Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

Past as Prologue

View through CrossRef
In 1978, Love Canal resident Anne Hillis sarcastically explained the “recipe” for the chemical disaster taking shape in her neighborhood: take “approximately 16 acres” of land, add “22,000 tons of toxic wastes, mix with spring water, snow, etc …” Then, she wrote, add “human beings.” The “yield” would be “miscarriage … birth defects … suicide and death.” For people wondering just how the chemicals ended up in Love Canal in the first place, Hillis wrote that the whole saga began not in the recent past but in “the late 1800s, [when] a canal had been dug” by a starry-eyed industrialist who then abandoned the altered landscape. The groove of earth he left behind was “filled in with chemicals in the … 1940s,” covered over and forgotten. Only later would “these chemicals” migrate from the dump into the local environment. For Hillis, as for other residents, Love Canal’s troubled environmental present was a product of its toxic past. But how far back did that troubled past go? New York State health officials asserted that the “seeds” of Love Canal were sown in Niagara’s “highly industrialized” history, which stretched from the late 19th century onward. Similarly, the Niagara Gazette created a “Love Canal Chronology” that began in 1894, when entrepreneur William Love began excavating a power canal that never materialized but whose remains formed a perfect burial pit later on. An activist group pushed Love Canal’s chronology back further. Although “Love Canal became a household word in 1978,” the group claimed, “the idea for the place that was to carry the name originated in 1836,” when an engineer stamped out the route of an artificial river that would be even grander than the Erie Canal. No matter how far back they went, all of these commentators saw history as a key lens through which to view the modern Love Canal disaster. Yet few traced the area’s toxic history back to colonial times.
Oxford University Press
Title: Past as Prologue
Description:
In 1978, Love Canal resident Anne Hillis sarcastically explained the “recipe” for the chemical disaster taking shape in her neighborhood: take “approximately 16 acres” of land, add “22,000 tons of toxic wastes, mix with spring water, snow, etc …” Then, she wrote, add “human beings.
” The “yield” would be “miscarriage … birth defects … suicide and death.
” For people wondering just how the chemicals ended up in Love Canal in the first place, Hillis wrote that the whole saga began not in the recent past but in “the late 1800s, [when] a canal had been dug” by a starry-eyed industrialist who then abandoned the altered landscape.
The groove of earth he left behind was “filled in with chemicals in the … 1940s,” covered over and forgotten.
Only later would “these chemicals” migrate from the dump into the local environment.
For Hillis, as for other residents, Love Canal’s troubled environmental present was a product of its toxic past.
But how far back did that troubled past go? New York State health officials asserted that the “seeds” of Love Canal were sown in Niagara’s “highly industrialized” history, which stretched from the late 19th century onward.
Similarly, the Niagara Gazette created a “Love Canal Chronology” that began in 1894, when entrepreneur William Love began excavating a power canal that never materialized but whose remains formed a perfect burial pit later on.
An activist group pushed Love Canal’s chronology back further.
Although “Love Canal became a household word in 1978,” the group claimed, “the idea for the place that was to carry the name originated in 1836,” when an engineer stamped out the route of an artificial river that would be even grander than the Erie Canal.
No matter how far back they went, all of these commentators saw history as a key lens through which to view the modern Love Canal disaster.
Yet few traced the area’s toxic history back to colonial times.

Related Results

Incarnation and Covenant in the Prologue to the Fourth Gospel (John 1:1-18)
Incarnation and Covenant in the Prologue to the Fourth Gospel (John 1:1-18)
Most scholars would agree that the Prologue to the Fourth Gospel--as John 1:1-8 is usually called--introduces Jesus Christ as a divine, pre-existent being who at a certain point in...
Volver a Miró
Volver a Miró
Review of the books Gabriel Miró, Complete Works Vol. I. Of living. My friend's novel. Prologue by Azorín. Introduction by Enrique Rubio Cremades, Seville, Ediciones Ulises, Renaci...
Madness and the Apostle: Paul’s Jewishness in the Euthalian Prologue to the Letters of Paul and in the Writings of John Chrysostom
Madness and the Apostle: Paul’s Jewishness in the Euthalian Prologue to the Letters of Paul and in the Writings of John Chrysostom
Abstract The Euthalian Prologue to the Letters of Paul is found in hundreds of late ancient and medieval editions of the Pauline corpus, presenting readers with a prefatory biograp...
Portrait of St. John the Baptist in the prologue of the Fourth Gospel
Portrait of St. John the Baptist in the prologue of the Fourth Gospel
This article analyses the portrait of John the Baptist in the prologue of the Gospel of John. It explores both the hymnic prologue (Jn 1:6-8.15) which speaks of John as the witness...
The Prologue as a Paschal Hymn
The Prologue as a Paschal Hymn
Abstract On the basis of the analysis of the Gospel of John given so far, and in particular the celebration of Pascha that began with him, this chapter offers a radi...
Ideologi Eksistensialisme Pada Puisi “Prologue” Karya Sapardi Djoko Damono
Ideologi Eksistensialisme Pada Puisi “Prologue” Karya Sapardi Djoko Damono
Artikel ini membahas ideologi eksistensialisme pada puisi “Prologue” karya Sapardi Djoko Damono. Tujuan penelitian ini yakni untuk menunjukkan konsep ideologi eksistensialisme yang...
Fiction and History in Apuleius’ Milesian Prologue
Fiction and History in Apuleius’ Milesian Prologue
Abstract In this chapter I shall argue that while Apuleius’ text is clearly marked for its readers as fiction, the Prologue’s phrases variae fabulae and sermo ist...

Back to Top