David Shenk is the national bestselling author of five previous books, including The Forgetting ("remarkable" - Los Angeles Times), Data Smog ("indispensable" - New York Times), and The Immortal Game ("superb" - Wall Street Journal). He is a correspondent for TheAtlantic.com, and has contributed to National Geographic, Slate, The New York Times, Gourmet, Harper's, The New Yorker, NPR, and PBS.
In the future, everyone will be famous in Canada for 15 minutes. My 15 minutes happened Tuesday night on a very thoughtful TV program, "The Agenda with Steve Paikin," in a Charlie Rose-style one-on-one discussion.
ROCKFORD, IL—Retired post office branch manager Nancy Hollander, 97, died at her home of natural causes Tuesday, after spending her life completely unaware that she was one of the most talented musicians of the past century and possessed the untapped ability to become a world-class violin virtuoso.
What does it mean to be “talented” or “gifted” or a “genius”? David Shenk has an interesting take on the issue in his recent book The Genius in All of Us. Although it sounds like a self-help book, it’s actually an incredibly well-researched meditation on the nature of human talent.
According to Shenk, the traditional view of talent as a “gift” that is somehow given to us through our genes is both simplistic and outdated....
He also goes into great detail about the hard work and focus that some of the most talented people in history – including Mozart and Michael Jordan – put into developing their skills. His finding is that talent has less to do with the “gifts” that nature has endowed us with as it does with environmental and behavioral factors. That is, most of us aren’t destined to be talented or untalented. It’s something that happens over time, due to conscious effort and environmental stimuli.
The inspirational upshot of Shenk’s research is that “few of us know our true limits, that the vast majority of us have not even come close to tapping what scientists call our ‘unactualized potential.’"
This is exciting news, and hopefully it will inspire many of us to work harder at developing our skills. Too often I hear people label themselves as “not gifted at math” or “not artistic” or “not creative.” According to the research cited in Shenk’s book, we can’t let ourselves off that easy.
If you wanted to create the perfect book festival...
You'd choose a beautiful, ancient city with a spectacular summer climate and plenty of hotel rooms, restaurants, and pubs within short walking distance.
You'd pair it with other festivals running locally at the same time, so that you could collectively draw visitors from all over the world.
You'd install it in a roomy but cozy enclosed space, like a small park, where everything--venues, cafe, restrooms, grassy central lawn--are all adjacent to one another. You'd make access to the common areas free and encourage people to linger all day long.
You'd train the staff to be ultra-friendly and ultra-efficient. You'd have high technical standards for the venues and presentations.
You'd invite a wide range of authors. You'd have a terrific photographer on hand to liven up the campus with large, exhuberant author portraits (processed and printed overnight).
You'd create a great bookstore right on your temporary campus.
You'd call it the Edinburgh International Book Festival. I had a terrific time here this week discussing my new book at three (sold-out!) events. I thank the staff, sponsors, the attendees, the photographer Chris Close (I'm light-bulb eyes, top-right), and the University of Edinburgh's ESRC Genomics Forum for hosting me.
Today, for the first time, I got to see some of the magnificent Lewis chesspieces first-hand, in Edinburgh's National Museum of Scotland. I wrote about them in my book The Immortal Game (excerpt below) but until day had not yet seen them in person. Most of them usually reside at the British Museum in London.
They are seventy-eight ﬁgurines, comprising four not-quite-complete chess sets, hand-carved from walrus tusk and whale teeth near Trondheim, Norway around 1150, but discovered seven hundred miles away in 1831 in the Bay of Uig on the Scottish Isle of Lewis.
They are spectacular.
Excerpt from The Immortal Game
Despite appearances to the contrary, the rolling, uneven dunes on the west coast of the Isle of Lewis, about ﬁfty miles west of the Scottish mainland, are not ancient burial mounds. They're natural formations, conﬁgured over thousands of years by the shifting water table and the terriﬁc sea winds howling off the Atlantic.
But the dunes do have their powerful secrets, as an unsuspecting is¬land peasant learned one day in the spring of 1831. At the base of a ﬁfteen-foot sandbank near the south shore of the Bay of Uig, the inte¬rior was somehow exposed, and with it a nearly seven-hundred-year-old crypt. Our unwitting archaeologist stumbled into an ancient and cramped drystone room, six feet or so long and shaped like a beehive, with ashes strewn on the ﬂoor. The tiny room was ﬁlled, impossibly, with dozens of shrunken people: tiny lifelike statuettes, three to four and a half inches high, some stained beet-red and the rest left a natural off-white. The long hair, contoured faces, and proportionate bodies were eerily vivid, even animated, with wide-eyed, expectant expressions, battle-ready stances, and a full complement of medieval combat equip¬ment and apparel. Hand-carved from walrus tusk and whale teeth, they wore tiny crowns, mitres, and helmets; held miniature swords, shields, spears, and bishop's crosiers; some rode warhorses.
They were chess pieces, a total of seventy-eight ﬁgurines comprising four not-quite-complete sets:
• eight Kings (complete)
• eight Queens (complete)
• sixteen Bishops (complete)
• ﬁfteen Knights (one missing)
• twelve Warders (as Rooks, four missing)
• nineteen Pawns (forty-ﬁve missing)
No one living at the time had ever seen anything like them. The ornamentation had a medieval gothic quality that lent the pieces an ancient and even mythic aura. Experts pronounced them Scandinavian, probably mid-twelfth century, probably carved near the Norwegian capital Trondheim some seven hundred miles away by sea, where a drawing of a strikingly similar chess Queen was later discovered. Norway was a long way off, but the link did make historical sense. The Isle of Lewis had been politically subject to the Kingdom of Norway up to 1266, and the local bishop held allegiance to the powerful Archbishop of Trondheim.
These weren't nearly the oldest chessmen discovered--1150 put them somewhere in the middle of the chess chronology. But their abun¬dance, origins, artistry, and superb condition made them among the most important cache of ancient pieces yet found. The modestly en¬dowed Society of Antiquaries of Scotland tried immediately to buy them for display in Edinburgh, but before they could raise the funds, bigger ﬁsh swam in. A wealthy Scottish collector somehow plundered eleven of them for his private collection, and the British Museum in London bought the rest--sixty-seven pieces for eighty guineas (equivalent to £3,000 or roughly U.S. $5,000 in today's currency).
The museum immediately recognized not only the pieces' unique importance in the history of chess, but more importantly their profoundly palpable connection to life in the Middle Ages. "There are not in the museum any objects so interesting to a native Antiquary as the objects now offered to the trustees," wrote the museum's keeper of antiquities, Edward Hawkins, as he presented the pieces for the ﬁrst time. The Lewis Chessmen were a priceless link to the past, and would become a signature draw at the museum.
"When you look at them," suggests curator Irving Finkel, "kneel down or crouch in such a way that you can look through the glass straight into their faces and look them in the eye. You will see human beings across the passage of time. They have a remarkable quality. They speak to you."
What do they say? The story of how chess migrated from the Golden Gate Palace in Baghdad to the remote Isle of Lewis, and how the pieces morphed from abstracted Persian-Indian war ﬁgurines to evocative European Christian war ﬁgurines, is an epic that underscores the enormous transfer of culture and knowledge in the Middle Ages from the East to the West. It also heralds an important shift in chess's role as a thought tool. In medieval Europe, chess was used less to con¬vey abstract ideas and more as a mirror for individuals to examine their own roles in society. As Europe developed a new code of social moral¬ity, chess helped society understand its new identity.
I was honored to recently be elected an affiliate member of the University of Iowa's Delta Center, which is a loose-knit collection of scientists and other researchers dedicated to a more nuanced understanding of genetics and human development. To quote the center's website:
The Delta Center does not abide the “nativist” vs. “empiricist” (or “nature” vs. “nurture”) debate. We reject traditional concepts of “origin” and “cause and effect”— eschewing both the concept of a “blank slate” at the time of birth, as well as the modern fixation on “hard-wired” brain functions or genetic building blocks.
You will not find us publishing nativist-oriented papers with titles such as “How Brain Region X Controls Human Function Y.” Although this type of research is mainstream and media-friendly, it ultimately turns a deaf ear to the real story.
We favor a new model of exploring learning and development—one that embraces complexity, employs a “systems theory” approach and listens in on fascinating dialogues among the myriad forces of change.