“Other cultures are not failed attempts at being like you.”
There are people in this world who don’t see it that way. They can’t look beyond their own frame of reference, and they resist seeing their own privilege, which simultaneously insulates them and quarantines them from full participation with the rest of the world.
Around 10:00 p.m., Hancock County Deputy Todd Frazier noticed the car with the motionless man in the driver’s seat. Like any good cop, he pulled over and got out, to see if the man was all right.
That’s when the other two leaped out of the dark woods. They attacked Frazier with fists and what probably was a box cutter. When the man who’d been in the car piled out, it was three against one. They choked Frazier, told him they were going to slit his throat, and dragged him toward the woods.
Chief Deputy Don Bass later said authorities think they planned to take Frazier into the woods, kill him, and dump his body.
Lucky for Frazier, he had a couple of secret weapons.
The second secret weapon was his K9 partner, 75-lb. black Belgian Malinois Lucas. Six-year-old Lucas recognized right away that this was not a training exercise, Frazier later said. The dog leaped from the vehicle and immediately attacked the three men.
By that time Frazier had blood all over himself, too. “I couldn’t see anything, because the blood was all in my eyes,” he said later. “I could hear [Lucas] growling and making all these sounds . . . he sounded like a wolf.”
A couple of weeks ago, I shared a painting from the age of Japonisme in Europe. Today I’d like to offer an example of how the Japanese Ukiyo-e woodblock prints that arrived in Europe during the Meiji Era changed European art, and inspired the aesthetic that created “modern” art.
TokaidoHodogaya, one of theThirty-six Views of Mt. Fuji, by Katsushika Hokusai, shows us a glimpse of the ukiyo-e prints that took Europe by storm in the latter half of the 19th Century.
Many people in Europe, and especially such painters as Claude Monet, Vincent van Gogh, James A. McNeill Whistler, and Paul Cézanne amassed large collections of Japanese prints. Monet had a whole living room full. Van Gogh didn’t have many physical possessions, but he did have a cherished collection of ukiyo-e prints.The radically different way in which the Japanese artists viewed space, color, and perspective influenced these artists deeply–some more directly than others.
PaulCézanne painted The Chestnut Trees of Jas de Bouffan in Winter, a view that included Mont Ste. Victoire, one of his favorite subjects, as viewed from his home. Hokusai’s influence is hard to miss.
Paul Cézanne was such an ardent admirer of two print series, each titled Thirty-six Views of Mt. Fuji–one created by Katsushika Hokusai, and the other by his younger rival Ando Hiroshige–that he created his own series of thirty-six paintings of Mont Ste. Victoire, a distinctive mountain near Aix-en-Provence, visible from Cézanne’s home and studio at Bastide du Jas de Bouffan.
There was no question about cultural appropriation in Cézanne’s day. Europeans considered themselves and their culture to be the apex of human civilization. They felt free to draw upon any source they wished, and never questioned whether they had a right to do so. I am not sure that Cézanne’s painting count as “appropriation” per se, though it’s easy to detect a touch of “the sincerest form of flattery.” Similarities are also easy to see in others he painted, whose compositions bear a striking resemblance to certain prints by Hokusai and Hiroshige–I may share them at some point in the future.
My quest to find a plausible, space-based home for the characters in my novels continued.
I needed a space-based habitat that would feel earthlike-enough for me (and my readers) to believe that humans could be comfortable there long-term. But it also must be believable, based on what we know or can reasonably extrapolate from physics, space, engineering, and technology.
The idea for this design evolved out of O’Neill’s work for NASA and at Princeton. His Island One and Island Two designs were Bernal spheres, but the larger Island Three design proposed a paired-cylinders design that sought to solve several problems with the Bernal sphere design.
O’Neill cylinders utilize a shape identified by the creators of Kalpana One as the most efficient for a space habitat (more about Kalpana One in a different future post), but I ultimately found it difficult to imagine living in one, for many of the same reasons as the Bernal sphere.