Phosphorus edition

The Devil’s Element is a tale of folly, waste, greed, and excess, which Egan unspools with a light touch and a brisk pace. He opens the book with a police foot chase; the unfortunate suspect is eventually fished out of an algae-choked canal and hospitalized in Cape Coral, Florida. In its final pages he describes a pilot project to capture phosphorus from the pee of residents of Brattleboro, Vermont, and its use of an educational video featuring a talking drop of urine named Uri Nation. Along the way we meet Hennig Brand, an alchemist who first succeeded in isolating pure phosphorus from urine in 1669 while searching for the philosopher’s stone, the mythical substance that could turn lead to gold. Others quickly discovered that while the waxy, glowing stuff did not produce gold, it was poisonous, extremely unstable as a solid at room temperature, and prone to exploding. These properties earned it the moniker “the Devil’s element,” which in turn presaged its other modern application as an ingredient in some of the most horrendous weapons that humans use on one another. (Egan writes about a German beachcomber whose leg began to melt and char after a small orange rock he had collected exploded in his pants—a pebble-size legacy of the Allied firebombing of Hamburg in 1943 washed up on a Baltic shore.)

At the outset of the Industrial Revolution many nation-states figured out that they couldn’t feed their fast-growing populations without finding a lot more phosphorus than was available from manure and crop residues and naturally occurring in soils. Egan gives a grim global tour of the various predatory lengths to which imperial powers and modern multinational firms have gone to secure phosphorus. Soon after the Battle of Waterloo the British dug up their own fallen soldiers’ phosphorus-rich bones, shipped them home, then heated and ground them up as fertilizer to grow food for the living. In the middle of the nineteenth century, European and American farmers became reliant on imports of guano (bird poop) strip-mined from Peruvian islands by indentured Chinese laborers. When those reserves were exhausted in the 1890s, they turned elsewhere. Thus began the century-long ordeal of the Banaba Islanders, displaced from their Pacific homeland by the voracious English-owned, Australia-based Pacific Phosphate Company. After a company agent discovered vast reserves of phosphorus-laden rock on Banaba one day in 1900, the firm’s miners carved up the island chunk by chunk. The rocks were carried by conveyor belt to ships that ferried them onward to fertilize fields around the world. Banaba’s destruction helped Australia and New Zealand boost the productivity of their soils and become wealthy agricultural exporters. After the late 1970s Banaba’s phosphate reserves were largely depleted—by that point, mining firms had stripped 90 percent of the island’s land surface and removed 22 million tons of material. In the process, they also ruined many of the sacred caves where the islanders had collected water to survive periods of drought.

From Planet Ooze by Jonathan Mingle in the April 10, 2025 issue of the New York Review of Books

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Image: Decades of phosphate mining has left the surface of Banaba Island a moonscape of coral pinnacles. Photo by Janice Cantieri. National Geographic

The Irascibles

It’s akin to a cliché folding in on itself and forming a kind of ironic paper airplane that gets tossed into the future.

the-irascibles

It landed on my table in the form of the Stevens and Swan biography of Willem de Kooning and it’s funny to set aside your naiveté or nostalgia – or invite them both in for a drink – and think about our mid-century art heroes. To set the scene, the Metropolitan Museum of Art decided to include no judges sympathetic to abstract art on the panel of its juried show “American Art Today, 1950”:

The snub was a godsend to the downtown artists: the museum performed to perfection the part of stuffy, blinkered fool, evoking the famous failure of the bourgeois Salon in Paris to include many of the great modernists. The artists around the Club could now, in turn, play the part of the slighted impressionists. They wrote an “open letter,” intended to be widely disseminated, to the president of the Metropolitan Museum of Art. Dated May 20, 1950, and reported two days later on the front page of the New York Times under the headline, “18 Painters Boycott Metropolitan: Charge ‘Hostility to Advanced Art.” the letter began, “The undersigned painters reject the monster national exhibition to be held at the Metropolitan Museum of Art next December, and will not submit work to its jury.” The artists patronized the Metropolitan – the presumable guardian of eternal values – by offering its leaders a history lesson: “We draw to the attention of those gentlemen the historical fact that, for roughly a hundred years, only advanced art has made any consequential contribution to civilization.” The group also picketed the museum, attracting further attention.

Emphasis mine. Part of that further attention was that Life magazine, “following the actions of the avant-garde with bemused interest since its feature on Pollock,” decided to publish a piece on the opening of the controversial exhibition – including the above picture of the excluded protesters.

Published under the headlines of “The Irascibles,” a name taken from an earlier editorial in the Herald Tribune criticizing the protesters, the photo by Nina Leen portrayed fifteen of the original eighteen painters who signed the letter to the Met. Highly theatrical, the artists were “arranged like a still life, staring into space, their expression serious, skeptical, demanding. Not one smiled.”

Pollock is at the center, very carefully positioned, with de Kooning on the upper left. The only woman is Hedda Sterne. A key to all the people in the photo is here. “Together, the artists seemed to embody their headline, “The Irascibles,” a name that was itself a dramatic piece of public relations that brought to mind every cliché about the struggle between the avant-garde and bourgeois society.”

And yet, can you imagine any subject getting a group of artists on the front pages of national publications today? Wait, don’t answer that.