Phantom of Nuclear Disasters Hunts the World

The book cover
The book cover
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Phantom of Nuclear Disasters Hunts the World

The book cover
The book cover

“Fukushima – The Nuclear Disaster and the Other Face of Japan” is a book that explores the backgrounds of the nuclear disaster in Fukushima, and the looming phantom of such catastrophes.

Recently released by Al Arabi Publishing and Distribution, Cairo, the book is written by British researcher Andrew Letherbarrow, and translated into Arabic by Rania Sabri Ali.

On March 11, 2011, a quake hit the depth of the Pacific Ocean with a power that redistributed the land masses, and shifted the main axes of the Earth, shortening the day/night cycle. A massive, unstoppable tsunami emerged from the epicenter of the quake, 57 kilometers to the east of Japan, and reached the Japanese coastline in 40 minutes, hitting the Onagawa Nuclear Power Plant, the closest nuclear facility to the quake center, with 14-meter-high waves.

The earthquakes shook the foundations of the facility, but it managed to survive and became a refuge for those who lost their homes. After around 90 minutes, another tsunami hit another nuclear facility, the Fukushima Daiichi Nuclear Power Plant, one of the largest and most impactful worldwide. At the time, the Tokyo Electric Power Company, and owner of the Fukushima Daiichi, claimed that they took all the necessary measures to prepare for such an event. However, these measures weren’t sufficient, the weak coastal defenses of Fukushima drowned easily, which prevented the plant from cooling its six reactors, and led to the most horrifying nuclear crisis in the past 25 years.

The writer sees that the 2011 eastern Japan quake was perhaps a natural disaster, but the collapse of Fukushima Daiichi is a man-made event, and could have been prepared for and prevented.

Letherbarrow quotes the editorial of the Japan Times newspaper seven years before the catastrophe, which reads: “It is one of the places that no sane man would dare choose to build nuclear power plants, which are so many in Japan.”

The Japanese people have always rejected nuclear power, especially after the second world war, but a western campaign driven by economic and political interests managed to convince them to be more accepting in this field. However, the nuclear power industry failed to provide the safety and security measures needed to cope with a tsunami. There were also obstacles that hindered a real independent censure on such sensitive facilities. In 2018, Japanese researchers from the Kyushu and Tohoku institutes found that “the threat of nuclear power accidents in Japan has outweighed that of other countries.”

According to the writer, with time, under the public pressure and the threats caused by the nuclear leakage and pollution, some countries had to slow down the construction of further nuclear plants. However, Japan didn’t, why? It’s simple, because it consists of several islands and suffers from a serious shortage of natural energy resources, which forced it to import 96% of its fuel needs in 2011. Unlike wood and copper, coal, which is very abundant in Japan, could have been a safety net, but its impact on the environment forced the country to abandon it, which led to more crises and threatened the national security.

The Miike coal mine, the largest and oldest in the history of Japan, operated until 1997. Its closure caused a collapse in the domestic economy, and urged the country to seek a sustainable alternative, the nuclear power. One kilogram of coal generates 12 kw of electricity, while the same amount of uranium could generate 24 million kw of electricity after being processed in nuclear plants. Here, Letherbarrow acknowledges the importance of the peaceful uses of nuclear power, but warns from the lack of security and safety measures, which could be caused by administrative failure, lack of qualification, or expenditure reductions.

Andrew Letherbarrow has another book about nuclear disasters based on the Chernobyl accident. He visited the town and spent five years there for research and investigation. The book was a best seller after its release.



Has a Waltz Written by Composer Frederic Chopin Been Discovered in an NYC Museum?

A previously unknown musical manuscript, possibly by Frederic Chopin, rests in a display case after it was discovered at The Morgan Library & Museum, Wednesday, Nov. 13, 2024, in New York. (AP)
A previously unknown musical manuscript, possibly by Frederic Chopin, rests in a display case after it was discovered at The Morgan Library & Museum, Wednesday, Nov. 13, 2024, in New York. (AP)
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Has a Waltz Written by Composer Frederic Chopin Been Discovered in an NYC Museum?

A previously unknown musical manuscript, possibly by Frederic Chopin, rests in a display case after it was discovered at The Morgan Library & Museum, Wednesday, Nov. 13, 2024, in New York. (AP)
A previously unknown musical manuscript, possibly by Frederic Chopin, rests in a display case after it was discovered at The Morgan Library & Museum, Wednesday, Nov. 13, 2024, in New York. (AP)

The brooding waltz was carefully composed on a sheet of music roughly the size of an index card. The brief, moody number also bore an intriguing name, written at the top in cursive: “Chopin.”

A previously unknown work of music penned by the European master Frederic Chopin appears to have been found at the Morgan Library & Museum in Manhattan.

The untitled and unsigned piece is on display this month at the opulently appointed institution, which had once been the private library of financier J. P. Morgan.

Robinson McClellan, the museum curator who uncovered the manuscript, said it's the first new work associated with the Romantic era composer to be discovered in nearly a century.

But McClellan concedes that it may never be known whether it is an original Chopin work or merely one written in his hand.

The piece, set in the key of A minor, stands out for its “very stormy, brooding opening section” before transitioning to a melancholy melody more characteristic of Chopin, McClellan explained.

“This is his style. This is his essence,” he said during a recent visit to the museum. “It really feels like him.”

McClellan said he came across the work in May as he was going through a collection from the late Arthur Satz, a former president of the New York School of Interior Design. Satz had acquired it from A. Sherrill Whiton Jr., an avid autograph collector who had been director of the school.

McClellan then worked with experts to verify its authenticity.

The paper was found to be consistent with what Chopin favored for manuscripts, and the ink matched a kind typical in the early 19th century when Chopin lived, according to the museum. But a handwriting analysis determined the name “Chopin” written at the top of the sheet was penned by someone else.

Born in Poland, Chopin was considered a musical genius from an early age. He lived in Warsaw and Vienna before settling in Paris, where he died in 1849 at the age of 39, likely of tuberculosis.

He’s buried among a pantheon of artists at the city’s famed Père Lachaise Cemetery, but his heart, pickled in a jar of alcohol, is housed in a church in Warsaw, in keeping with his deathbed wish for the organ to return to his homeland.

Artur Szklener, director of the Fryderyk Chopin Institute in Warsaw, the Polish capital city where the composer grew up, agreed that the document is consistent with the kinds of ink and paper Chopin used during his early years in Paris.

Musically, the piece evokes the “brilliant style” that made Chopin a luminary in his time, but it also has features unusual for his compositions, Szklener said.

“First of all, it is not a complete work, but rather a certain musical gesture, a theme laced with rather simple piano tricks alluding to a virtuoso style,” Szklener explained in a lengthy statement released after the document was revealed last month.

He and other experts conjecture the piece could have been a work in progress. It may have also been a copy of another's work, or even co-written with someone else, perhaps a student for a musical exercise.

Jeffrey Kallberg, a University of Pennsylvania music professor and Chopin expert who helped authenticate the document, called the piece a “little gem” that Chopin likely intended as a gift for a friend or wealthy acquaintance.

“Many of the pieces that he gave as gifts were short – kind of like ‘appetizers’ to a full-blown work,” Kallberg said in an email. “And we don’t know for sure whether he intended the piece to see the light of day because he often wrote out the same waltz more than once as a gift.”

David Ludwig, dean of music at The Juilliard School, a performing arts conservatory in Manhattan, agreed the piece has many of the hallmarks of the composer’s style.

“It has the Chopin character of something very lyrical and it has a little bit of darkness as well,” said Ludwig, who was not involved in authenticating the document.

But Ludwig noted that, if it's authentic, the tightly composed score would be one of Chopin’s shortest known pieces. The waltz clocks in at under a minute long when played on piano, as many of Chopin’s works were intended.

“In terms of the authenticity of it, in a way it doesn’t matter because it sparks our imaginations,” Ludwig said. “A discovery like this highlights the fact that classical music is very much a living art form.”

The Chopin reveal comes after the Leipzig Municipal Libraries in Germany announced in September that it had uncovered a previously unknown piece likely composed by a young Wolfgang Amadeus Mozart in its collections.