Gould on Abandoning Offensive Terminology

At the moment I’m reading through Stephen Jay Gould’s second anthology of natural history essays, The Panda’s Thumb (W. W. Norton & Co., 1980). As with Gould’s first such collection, Ever Since Darwin (W. W. Norton & Co., 1977), the essays in The Panda’s Thumb not only describe evolutionary theory and paleontology in ways accessible to laymen, but also delve into the historical context of the discoveries that drive these fields.

When reading Gould, I always appreciate his willingness to go beyond the biographies of scientists and the oft-told anecdotes involving their work. Indeed, Gould takes a particular interest in the underlying cultural assumptions that inform the scientific process. The Panda’s Thumb contains a whole set of essays (subtitled “Science and Politics of Human Differences”) which concern the ways in which scientists have historically used the trappings of their discipline to reinforce the racial and gender-based prejudices of their cultures.

I’d like to discuss one these essays briefly: “Dr. Down’s Syndrome” (pp. 160-168 in The Panda’s Thumb). Although the first few paragraphs describe the process which leads to trisomy 21, better known as Down syndrome, and the effects of the condition, Gould devotes most of his energies to discussing the names given the condition. “We have all seen children with Down’s syndrome,” he writes, “and I feel certain that I have not been alone in wondering why the condition was ever designated Mongolian idiocy” (p. 161, emphasis original).

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All Aboard: How “Stagecoach” Establishes Conflict

Viewed on a scene-by-scene basis, Dudley Nichols’s screenplay to John Ford’s seminal Western Stagecoach (1939) might seem a bit unfocused. The film, which follows a stagecoach racing across the territories out west, has an episodic quality to it. Each stage along the journey from Tonto to Lordsburg presents some set of obstacles: the unexpected absence of military personnel at Dry Fork, a passenger’s childbirth at Apache Wells, an Apache attack at Lee’s Ferry, etc. Really, it is one thing after another. If a student showed me this story as an outline, I’d be tempted to suggest that they “pick a direction and stick with it.”

Yet, when viewed as a whole, Stagecoach feels remarkably tight for what amounts to a road-trip movie. Each turn in the narrative comes across as the natural extension of some previous event, as though the new developments were not just chronologically but also causally linked. So how do Nichols and Ford make the journey’s episodes into a coherent story? Simple: they spend time establishing why each person has boarded the stagecoach.

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