The Straight and Narrow

Interlocked gold rings floating in clouds. Image by Jeff Emtman. Digital render.

The Straight and Narrow
Here Be Monsters Podcast
 

In 2012, a street preacher walking three small dogs tried to convince Jeff Emtman of his way of thinking about gender and the afterlife. 

In this Here Be Monsters brief, Jeff shares the short essay he originally wrote about the dinner party where they attempted to make an uneasy friendship. 

Jeff re-edited the essay in 2022 and gave pseudonyms to the main characters (“Cliff” and “Sophie”). 

Producer: Jeff Emtman
Music: The Black Spot

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HBM090: Two Small Creatures with Human Eyes

Lucy and her mate at the American Museum of Natural History in New York City.  Photo by Jeff Emtman.

Lucy and her mate at the American Museum of Natural History in New York City. Photo by Jeff Emtman.

Two Small Creatures with Human Eyes
Here Be Monsters Podcast
 

Natural history museums are art galleries.  Scientifically focussed art galleries, but art galleries nonetheless.  

Ian Tattersall, of the American Museum of Natural History in New York City, is a paleontologist who sometimes oversees the construction of models for the museum.  Of personal interest to Here Be Monsters producer Jeff Emtman are reconstructions of very lifelike early humans, one with an arm draped over the other.  Ian calls these the “Laetoli Figures”—named for the place in modern-day Tanzania where some remarkable footprints of two hominids were found preserved in volcanic ash.  

As far as early humans go, Australopithecus Afarensis are well understood.  There are 300+ individuals in the fossil record, including the famous ~40% complete fossil of “Lucy”.

Given the evidence, there’s a lot scientists can be pretty certain in declaring: they lived in the trees, but they could walk upright.  They had small brains and big jaws, but their canine teeth looked a lot like a modern human’s.  

There are other questions that are answerable through inference, through studies of modern animals and other fossils.  These techniques can yield a strong degree of certainty.

But if the artist were to stop constructing at the edge of certainty, the models would never be completed. There are certain things that are essentially unknowable about these early hominids, like: “What did their skin look like?” “What color was their hair?” “Did they have the dark sclera of an ape, or the whites-of-the-eye of a modern human?”

These uncertainties are ultimately up to the artist to answer.  “When you’re making a museum exhibit,” Ian (not an artist) points out, “you’re trying to create an illusion.  And to work at all, the illusion has to be complete.  And so you have to have all the details in there.”

HBM090-01.jpg

Ian Tattersall, Curator Emeritus of Human Origins at the American Museum of Natural History and a replica of an early human colloquially named “Lucy”.

 

But these details are a form of artistry used as evidence by biblical creationists to lambast hominid reconstructions.  They see it as part of an effort to deceive the public, to lead them to believe that these ancient hominids were more human-like than they actually were.  Of particular interest to them is that question of the light sclera vs. dark sclera.  One author writes:

Notice that a fossilized eyeball was not found.  So how would anyone know that the sclera was white, which would cause it to look more human. [sic] The reconstruction is pure speculation about how Lucy’s eye looked.

Natural history museums are faced with a decision: create full-flesh reconstructions that by necessity contain elements of artistic license, or, present the public with mere bones.  Most seem to opt for the former, and understandably so.  The museum serves the public, and, like HBM producer Jeff Emtman, they want to see something relatable and remarkable, a piece of scientifically-oriented art.  

 
 

And this question the artist must face, the question of the dark sclera (more ape-like eyes) and the light sclera (more human-like eyes) reveals something interesting about the artist and the process used to create the art.  The choices an artist makes can speak to their worldview, their biases, and their knowledge per their location in the world and the current moment in time.  

Ian recognizes this, saying,

You could not do a reliable reconstruction of an ancient human being or a dinosaur, or an extinct mammal without the science; and you certainly couldn’t do it without the art.  And this is where the two really intersect in a meaningful way.

And the AMNH itself houses exhibits related to the ways in which modern assumptions about the past have affected the way the past is present, such as:  Griffins in the Gobi Desert (protoceratops), Cyclops of the Mediterranean (dwarf elephants), and the infamous unicorn horns of Western Europe (narwhal).

 
 

Ian says that, in the quarter century since the construction of the Laetoli Figures, dominant scientific perception has changed to suggest that Australopithecus afarensis might have actually had dark sclera. As he puts it, “science is a work in progress.”

Jeff Emtman produced this episode and took the photos.
Voicemails from HBM listeners including Daniel Greene, Rachel Schapiro and Tony Baker.   

Music: The Black Spot, The Other Stars

 

 

We want your questions for an upcoming mailbag episode. Maybe you’ve got a question about how we make the show.  Maybe you have a question for someone we’ve talked to on an episode.  Maybe you want some relationship advice.  Maybe you can’t fix your damn microwave and you just need someone to tell you what to do.  

Give us a call: (765) 374 - 5263 or send us a voice memo: HBMpodcast@gmail.com.

Also, check out our new meat poster, designed by Adam Fein, of HBM circle shirt fame.  Get your HBM meat poster today!

 

HBM045: Deep Stealth Mode (How To Be A Girl)

Deep Stealth Mode (How To Be A Girl)
Here Be Monsters Podcast
 

Marlo Mack gave birth to a son.  At least, she thought she did.  As a toddler, her son crawled towards dresses, wanted to be a princess, asked to grow long blonde hair.  And at age 3, Marlo's son requested to return to her tummy so he could come back out as a baby girl.  Marlo thought it was a phase--it wasn't.  So she started learning how to raise a very young transgender daughter.  She started keeping audio diaries. 

In this episode, Marlo sends her child to a new summer camp, and struggles with giving her autonomy in revealing her gender identity to other children. 

Marlo faces questions daily about how to best raise her daughter.  How can she stimulate her child while protecting her in a world often unkind to transfolk?  She tells her daughter that there are some people who are like Darth Vader, just too sad to be kind anymore. 

Marlo Mack and her daughter produce a podcast about their life together called How to Be a Girl.  Marlo generously gave us access to her raw recordings for use on this episode.  How to Be a Girl is part of The Heard, a new podcast network.  Marlo also writes a blog called Gender Mom

Marlo Mack is a pseudonym.  She will keep their true identities secret until her child is old enough to understand the risks of revealing her identity.  These risks are real.  2015 has been an especially bad year for trans folk;  2015 has already seen the murders of at least 15 American trans women.  Marlo and her daughter exist in what they call "deep stealth mode." 

So, when do you tell people that you're a girl with a penis? When is it safer to hide?

This episode was produced by Marlo Mack.  Jeff Emtman edited it with help from Bethany Denton and Nick White. 

Music:  The Black Spot 

Resources for trans children and their parents: 
Trans Youth Family Allies   - for families of trans youth
The Trevor Project - specifically crisis and suicide prevention
YouthResource - specifically for trans/lgbt youth
Human Rights Campaign - list of resources for trans youth

 

Video by Marlo Mack.

Marlo's daughter meets advocate and actress Laverne Cox.