Golden Glow Research Articles

Sculpture: Only Connect

Sculpture: Only Connect LINCOLN PERRY My mother would take us to New York’s Museum of Natural History when I was a child. Tyrannosaurus Rex, his skeletal tail firmly on the ground, and the gargantuan blue whale, airborne as if leaping from the sea, were of course magical to a young boy. The snowbound diorama of wolves running and leaping beneath the Northern Lights terrified me, and in my bad dreams no glass intervened to protect me from their gleaming fangs. Two groups of figures in bronze loomed in the entry hall’s semi-darkness, one of growling lions, faced diagonally across the huge hall by natives preparing to throw spears. I was enchanted, less by the artistry of the sculptor (I was only a kid) than by this wonderful tension, a drama unfolding right there on the Upper West Side. The reasoning now operating behind the move to take down the statue of Teddy Roosevelt on Central Park West may have been responsible for the removal of this vivid confrontation of hunters and hunted (it was unclear which would be which). On re-visiting the museum decades later, I also missed the busts by Malvina Hoffman that had graced the upper halls, including one of Mangbetu Woman. She was glorious, even more magnetic to a very young boy than the Tyrannosaurus or the whale. She may have been removed as we re-thought the premise of Hoffman’s series, “The Races of Mankind,” or because her spectacular breasts had been polished to a golden glow by young hands reaching up to touch them. While Hoffman herself might have been troubled that her piece’s dark matte patina contrasted so dramatically and distractingly with the woman’s shiny breasts, she may also have felt amused or even honored. For Mangbetu Woman arion 29.1 spring/summer 2021 2 sculpture: only connect had very young admirers, one might almost say worshippers, paying homage or seeking comfort from an inanimate chunk of metal. This might be a tribute to mammary glands, but also to the power of sculpture. Toes of marble saints across Europe have been worn down to stubs by a similar need to bond with objects that transcend objecthood . Jules Dalou’s bronze of the recumbent/tumescent Victor Noir in Paris’ Pere Lachaise Cemetery was briefly fenced to prevent women from rubbing his member, made to glow with an almost supernatural radiance. As an adult, I can’t imagine I’m alone in the desire to touch, to identify or merge with tangible forms in space, be they bronze, stone, wood or flesh. Atavistic needs and memories surely come into play even with abstract sculpture, taking Jean Arp as but one example. His work recognizes these urges and perhaps even teases the viewer, or I might say the fondler. For while our eye may try to comprehend Arp’s biomorphic bulbs, we respond more viscerally, somewhere between touch and a bodily identification, deep in our own sense of being. His piece lacks our symmetry, resembling a squeezed balloon bulging in unpredictable ways, but this quirky swelling might remind us intuitively of our own proclivity to move and grow. Whether we hold such a form in our hands the way cave Lincoln Perry 3 dwellers held the Willendorf Venus 25 millennia ago, or stand humbly before it, some mysterious fusion or projection can take place. Surely some of this power depends on actuality, on being able to circumnavigate, say, this African sculpture in the Art Gallery of Ontario’s collection. It’s our loss if we stride past and dismiss her as foreign or unfamiliar, for the more time we spend in her presence the more we subtly assume her semi-squat, as if we all belong to the same gym. She being about our height, we feel as much as see her, sensing her kindred nature, with weight shifts we’ve experienced ourselves. Scientists call this proprioception, our awareness of location in space as a kind of sixth sense, making this figure’s pinched waist, protruding belly and bent knees evoke an unconscious echo in our limbs, as if mass precedes sight or surface. For me, some of the devotional...

Mullein, and: Safe

Mullein, and: Safe Kathryn Savage (bio) Mullein I live in a 1909 Sears two-story with patinaed wood floors that turn the shade of expensive honey in morning light. I bought this house from my modest salary at an arts nonprofit after I divorced, because it was close to my job and my son’s school. Built on a limestone foundation over deep wells of vinyl chloride–contaminated ground-water, a heavy robin’s-egg-blue wedge atop sandy soil. After moving in, I planted a rain garden. My front yard a tangle of milkweed, woodland strawberry, great blue lobelia, rose turtlehead, honeysuckle, Jacob’s ladder, prairie smoke, and wild golden glow, denser every year. “The mullein is back,” Sigrun says. We are drinking wine on her front porch, her dog splayed and running in sleep between our two laps. My friend and neighbor, who has noticed more of it this past summer, hairy biennial whose stalks are skirted with a large rosette of sage-green leaves, lining her backyard fence line. She says mullein grows crooked when the soil is contaminated. It’s from her, tonight, that I learn the playground at the end of her block sharing soil with Shoreham Yards, owned by Canadian Pacific, is probably polluted too. When CP greenlit the train-car-themed playground, where we took our sons when they were small, story goes, they made it a contingency that the neighborhood committee who built the park not test the soil for toxins. [End Page 87] Safe From the Eastside Shoreham Newsletter I learn the name Louise. Louise works for Canadian Pacific. I call, leave a vague message, and am surprised when she calls me back. We talk for a while, I ask my questions. I tell her I want to see it. “What it?” “The roundhouse,” I say. “It was demolished earlier this summer,” she tells me. “Even if it was still standing, you couldn’t see it. This is an active worksite.” I am nodding my head in agreement, though Louise cannot see this. I know about active worksites; I want Louise to know I know. “We don’t just let people onto the railyards. You can’t come in here unless you have business,” Louise says. Do I have business? I breathe the railyard; I eat it in the tomatoes I grow out back. I tell her quite impotently that I receive the Eastside Shoreham Newsletter. I am a regular reader of it. That I didn’t know about any of this until I moved into the neighborhood, just two blocks away from the roundhouse. I tell Louise my address. Her voice shifts. A wall is erected. She says, “People know about the pollution here, the public has been informed.” I concur. I do feel more informed, daily. She tells me there used to be community meetings on the cleanup status, but attendance dwindled so the company stopped hosting them. Then she tells me I am safe. My tap water is safe. My yard is safe. They have been remediating volatile organic compounds since the nineteen eighties. I am so safe. I like the way Louise says the word. She sounds authoritative and maternal. I want to keep her on the phone. I want her to keep telling me. [End Page 88] Kathryn Savage kathryn savage’s debut lyric essay collection, Groundglass, is forthcoming from Coffee House Press in 2022. She is the recipient of the James Wright Prize from the Academy of American Poets, and her writing has appeared in American Short Fiction, BOMB, and World Literature Today, at Poets.org, and in the anthology Rewilding: Poems for the Environment. * Copyright © 2021 University of North Carolina Wilmington

Everything All at Once by Katrina Leno

Reviewed by: Everything All at Once by Katrina Leno Deborah Stevenson, Editor Leno, Katrina Everything All at Once. HarperTeen/HarperCollins, 2017[368p] Trade ed. ISBN 978-0-06-249309-5 $17.99 E-book ed. ISBN 978-0-06-249312-5 $9.99 Reviewed from galleys Ad Gr. 7–10 High school senior Lottie is devastated by the death of her favorite aunt, Helen, an author whose fantasy books about a brother and sister dabbling with immortality rocketed her to international fame. Helen has left Lottie a series of letters that give her missions and instruct her to take risks that hyperanxious Lottie would ordinarily avoid. These missions lead her to many things—teaching Aunt Helen’s college class, doing something reckless, and meeting Sam, a boy who knew and loved her aunt, and who is central to the secret Helen hints at in her letters. The premise is a dead ringer for Johnson’s Thirteen Little Blue Envelopes (BCCB 10/05), and the scavenger-hunt pleasure of following a trail of legacy instructions remains strong. However, it’s stretched beyond plausibility here, and Helen is too sanctified by the golden glow of universal adoration to be genuinely likable while Lottie’s anxiety is only occasionally effectively conveyed; additionally, the fantastical twist is slow in coming, lacking any satisfying punch. Fans of Johnson’s adventure may still find the notion hard to resist, though, and the touch of magic provides additional appeal. [End Page 459] Copyright © 2017 The Board of Trustees of the University of Illinois

THE UNIQUENESS OF EMILY DICKINSON’S WORLDVIEW COLOUR PALETTE: EXPRESSIVE MEANS OF THE ENGLISH LANGUAGE

Purpose. This paper considers the issue of colour designation functions in Emily Dickinson’s poetry and prose, the object of the study being Emily Dickinson’s both poetry and epistolary legacy in relation to similar images and stylistic devices. Methodology. The research is based on linguistic and statistical analysis with elements of comparison. Results. The study establishes extension of the semantic structure of the word image thanks to a system of associative links being characteristic of the colour designations that match with a particular word image. The paper is mainly focused on the usage of the gold/golden colour on various levels (poems, letters). The conclusion of the paper is that the gold/golden colour in Emily Dickinson’s poetry and epistolary legacy acquires such generalized symbolic meanings as positive changes, divine grace and golden glow of believers.

Гирлянда в религиозной живописи Ренессанса.

Many works of Renaissance masters demonstrate close attention to the peculiarities of decor interpretation. Often such compositions depict a garland. The article is dedicated to a number of interpretation features of this insufficiently known detail in religious painting. The magnificent examples of such compositional decisions are typical for the works of Andrea Mantegna (for example, Saint Georges, Galleria dell’Accademia, Venice, Atarpiece from the basilica of San Zeno, Verona, and Madonna of the Victory, Louvre, Paris). Garlands often express masters’ particular passion for the symbolism of fruits. Among those are the compositions of Carlo Crivelli where the glorification of Madonna and Christ is expressed in the language of traditional Christian symbols represented as fruit garlands. There is a remarkable interpretation of a garland in the works of Cosme Tura. In Madonna with the sleeping child (Galleria dell’Accademia, Venice) conventional design of zodiacal constellations in form of golden glow is combined with two realistically painted bunches of grapes and goldfinch, a traditional symbol of Christ’s sufferings. The study of a Renaissance garland shows that decorative at the first glance, this detail preserves the ancient function of glorification of a figure overshadowed by it.

In-vitro Antioxidant and Anti-lipid Peroxidation Activity of Ethanolic Extracts of <i>Bougainvillea shubhra, Bougainvillea peruviana</i> and <i>Bougainvillea bhuttiana</i> Golden Glow: A Comparative Study

The aim of our present study was to evaluate the antioxidant and anti-lipid peroxidation activity of ethanolic extracts of <em>Bougainvillea species viz B. shubhra, B. peruviana and B. bhuttiana</em> golden glow. Phytochemical constituents viz. total phenolics, flavonoids and tannins were assayed using standard protocol. The antioxidant activity was studied by DPPH assay, FRAP assay, reducing power assay and in-vitro inhibition of lipid peroxidation. Of the three species, <em>B. bhuttiana</em> golden glow showed highest amount of phenols (6.78±0.001), flavonoids (27.7±0.012) and tannin (11.08±0.008) contents. It also showed highest antioxidant activity of 15.15± 0.008 and 8.08± 0.018 as determined by FRAP assay and reducing power assay respectively. The percent DPPH radical scavenging activity was 82.72% and in-vitro inhibition of lipid peroxidation in mitochondrial membrane was also found to be highest in <em>B. bhuttiana</em> golden glow.

Baking Day at Grandma’s by Anika Denise (review)

Reviewed by: Baking Day at Grandma’s by Anika Denise Jeannette Hulick Denise, Anika Baking Day at Grandma’s; illus. by Christopher Denise. Philomel, 2014 [32p] ISBN 978-0-399-24244-1 $16.99 Reviewed from galleys R 3-6 yrs Three little bear cubs trek through the winter snow to their grandma’s house, where they bake together. The bears enjoy licking the spoon, dancing to a phonograph record while they wait for their cake to bake, and cutting, frosting, and wrapping the finished product for holiday gift-giving. As they walk home in the moonlight, they happily contemplate a return visit soon. The lively rhyming text (“Flip the pan, and out it pops!/Cut in squares and frost the tops”) sets a cheery tone for this cozy chronicle, and kids will quickly join in on the simple but catchy refrain: “It’s baking day! It’s baking day! It’s baking day at Grandma’s!” Christopher Denise’s illustrations, which have a saturated, painterly look despite their digital rendering, are the real star here, however. The ebullient ursines, with their oversize snouts and teddy-bear-like fur, are warm and cuddly and brimming with character, especially as they march through Grandma’s kitchen wielding their baking tools (one cub [End Page 149] amusingly carries in the mixing bowl upside-down on his head). Warm tones, soft edges, and the golden glow of sunlight filtering through the windows add to the snugness. This would make a satisfying partner to Elliott’s equally comfy Knitty Kitty (BCCB 8/08, also illustrated by Christopher Denise); a splendid addition to a storytime centered around bears, baking, or gift-giving; or a delicious time-filler while waiting on a batch of cookies to finish baking. Copyright © 2014 The Board of Trustees of the University of Illinois

A Genome-Wide Scan for Evidence of Selection in a Maize Population Under Long-Term Artificial Selection for Ear Number

A genome-wide scan to detect evidence of selection was conducted in the Golden Glow maize long-term selection population. The population had been subjected to selection for increased number of ears per plant for 30 generations, with an empirically estimated effective population size ranging from 384 to 667 individuals and an increase of more than threefold in the number of ears per plant. Allele frequencies at >1.2 million single-nucleotide polymorphism loci were estimated from pooled whole-genome resequencing data, and FST values across sliding windows were employed to assess divergence between the population preselection and the population postselection. Twenty-eight highly divergent regions were identified, with half of these regions providing gene-level resolution on potentially selected variants. Approximately 93% of the divergent regions do not demonstrate a significant decrease in heterozygosity, which suggests that they are not approaching fixation. Also, most regions display a pattern consistent with a soft-sweep model as opposed to a hard-sweep model, suggesting that selection mostly operated on standing genetic variation. For at least 25% of the regions, results suggest that selection operated on variants located outside of currently annotated coding regions. These results provide insights into the underlying genetic effects of long-term artificial selection and identification of putative genetic elements underlying number of ears per plant in maize.

The Golden Glow of India: A Financial Perspective

Gold is a large Global business and represents the most liquid commodity market other than crude oil. These notes offer an overview of issues relating to Gold market and should be looked at as only information presented after the investigation of the structure of gold, trading as a futures contract on the NCDEX. In Part I, as an introduction to the precious metal Gold and its origin, a brief review of a prominent book on Gold and its history titled “The Ages of Gold” by Timothy Green is presented, Part II emphasizes on the demand and supply of gold in the world market with trend analysis, Part III emphasizes on aspects of the Gold Futures market, exchange trading of Gold futures with an overview of the now familiar GARCH properties (autoregressive conditional heteroscedasticity). Part IV emphasizes on a the Indian gold futures market and illustrates a rarely used measure in the capital markets–the Garman Klass estimator – is used to provide new insights in intraday and interday gold counter dynamics. As part of the closing remarks an executive summary is presented encompassing latest data on gold from a Global perspective. Scope for further research – Trend analysis of the Indian Gold futures market in the backdrop of the more mature American market would result in better forecasting of prices and demand.

Market Day (review)

Reviewed by: Market Day Elizabeth Bush Cordsen, Carol Foskett Market Day; illus. by Douglas B. Jones. Dutton, 2008 [32p] ISBN 978-0-525-47883-6 $16.99 Reviewed from galleys R 4–7 yrs The Bensons, who made their debut in Cordsen’s The Milkman (BCCB 10/05), are now farming. They must not be quite attuned to the rhythm of the work day, though, because the sun’s already creeping up by the time they awaken and realize it’s market day, and the apples still have to be picked and packed and driven to their farm stand. Nobody has time to feed the cow, and nobody thinks to close the gate, and that’s a sure recipe for trouble. While the Bensons and their farm neighbors set up their stalls, the cow finds her way to the market and upsets all the displays that stand between her and breakfast until finally the family sorts out the situation: “One green apple. One more. Red./ Benson farm cow finally fed./ Bensons help with Market mess./ Market open. Big success.” Although kids familiar with farmers’ markets won’t regard the setting as anything exotic, clothing and autos push the date back six or seven decades, and the saturated colors washed with a slightly incandescent golden glow suggest (without blatantly mimicking) an earlier era in children’s book illustration as well. Farm cow, with her pertly turned horns, gleaming brass bell, curly eyelashes, and white starred forehead, is a bovine babe that could make Elsie the Cow moo with envy, and the ruddy-cheeked Bensons exude heartland wholesomeness. Kids with a measure of farm smarts may not fully buy into the Bensons’ chances of getting a truckload of apples from tree to market with so tardy a start to the day, but they’ll certainly enjoy following the farm cow’s rump and hoof prints as she tracks down her forgetful owners. Copyright © 2008 The Board of Trustees of the University of Illinois

Classification of North Dakota maize inbred lines into heterotic groups based on molecular and testcross data

Establishment of the best combination among heterotic groups, heterotic patterns, is crucial to the development of successful maize (Zea Mays L.) hybrids. The use of molecular markers in maize-breeding programs might or might not increase the efficiency of heterosis prediction by classifying diverse inbred lines into heterotic groups. The objectives of present research were to classify elite North Dakota (ND) maize inbred lines into heterotic groups and evaluate the consistency between simple sequence repeat (SSR) grouping and testcross data. Thirteen ND inbred lines representing diverse genetic background were crossed in a diallel mating design in 2000. The crosses and 12 checks were evaluated across four ND environments in 2001 and 2002. In addition, these lines were crossed to commercial inbred testers representing known heterotic groups in 2002. Hybrids between public and private lines were evaluated across three ND environments in 2003. Inbred lines representing Lancaster Sure Crop, Iowa Stiff Stalk Synthetic (BSSS), Minnesota #13, Northwestern Dent, Golden Glow pedigrees and ND inbred lines were screened with 49 SSR markers. Inbred lines ND246, ND278, ND280, ND281, ND282 and ND284 were clustered within the BSSS heterotic group. Inbreds ND277, ND285, ND286, ND290, and ND291 grouped closer to the Lancaster Sure Crop heterotic group. Inbred lines ND257 and ND288 grouped within Minnesota #13. Data from ND278 and ND290 testcrosses showed good combining ability with testers representing more than one heterotic group. Our research shows that groups of genetically similar germplasm could not be identified accurately and reliably with molecular markers even when the available germplasm was diverse contrary what has been suggested. Therefore, extensive field evaluation is recommended to classify unrelated inbred lines of maize.

Genetic Control of Prolificacy and Related Traits in the Golden Glow Maize Population: II. Genotypic Analysis

The open‐pollinated maize (Zea mays subsp. mays) population Golden Glow [GG(MP)] provides excellent material for the study of morphological and genetic changes associated with selection for prolificacy. Late generations of the GG(MP), when planted at low densities, resemble the architecture of teosinte (Z. mays subsp. parviglumis), the ancestor of maize. Our objectives were (i) to identify molecular markers linked to chromosomal regions that influenced prolificacy and related morphological traits, (ii) to determine whether genes previously shown to influence branching patterns in maize were associated with quantitative trait loci (QTLs) influencing these traits, and (iii) to determine whether epistatic interactions among putative QTLs influenced prolificacy and correlated traits. A mapping population was developed from the cross of inbred A679 and a highly prolific S1 plant from Cycle 23 of GG(MP). Simple sequence repeat (SSR) and amplified fragment length polymorphism (AFLP) markers were combined for the linkage map construction. Thirty‐three QTLs were found for 14 of the 16 traits analyzed. A region located on Linkage Group 1 (LG 1) shared similarities with the pattern of development suggested for the teosinte branched1 (tb1) mutant. This suggests that genetic control of prolificacy and associated traits in GG(MP) may resemble the genetic changes underlying branching morphology that occurred during maize domestication. No evidence for additive‐by‐additive epistatic interactions was found.

Genetic Control of Prolificacy and Related Traits in the Golden Glow Maize Population: I. Phenotypic Evaluation

Prolificacy (the potential to produce ear shoots at multiple nodes on the main stalk) has been under selection since the early domestication of maize (Zea mays subsp. mays) from teosinte (Z. mays subsp. parviglumis). Until the early part of the 20th century, before mechanization, human selection may have favored single‐eared maize because it facilitated hand‐harvesting. Prolificacy, however, has the potential to increase stress tolerance under intensive management. Our objectives were (i) to assess variation for prolificacy and 15 related morphological traits in a population of 194 F3 families derived from inbred line A679 and a highly prolific S1 plant from the cultivar Golden Glow after 23 cycles of mass selection for prolificacy; and (ii) to determine relationships among traits and to infer which ones appear to be controlled by similar genetic factors. Traits were evaluated with two replications in three field environments. The population varied significantly for all traits and most traits had relatively high heritabilities (>0.80). Some traits were highly correlated, and two main groups were identified. These groups involved traits mostly associated with either the activity of axillary meristems, or intercalary meristems. In general, the correlations of traits across these two groups were insignificant or of lesser magnitude than within groups, suggesting that common genetic factors might be influencing some of these morphological traits.

Always Famous

Always Famous

Response to Selection and Genetic Drift in Three Populations Derived from the Golden Glow Maize Population

Reciprocal recurrent selection (RRS) in maize (Zea mays L.) is used to develop populations with superior combining ability, and it is usually assumed that these populations must be genetically distinct for RRS to be effective. Starting from two randomly derived subpopulations, GG(A) and GG(B), of the open‐pollinated maize population ‘Golden Glow’ (GGC0), we conducted six cycles of full‐sib RRS for grain yield and moisture. Our objectives were to (i) document selection response; (ii) evaluate inter and intrapopulation genetic diversity; and (iii) review selection response relative to gene action, heterosis, inbreeding, and genetic drift. We performed a generation means analysis (GMA) using GG(A), GG(B), and a third population of Golden Glow developed by 21 cycles of mass selection for prolificacy, GG(MP). Field performance was evaluated at four environments in Wisconsin. We analyzed allele frequency changes using simple sequence repeats (SSRs) and amplified fragment length polymorphisms (AFLPs). Selection response for grain yield of GG(A) × GG(B) population crosses was 5.3 g plant−1 cycle−1 Grain moisture and root lodging decreased by −0.5% cycle−1 and −5.2% cycle−1, while prolificacy increased by 0.03 ears cycle−1 After six cycles of RRS, GG(A) and GG(B) diverged genetically from each other, as well as from GG(MP)C21 and Golden Glow. Gene diversity within GG(A) and GG(B) decreased. However, total gene diversity over both GG(A) and GG(B) did not change over cycles of RRS. Genetic drift did not appear to seriously impede selection response. Most of the selection response, regardless of trait, selection method, or subpopulation, was attributed to additive genetic effects.

An Arrow in the Light

There was an arrow in the light. It was a flickering shaft that danced through the golden glow of late afternoon in the far mountains, cutting a graceful arc toward a target that it never hit. It snapped past the deer and disapperared, lost in the depths of the shadows and the forest floor. The deer raised its head, curious at the strange sound, the muffled hissing that an arrow makes as it drags its fletching through the air. But the deer never saw the arrow. And it never saw me. And I did not shoot again. I stood quietly behind some brush and watched the deer as it searched for food at the edge of a stand of timber. I blinked my eyes, and at the end of the blink the deer was gone, instantly, quietly. I never saw it again. I don’t know why I never hit the deer. I could hit other targets with my arrows—old paper cups, bits of dead wood, clumps of grass—but I never hit the deer. Chaser tried to explain it to me. “If you kill the deer,” he said, “the hunt is over. And for you the game is in the hunt, in the process, in the journey, in the stalk, in your mind. You don’t want it to be over. It is important to you that things stay in balance, that the deer stay in the forest, that the arrow stay in the air. You are most alive when the arrow is in the light. Oh, you wouldn’t mind too much if you actually killed the deer. You are, after all, a hunter. But you won’t kill the deer.” For years, I did not believe that. I was, after all, a hunter. When autumn came to the mountains of West Virginia and the air turned to a pure, cool liquid that flowed across my face and into my chest, when the turning leaves painted the high ridges with color that caressed my eyes, when the fragrance of the moist forest floor drifted magically through my mind and stayed there, to be renewed year after year with the coming of another autumn . . . When autumn came, I became a hunter.

Zelda Sayre, Belle

There are few more memorable wives in twentieth-century American culture than Zelda Sayre Fitzgerald, who married to the successful young author F. Scott Fitzgerald in 1920. His first novel, This Side of Paradise, had appeared a few weeks before their marriage. Because of his popularization of the Jazz Age, complete with its New York partying, elite college society, and alcohol, dancing, and flappers, readers tend to place his beautiful bride with the exotic name--Zelda--within those fictional contexts. In reality, Zelda Sayre had never been to New York City until she went there, accompanied by her older married sister, to wed Fitzgerald. Neither had she been abroad, nor had she gone to college. In fact, she had seldom spent a night away from her father's house. Zelda Sayre in fact a Montgomery, Alabama, girl, whose father a judge there in the state capitol. But more than that, Zelda Sayre a highly visible southern belle, soon to be immortalized in literature as the essence of the early-twentieth-century's thoroughly modern American woman. To change the definition of Zelda from flapper to is to move from the commercialized and risque image of woman as fast, easy--a speed--to that of the highly desirable but more traditional and consistently protected beauty. Flirtatious and flamboyant, the southern belle often a local celebrity. She the woman one courted, although she never assumed to be available. In the candid words of Virginia Foster Durr, a contemporary of Zelda's who grew up in Birmingham, Alabama, belles almost like visiting movie stars.... the epitome of success. Zelda Sayre, Durr wrote, was just gorgeous. She had a golden glow around her.... The boys would line up the whole length of the ballroom to dance with her for one minute. She just pre-eminent. And we recognized it. (1) The belle is peculiar to the South, and Fitzgerald, who grew up in St. Paul, Minnesota; Buffalo, New York; and Princeton, would have known little about belledom. Requisites of this time-consuming status at the close of the nineteenth century included birth into a certain social class along with the means to afford suitable clothes, train travel, and leisure. Several dozen callers on Sunday afternoons, as many letters daily, boxes of long-stemmed red roses, small square boxes of corsages, and the offers of fraternity pins, club insignias, and engagement rings--not to mention the actual dates, parties, and dances--kept the true belle busy from morning to night and into the next morning. The orderliness of the custom may have been difficult for outsiders to fathom, but within each social circle, rituals were firm: town girls could not be belles (again, social class--with a proper and recognizable family name--was crucial); neither could fast girls. The existence of the belle a tribute to the power, and the self-conceit, of the higher classes within the South: it reaffirmed patriarchy in that status as a belle entirely dependent upon the social standing of the girl's father. (2) Having money not the most significant part of being from the right social class. In the South people knew which families were which, and in Montgomery the Sayres were important people. Being popular as a teenager and a debutante a way of ensuring that the woman in question the right sort of girl, a suitable candidate for marriage, for, ultimately, the belle to take on the roles of wife and, particularly, of mother. Southern bloodlines, like southern manners, were not to be corrupted. Stemming from the aftermath of the Civil War, when the barriers between the white and black races became even more firmly entrenched--and horribly enforced through lynching--the politics of marriage grew increasingly significant. Because fortunes had been lost during both the Civil War and Reconstruction, social position maintained largely on the basis of family name and through one family's partnership in marriage with another stable and well-placed family. …

Twenty‐Four Cycles of Mass Selection for Prolificacy in the Golden Glow Maize Population

Maize (Zea mays L.) has the potential to produce an ear primordium at several nodes, and selection for increased prolificacy often increases grain yield. We have previously demonstrated the effectiveness of mass selection for increasing the number of active ear shoots in the ‘Golden Glow’ maize population. The objective of our research was to evaluate associated changes in ear and plant morphology after 24 cycles of mass selection for prolificacy in Golden Glow. Cycles 0, 6, 12, 18, 23, and 24 were grown in 1997 at two locations (Madison and Arlington, WI) at two planting densities (15 070 and 73 197 plants ha−1). At the lower planting density, the mean number of ears per plant increased from 1.61 at C0 to 4.93 at C24, and the response rate increased over the more recent cycles, mainly from C18 to C24. At C24, tiller number has increased, and lateral branches (terminating in ears) were located at approximately one node higher and two nodes lower on the main stalk compared with the original population. Total node number on the main stalk increased, and the internode length decreased over the 24 cycles, but the opposite occurred for lateral branches. At the lower planting density, ear diameter, ear length, and kernel size decreased by 0.03, 0.10, and 0.01 cm cycle−1, respectively, but total number of kernels per plant and dry kernel weight per plant increased significantly at a rate of 36.69 kernels cycle−1 and 5.60 g cycle−1 over the 24 cycles. Similar trends, but of lesser magnitude, were observed at the higher planting density. The changes in plant morphology observed across cycles of selection for prolificacy represent a general derepression of axillary meristematic growth in both main stalks and lateral branches.

Twenty-Four Cycles of Mass Selection for Prolificacy in the Golden Glow Maize Population

Maize (Zea mays L.) has the potential to produce an ear primordium at several nodes, and selection for increased prolificacy often increases grain yield. We have previously demonstrated the effectiveness of mass selection for increasing the number of active ear shoots in the ‘Golden Glow’ maize population. The objective of our research was to evaluate associated changes in ear and plant morphology after 24 cycles of mass selection for prolificacy in Golden Glow. Cycles 0, 6, 12, 18, 23, and 24 were grown in 1997 at two locations (Madison and Arlington, WI) at two planting densities (15 070 and 73 197 plants ha−1). At the lower planting density, the mean number of ears per plant increased from 1.61 at C0 to 4.93 at C24, and the response rate increased over the more recent cycles, mainly from C18 to C24. At C24, tiller number has increased, and lateral branches (terminating in ears) were located at approximately one node higher and two nodes lower on the main stalk compared with the original population. Total node number on the main stalk increased, and the internode length decreased over the 24 cycles, but the opposite occurred for lateral branches. At the lower planting density, ear diameter, ear length, and kernel size decreased by 0.03, 0.10, and 0.01 cm cycle−1, respectively, but total number of kernels per plant and dry kernel weight per plant increased significantly at a rate of 36.69 kernels cycle−1 and 5.60 g cycle−1 over the 24 cycles. Similar trends, but of lesser magnitude, were observed at the higher planting density. The changes in plant morphology observed across cycles of selection for prolificacy represent a general derepression of axillary meristematic growth in both main stalks and lateral branches.

Kren's Taj Mahal: The Guggenheim's Global Love Museum

Krens's Taj Mahal:The Guggenheim's Global Love Museum Joseba Zulaika (bio) That old Bilbao moon / There where we used to go / That old Bilbao moon / Casting its golden glow / That old Bilbao moon / Love never laid me low / That old Bilbao moon / How does it haunt me so. I don't know if / It would bring you / Joy or grief / But it was fantastic / It was fantastic / It was fantastic / Beyond belief. —Bertold Brecht, "Bilbao Song" The unlikely encounter between the American visitor and his hosts was taking place in Guernica—the Basque town of ancient laws, Hitler's Luftwaffe squadrons, and Picasso's painting. The illustrious visitor's destination was Bilbao and it was already late afternoon, but the hosts were still keeping him away from his desired object. They were in the pastoral Bizkaian countryside, sitting around a long table at the center of an old baserria "farmstead" turned into an exquisite restaurant. For Basques good food, wine, and an exuberant commensality are quintessential to any negotiation. Right across the narrow valley from the restaurant was the cave of Santimamine where archeologist Barandiaran had discovered rupestral paintings and other Paleolithic vestiges that invoke the very essence of Basque prehistory. [End Page 100] Three miles away was the town of Guernica. Rousseau had written: "Guernica has the happiest people in the world, regulating their affairs by a body of peasants under an oak, and always conducting themselves wisely" (qtd. in Zulaika, "Tropics" 93). Happy also was Hitler as he welcomed back the pilots who had bombarded it: "Your fight in Spain was a lesson to our opponents." "Guernica was an experimental horror," added Churchill (Zulaika, "Tropics" 93). The hosts wanted to immerse the American visitor in this very land, in the thickness of its mysterious aura of Basque prehistory and legendary antiquity, in the drama of its tragic centrality in twentieth century's history of horror and art. The visitor's name was Thomas Krens, the director of New York's Guggenheim Museum. It was in Guernica that the possibility of the Bilbao-Guggenheim, the textbook case of the cultural politics of transnational museums, became real. It is worth revisiting this story in order to learn about the genesis of how the global museum was patented. Only a detailed narrative of the twisted trip that began in a helicopter ride that April 8 can bring us close to the real story. A Helicopter Ride Forget for a moment Hitler's warplanes and Picasso's painting. It was a helicopter of the Basque police that had landed smoothly in Guernica's soccer field, carrying aboard the distinguished visitor and his local hosts. The aerial visitor was coming from New York and had arrived via Madrid in Bilbao's Sondika airport. As implausible as it seemed, they were going to plot a new epoch-making chapter in the international history or art and politics. The Basques had studied the man in advance and left nothing to chance. The main instruction was clear: treat him as if he were a head of state. So first there was a visit with the lehendakari or President of the Basque Autonomous Government in Gasteiz, the Basque administrative capital thirty miles from Bilbao. But there was a second no less important provision: he had to travel there by helicopter. The airport is close to downtown Bilbao, but a direct car ride could prove fatal for the visitor's first impressions of the city. The grim view of the city's closed industries in ruins could make him jittery; and it was not uncommon that the road be blocked by traffic, public works, or perhaps a labor protest, any of which might place the entire visit in jeopardy. Airlifting him over the beautiful Mundaka estuary and the green hills of the interior countryside was a far safer proposition. And there was an added symbolic factor of which the hosts were very conscious: this aerial overview of the panorama reinforced by [End Page 101] the helicopter's sound track would give the visitor a sense of almost imperial power. The Basques hammered upon one message: "Bilbao is a strong, fundamentally healthy city." Although it was undergoing...