." </p><p>Despite their massive size, whale sharks have relatively small eyes, measuring less than 1 percent of their total length. Their brain's visual center is also relatively small. With this discovery, the researchers realized vision plays a more important role than previously assumed. </p><p style="margin-left: 20px;">"The highly protected features of the whale shark eye, in contrast to the traditional view, seems to suggest the importance of vision in this species. Interestingly, Martin showed that whale shark eyes actively track divers swimming 3–5 m away from the animal, suggesting that vision of the whale shark plays an important role in short-range perception." </p><p>While you likely won't bump into a whale shark while swimming just off the coast, this is yet another reminder of how species adapt to their environment. </p><p><span></span>--</p><p><em>Stay in touch with Derek on <a href="http://www.twitter.com/derekberes" target="_blank">Twitter</a>, <a href="https://www.facebook.com/DerekBeresdotcom" target="_blank">Facebook</a> and <a href="https://derekberes.substack.com/" target="_blank">Substack</a>. His next book is</em> "<em>Hero's Dose: The Case For Psychedelics in Ritual and Therapy."</em></p>