Culture
Book Review: ‘Air-Borne,’ by Carl Zimmer
AIR-BORNE: The Hidden History of the Life We Breathe, by Carl Zimmer
At the start of 2020, a small team of scientists tried and failed to convince public health organizations that Covid-19 was spread through the air we breathe. Why they failed, and how they ultimately won, is the subject of Carl Zimmer’s new book, “Air-Borne.”
Until 2020, explains Zimmer (a New York Times science columnist), scientists thought that respiratory diseases like Covid spread through droplets, and that these droplets had a limited range. Coughed up, they fell quickly to the ground — like “soggy raisins,” to use the vivid if disgusting terminology of a 1990s health official speaking about tuberculosis.
Thus the recommendation offered by the World Health Organization: “Maintain at least one meter (three feet) distance between yourself and other people, particularly those who are coughing, sneezing and have a fever.”
“Air-Borne” shows us how the scientific community came to understand that Covid-19 transmission was less akin to shots from a gun, and more like smog in a valley. To explain, Zimmer takes us through the history of aerobiology, and in his detailed and gripping account, he ascribes the reluctance of both the Centers for Disease Control and the World Health Organization to a bias born of an ancient battle between two factions known as “miasmatists” and “contagionists.”
According to miasmatists, bad air destroyed health. In the Middle Ages, swamps meant fever. And when Benjamin Rush looked for the cause of 1793’s deadly yellow fever outbreak in Philadelphia, he smelled bags of spoiled coffee: “Their sickness commenced with the day on which the coffee began to emit its putrid smell.”
In the 1800s, when contagionists began to see germs as culprits, their theories gained ground — partly because tools had been invented to see their postulated micro-organisms. Starting in the 1870s, Robert Koch identified the bacterium that caused anthrax, then tuberculosis and cholera.
At the same time, still more microscopic organisms were shown to be airborne. The United States enlisted Amelia Earhart to track them by plane, while on the ground William Firth Wells and Mildred Weeks Wells, a brilliant if cranky couple, not known for winning over colleagues to their unorthodox way of thinking, mapped out the ways contagions spread through public spaces like schools. Their work indicated that tuberculosis was airborne. Ditto measles, still among the most contagious diseases on record.
The Wellses hoped their research could protect the troops, warning that respiratory diseases killed more men than the Germans did in World War I. Their colleagues ignored them. The Army, however, became interested in weaponizing airborne contagion, and the Wellses had shown how droplet nuclei could spread diseases over long distances.
“The bearing of these findings on bacterial warfare is far-reaching,” wrote Theodor Rosebury (in a report written with Elvin Kaba), a dentist recruited to run the Army’s secret Airborne Infection Project. Rosebury later renounced his work, which violated the Geneva Protocol’s biological weapons ban, but his writings, per Zimmer, encouraged the Soviets to build up their biological arsenal, further encouraging the United States to build up theirs.
It was a Catch-22 that endangered the world and colored the way America managed public health threats. Bill Clinton, stoked in part by a fictional plot in “The Cobra Event,” took bioterrorism as a reason to further connect public health and national defense.
Under the George W. Bush administration, Zimmer writes, billions of dollars went to fight abstract threats at the expense of actual ones — like H.I.V., tuberculosis, malaria, measles and cholera — that annually kill millions.
Through the 1990s, viruses were described in terms of war — the “single biggest threat to man’s continued dominance on the planet,” in the words of the Nobel laureate Joshua Lederberg. Slowly, researchers like Linsey Marr returned to the Wellses’ work, which was rooted in community.
An environmental engineer, Marr had shifted her focus from smog to the spread of influenza in 2009, a change inspired by her son, who regularly brought home sicknesses from day care. Marr was surprised at how little we knew about how viruses were transmitted, and she worked out the math. “Every year,” Zimmer writes, “she would turn to the chalkboard in her lecture hall and derive equations to show her students that particles much bigger than five microns can readily stay in the air for a long time.” Winds, for instance, carry grains of sand.
The resistance to work like Marr’s was fierce: As Covid spread, The New England Journal of Medicine rejected her work, while Anthony Fauci discounted a warning by Lydia Bourouiba, an engineer at M.I.T. who studied turbulence and whose research showed how breath followed the physics of aerosols, or clouds.
The debate could seem like miasmatists versus contagionists all over again. But researchers like Marr and Bourouiba were reframing public health generally, balancing the warlike defeat of a pathogen with a focus on building safe environments. “The Covid‑19 pandemic made the ocean of gases surrounding us visible,” Zimmer writes. “Air-Borne” shows us the ways seeing where we live means listening deeply — and being prepared to see what’s perhaps never been seen.
AIR-BORNE: The Hidden History of the Life We Breathe | By Carl Zimmer | Dutton | 466 pp. | $32
Culture
I Think This Poem Is Kind of Into You
A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.
The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.
And then it bursts into flame.
“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.
Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.
We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.
To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.
But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”
That’s the kind of poem she wrote.
“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.
Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.
What happens next? That’s up to you.
Culture
Can You Identify Where the Winter Scenes in These Novels Took Place?
Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.
Culture
From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel
When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.
This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.
There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.
Their first impressions fill a nearly page-long paragraph. Here’s how it begins.
Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.
But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.
It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.
See the full list of the 10 Best Books of 2025 here.
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