Showing posts with label Political Commentary. Show all posts
Showing posts with label Political Commentary. Show all posts

Monday, February 28, 2022

Talking In Obscurity, "You Can't Be Serious," by Kal Penn

Kal Penn








We're back, Obscurists! And we're talking about "You Can't Be Serious" by Kal Penn. It's a funny and poignant memoir about Penn's life as an actor and working for the Obama administration.



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Friday, January 14, 2022

"The Federalist Papers" by Alexander Hamilton, James Madison, John Jay--Nonfiction Review

Set phasers to maximum pretentious, Obscurists, as today I’m going to talk about a keystone document or rather documents supporting the constitution of the United States of America. Yep, I’m talking about “The Federalist Papers” by Alexander Hamilton, James Madison, and John Jay—and all because I read them that one time after watching the musical “Hamilton” more times than I’ve gone outside in the last two years.

You’re probably asking yourself, “wait, isn’t this Kevin guy a recluse? Does that mean like, five?” No, it does not. I’ve been outside tens of tens of times.


Alexander Hamilton, James Madison, John Jay


What I love about this book:

I talked about this recently on Twitter—it’s also why I’m writing this review—but Federalist number 6 is one of my favorites. It goes into ancient history and Medieval-ish European history, but mainly what it talks about is human nature, avarice, war, and insurrection. It’s a strange but illuminating experience to read something written in the distant past and see today’s problems. 

This brings me to my next point of what I love about “The Federalist Papers,” the authors were idealistic men but also intensely practical—and I value both of those traits. They didn’t seek to fix the human condition or change the person as more religious or purely philosophical schools of thought tend to fixate on as their chief concern.

What the Federalists believed in, in my opinion, is that a strong and carefully tuned government can channel the collective will and wisdom for the aggregate betterment of all. But the mechanisms that make that possible also include an ever-present sword of Damocles. It comes in the form that a small syndicate—or an individual—of an unscrupulous bent might hijack the components of our government to wield outsized influence over their fellow citizens.

And that’s why so much of our governmental system in the United States is dedicated to frustrating itself via checks and balances. It wasn’t a bug. It was always baked in as a feature all the way back in the day.


What I don’t love about this book:

As the song goes—John Jay got sick after writing five, which was a shame because I thought he had made some interesting points. I would have liked to get more of his thoughts in this collection.

There is a bit of historical controversy over exactly who wrote which essays. Also, it’s disputed how many were written by Hamilton and how many were written by Madison. It really underscores the point that we were always fractious and argumentative, even all the way back to the beginning.

It’s wearying because there is a theme that runs through human history that if we all were just a bit better—not even a lot better as individuals—the collective improvement would be immense. I believe you can pick up on that frustration, reading these essays. But like I eluded to above, you work with the clay you have, not the clay you wish you had.

“The Federalist Papers,” and this is really Hamilton’s doing, which is disappointing, comes out hard against the idea of a Bill of Rights. That turned out to be dead wrong, and I hate agreeing with Madison over Hamilton on something—but I’m on Madison’s side of this argument.



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Parting thoughts:

Returning to a theme from the previous section—let’s imagine for a moment that better clay. Think about what might have been if Hamilton was a slightly better version of himself.

He was a towering intellect of his day, and after reading his work, even by today’s standards. He fought incredibly hard for the birth of my home country and worked his mind and pen to superhuman levels. In terms of sheer ability, there is no reason he couldn’t have one day risen to be President of the United States. And what would that have looked like?

Instead, he ended up dead from a bullet shot by, at the time, the third sitting vice-president of the United States. What a way to go out, I guess—stupid—but memorable. Pretty ironic for a guy who tried to define himself as the smartest man in any room.

But it’s really the little character flaws that wore him down and put him in front of that gun. It was his arrogance, his propensity to make enemies when he didn’t need to, and his pride is no small part of his downfall too.

I think his most tragic character flaw is how he cheated on his wife—and through some childlike delusion—concluded if he just wrote enough about his infidelity, he could somehow make it all better. Because that’s what he did, to achieve everything he did in his life. 

It’s sad to watch someone’s favorite tool fail them at their greatest moment of crisis—but there are just some things you don’t get to come back from, and that’s one of them. 

Or, well, it used to be—kinda different now.


Friday, December 24, 2021

"You Can't Be Serious" by Kal Penn--Nonfiction Review

Ok, Obscurists, it’s time for a memoir. Today we’re discussing “You Can’t Be Serious” by Kal Penn. It’s the story of a man trying to make it as an actor and serve his country in the government’s employ under the Obama administration.


Kal Penn


What I love about this book:

I remember hearing about when Penn started working for the White House, or the executive branch, or whatever. At the time, I was a bit upset because I was a big fan of the show “House,” which he was a main character at about the middle of the show’s run. You don’t get to work for the President and work on a television show simultaneously.

Anyway, after getting Penn’s story of how he ended up in the job and why—well, he reframed that experience for me, and I get his reasons. I’m at least willing to admit that maybe working for the Obama administration was slightly more important than playing a TV doctor—again, maybe. I liked that he didn’t sugarcoat the weaknesses of government, the division, and the mediocrity, which only excels at bureaucracy. Still, he also highlighted how effective government could positively impact people’s lives. 

Learning about Penn’s childhood and the stories that went with it—from the bullies to the early drama club experiences—was a lot of fun for me, but that’s because I like memoirs. For me, it’s fun to see the world through someone else’s eyes for a bit. This enjoyment extends into his stories as a young actor trying to make it in Hollywood.

A thing I didn’t expect to happen, much like the author, it seems, is how riveted I got when the NASCAR section came up. I can’t say that I’m a fan, but he reinforced one of my core tenants: the belief that when a large group of people loves a thing, there is always a reason for that adoration. You might disagree with it, or you might not respect it—or even get it. But that doesn’t mean that their experience and joy of a thing is any less valid. I liked that Penn got outside of himself for a bit to learn about and even appreciate the sport.


What I don’t love about this book:

So not to harp on the “House” thing—but continuing to harp on the “House” thing—Dr. Kutner committed suicide!? Surely there was a less terrible way to write him off the show so Penn could work in government.

Ok, back on focus. Anyway, this is just going to be one of those times where this section is more about things I just don’t like about the world that the book outlines.

In recent times it seems we talk a lot about voter suppression in this last election cycle and the upcoming ones. But Penn points out that even back in 2008, these Anti-American activities were in play. Phone campaigns called voters to remind Obama voters that election day had been “moved” to Wednesday. For those of you reading this outside of the United States, election day is always on a Tuesday here for—well, stupid and antiquated reasons that involve farming and church-going, and it should change, but that’s not the point. Election day is always Tuesday.

Outside of politics on another hot button issue—race—Penn is an American of Indian descent, not Indigenous American, but actual India. Regardless it shouldn’t matter one jot one way or the other, for as an American, and according to our supposed societal social contract, we’re all equal, forever, always. At least you’d think so, especially in liberal bastions such as Hollywood—but no, not so much. Having to listen to why a casting director couldn’t possibly cast Penn in a movie because, well, Denzel Washington is already in the film is tedious bullshit. That’s a thing a white actor never had to face. No producer was ever sweating bullets because someone cast Owen Wilson AND Vince Vaughn in “The Wedding Crashers.”  Also, having to listen to smirking dickheads talk about how they couldn’t possibly hire women to work at their production companies because they didn’t want “to get sued for their mouth” was equally unenjoyable. 

Standard disclosure here when I write a don’t like section like this; I’m in no way suggesting that any of this should have been left out. It’s just infuriating that we live in this endless cycle of knowing winks and hush-hush intolerance.



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Parting thoughts:

Initially, I didn’t like memoirs all that much. It isn’t that I disliked them—it’s just that they, and really all nonfiction, existed in a space outside of my wheelhouse of sci-fi, fantasy, and horror. I learned to love memoirs on my journeys through reading, like family dramas in fiction. That broadening of horizons is the superpower of being well-read. 

Stories, I believe, fundamentally don’t work on those who profoundly lack empathy, even as a concept. And it’s empathy that lets you go out, discover new modes of being and ways of thinking. To learn to love something different than what you grew up with initially, which for me was a lot of sci-fi, fantasy, and horror.

By the way, I still love those things, which is clear if you’ve read any part of this blog. 

But I thought a lot about how I’ve changed and grown over the past two decades while reading how Penn grew over the course of his book. I’ve gotten a lot more comfortable with ambiguity, I wouldn’t say I love it, but I accept it more. I say that because I think things like truth, understanding, and justice are concepts that refine with time. An idea that is rather alarming for most people, if I were to guess. I believe it’s human nature or a least a predisposition of ours to settle into a particular viewpoint and resist, violently sometimes, anyone’s attempt to move us out of our old modes of being or thinking.

I think we see a lot of that now, on the internet, in public, and worst in government. This reticence toward agreeing with stark reality and the bone-level belief that the reality we don’t like can be negotiated with or rationalized away. But we can’t, and it won’t go away.

We’re all in this pressure cooker together. So it would be nice if we could be a little kinder to each other instead of what we usually do.


Friday, December 10, 2021

"Branches" by Adam Peter Johnson--Fiction Review

Alright, Obscurists, we’re off to hunt for a better reality than this one in today’s book, “Branches” by Adam Peter Johnson. It’s a thoughtful Sci-Fi that involves parallel universes.


Adam Peter Johnson


***The Non-Spoiler part of this review***


What I love about this book:

So this novel perfectly distilled a lot of my past, present, and future fears—I know, an odd thing to come out of the gate with on “loves,” but I’m an odd guy. Where I’m going with this is; when the protagonist goes through his fears about the world, I related to him. I have those fears about society, the climate, politics, conspiracy theorists, and the anti-science magical thinker crowd.

For me, “Branches” worked like a horror story, and I love horror. From the jump, the whole atmosphere of the book is a nightmare. Its parallel universe plot is a kind of twisted “Groundhog Day" set up of a story, but the variables are constantly changing, so it’s not like the protagonist can just memorize things. I like how out of control he feels with this “power” to slip between realities and the sense of bewilderment that comes with it.

There is an obvious political leaning in this book, but I’d argue most if not all great Sci-Fi examined political questions all the way back to the founding of the genre. Also, I’m a looney liberal lefty who harbors radical beliefs that all human life has value, and no one should have to suffer from illness or die on the altar of economics. Not for any reason—not war—not Mark Zuckerberg’s superyacht named “Ulysses,” no reason at all. Quick aside, while Ulysses S. Grant is still my favorite president, I still can’t forgive Virgil for doing my boy Odysseus dirty and the Romans in general for renaming him, Ulysses. So, in any case, you can probably divine the political bent of this novel from my charmingly out-of-touch rambling.


What I don’t love about this book:

It wasn’t until after I put my kindle down and thought about what I wanted to say in this review did it occur to me, “wait a minute, what was the main character’s name again? Did I just read a whole novel and miss that it was an unnamed protagonist the whole time?” I quickly scanned a couple Goodreads reviews, and yeah, it looks like. I don’t hate this effect per se. I just don’t know how to feel about it, which it occurs to me maybe that was intentional—and god, I hope it wasn’t on something like page twenty where we find out his name was John Maincharacterton or something, and I’m just stupid. I did quickly rescan through the book and couldn’t find anything.

I think it didn’t occur to me that I didn’t know the protagonist’s name because I was laser-focused on the unnamed primary antagonist only referred to as HIM. This seems to me, after the fact, excellent parallelism between the two characters, and it’s done in a cool subtle way. Again, assuming the protagonist isn’t named John Maincharacterton, and I’m way off base. Anyway, why this bit is in what I don’t love is because there’s just enough plausible deniability early on and in the middle of the story that HIM isn’t necessarily exactly who you think he is, which is interesting and subtle. But there is a moment, late in the story, where sadly, the subtlety soufflé takes a tumble and splats on the floor. Then it’s pretty inescapable who HIM is.

When Johnson transitions from scene to scene, there is also this thing that makes this already confusing story more confusing, but not in the good kind of way. I get slipping through parallel dimensions should be confusing, and it’s rightly done as such. But for instance, there was also a moment when the protagonist suddenly ended up out in the yard, and I was still mentally in the breakfast nook, with his wife—or one version of her at least. And I wasn’t sure if this was a slip between realities or not. There are a lot of moments like that. We’re here, and then we’re there, and then sometimes the protagonist himself literally says, oh well, I guess I should talk about this thing that happened earlier, or things won’t make sense. That I really didn’t like. Yes, of course, you should talk about the thing that makes the next thing make sense—stop skipping around, you nameless prick!



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***The Spoiler part of this review***
***Ye be warned to turn back now***


The quick and dirty synopsis:

The story is a first-person account, and we start it with our protagonist visiting his father. Also, visiting grandpa is the protagonist’s wife, Meredith, and his son, Nolan. The protagonist is experiencing quite an existential crisis after the last election where HE was elected. Beyond the realms of angst, it quickly becomes apparent that the protagonist has major medical and financial problems, too. He apparently suffers from seizures and was recently fired from his job.

Wednesday, September 29, 2021

Micro Mention "The Ten-Cent Plague"

David Hajdu


You know, oddly enough, even though this book isn't specifically about this, but it wasn't until I read "The Ten-Cent Plague" by David Hajdu did it crystalize for me how in the '50s we went from the people who fought fascism in the '40s to become the fascists.

Primarily, "The Ten-Cent Plague" is focused on how the comic-book industry got scapegoated by moralizing, holier-than-thou types, who convinced the government to assist them in their censorship. A flagrant disregard and disdain for the very first amendment to the constitution of the United States.

Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.

Which protects the freedom of speech from the government. This is off-topic, but again, it only protects censorship from the government, not consequences from private citizens or entities. Back on topic, the so-called conservative forces like to tell us a little story about themselves, that they are and always have been the party of the constitution, law, and order. Except, if you read books like this when one of those pesky amendments, such as the first one, gets in the way back in the '50s. 

It's amazing, according to them, how it's always the artists who are corrupting the youth. It's never the manufacturers of instruments of death—be they weapons or be they poison destroying the environment. People go on like the GOP has suddenly gone crazy with Trump-ism, but they have always been this way ever since WW2. With their power at its zenith, they blackballed anyone back then left of center—to fight communism, of course, which leads in a straight line all the way to today. They talk about how much they respect the police right up until they get in the way on the steps to the Capitol. Then it's apparently OK to beat them to death because, after all, we need to stop the non-existent cult in Hollyweird because it's always the artists' fault.



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Wednesday, September 1, 2021

Micro Mention "Desert Solitaire"

Edward Abbey


Edward Abbey was the Thoreau of his generation and somehow even more of a curmudgeon. Still, "Desert Solitaire" is one of those nature books that I deeply admire, and his prose about the wild places of the southwest sparkles even as it remains stark. He does with his words about the desert what many photos do of it, grabs your attention, and demands your focus. 

"Desert Solitaire" is just as much a book on philosophy as it is on nature. Abbey's worldview, much like his chosen preferred locale, is austere. Still, he holds to some old American values, even while not liking the government very much, while simultaneously working for that government as a ranger. So, he's a study in contradictions.

If you'd like to read my full review of this book, you can find it Here.



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Monday, May 31, 2021

Micro Mention "Too Much and Never Enough"

Mary L Trump


This is a kind of book that I never thought I would read a decade ago. I had never been too interested in politics of any kind for a long, long time—too long. But ignorance is no defense, and in 2016, I went from being a mildly disinterested independent with a spotty voting record to a zealously voting registered democrat. The thing is, as a centrist at heart—I know a dirty word—on most things, I don't think that I moved politically. 

I feel like the center moved away from me. The gravity from the right, whose event horizon envelopes the former President, is just so extreme that centrist politicians today debate with the subtext of "are we sure all people are, in fact, people? And even if so, is it really worth spending so much money to keep them alive? I mean, taxing the rich might cause them to forgo that third mansion."

This book, "Too Much and Never Enough," is an excellent dive into the family history which generated the 45th president of the United States and the origins of the cult of personality that grew around him to become mainstream modern conservatism. Where members such as neo-nazis, the clan, and admirers of the Confederate States of America all feel welcome. Never forget that the army of Northern Virginia never managed to wave their battle flag in the rotunda of the Capitol building, but these people did on January 6th, 2021.


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Monday, April 12, 2021

Micro Mention "Walden"

Henry David Thoreau


Sometimes it’s nice to just get away, get out in nature, take a walk, and maybe take a holiday in the mountains. No one quite did it like Thoreau, but luckily he wrote the experience down for us in “Walden.”

Like with Edward Abbey, who I very much thought was a spiritual successor to Henry David Thoreau, I admire Thoreau's fierce streak of independence. Of the transcendentalists, he's certainly the writer of that group that I've learned the most about, and he is, to me at least, a quintessentially American writer of the 19th century who was forward-thinking.

He was undoubtedly also a bit of a curmudgeon, a quality Abbey also shared with him. If you'd like to know more about Edward Abbey, I wrote a review of his book here.



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Friday, February 12, 2021

"Homo Deus," by Yuval Noah Harari--Nonfiction Review

Hello, my dear obscurists! Last week, we talked about a science fiction speculating on the possible darker side of humanity’s future. So today, I thought we’d discuss a nonfiction written by Yuval Noah Harari called “Homo Deus,” which is about humanity’s possible future. Lookout, we’re doing a theme here.


Yuval Noah Harari


What I love about this book:

Futurism and futurists have a special place in my heart—like Ray Kurzweil, for example—but despite the title and content of this book, to claim Yuval Noah Harari as a futurist might be a bit of a stretch. In this book, Harari looks at the intersection between our species’ history and where our technology is progressing and charts out what our course might be in the future. That aspect of it reminded me of Kurzweil’s “The Singularity is Near,” a book I rather quite liked, and I enjoyed that speculation on the future in “Homo Deus” nearly as much. 

Harari has such a conversational tone and sharp insight that it makes reading—or in my case, listening to—this book a real joy. How he flows from topic-to-topic while weaving in evidence to support his points is almost hypnotic in a way. He makes it look easy, is all I’m saying, which is impressive for a book about deep history and time.  

In “Homo Deus,” Harari tackles prejudices of thought that aren’t exclusively the racist sort of prejudices, but things like the proposition that the agriculture revolution was an unqualified good thing. It had good effects for us—humans—some bad too, but that’s a different topic, but mostly it’s an example of how one kind of creature could fundamentally change the environment around them. Great for us, but catastrophic to all the other life in our way. This is our superpower as a species, in action, and we’re only getting better at it in terms of power and not necessarily wisdom. Since there is no going backward—barring world-ending nuclear holocaust—I believe Harari’s point in this book is that we need to proceed with a clear understanding of the past and with restraint, characteristics of wise decision making.

The primary prejudice “Homo Deus” points out is the assumed primacy of humans, specifically Homo Sapiens—our brand of humans. Quick aside, there are no other groups within the Homo genus because we killed them. Sure there is the argument they might have died out because of climate change. But what seems more likely to you? The Homo Neanderthalensis, and assorted Homo cousins, all died out because the weather fundamentally changed. Or that “climate change” was represented as one group of the genus, say Sapiens, for example, invented language, close communities born of cooperation, and the throwing spear. Let me remind you we don’t even like other Sapiens who happen to have different skin colors. The tragedy here is our best qualities are often used for terrible purposes.

All of this certainly made us powerful. But does power or rather—and you may have heard this before—might make right? That’s the primacy of humans, and “Homo Deus” questions the objectivity of that premise.


What I don’t love about this book:

Harari spends a great deal of time covering territory, or rather re-covering territory in this book that seems more appropriate for his preceding book, “Sapiens.” Don’t get me wrong, it’s not that he’s whole cloth restating himself from that book in this one. What I mean is far more subtle than that. If “Sapiens” and “Homo Deus” work as a series and the former is a look at humanity’s past, the latter should be a look at the future—and it is—sort of, but a lot of it also looks at the past. You could make the argument that you can’t understand the future without understanding the past, and I agree. He wrote a whole book covering that before this one. The next argument is that maybe not every reader of “Homo Deus” has read “Sapiens” first, and he needs to do it this way to include them. Fair, but I still don’t understand why people do this—read books out of order, which drives me nuts when I do it accidentally. 

My old nemesis of hyper long chapters raises its irksome head in this book, which I know I mention a lot in this blog. But when it stops annoying me, I’ll stop mentioning it, so settle in that heat death of the universe thing can’t be too much longer off from now.

A thing that made me uncomfortable about my own failings; is all the allusions in this book to the horrors of industrial-scale ranching and meat production. Harari is an ardent vegan—and I admire him for that. I wish I could say that I could maintain the lifestyle of just a vegetarian, but so far, that isn’t the case. I really, really like the taste of buffalo chicken wings, and a steak made rare. I wish that I didn’t. Books like this have made it so I will never eat veal knowingly ever again. But even I realize that’s like saying, “look, I only cut down ninety acres of the hundred-acre wood. Pooh and his friends have like ten whole acres of woods left to gallivant around in whenever they want.” So this is a necessary societal—and clearly personal for me—evil that we needed to be confronted with, so I’m glad Harari put it in this book from an intellectual perspective. Emotionally, it sucks because I don’t like feeling like the bad guy, especially when I am the bad guy.
         


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Author's Website: https://www.ynharari.com/

Parting thoughts:

The will to change—and change for the better—is hard. It takes immense willpower, and willpower is a finite resource. From my understanding of modern-day psychology, this is true of not just individuals but also societies of people. To indulge in a cliché, the future isn’t written yet—but it is coming, and coming faster and faster every day. If the last thirteen odd months have taught me anything, it’s that if we want a bright future like the one Gene Roddenberry imagined, then we collectively need to change for the better. Otherwise, we’ll end up living in one a lot more like Orwell and Huxley imagined.

As I’ve grown older, I’ve noticed that some things get set in motion. Then their inertia is such that as an individual, the momentum is too much to overcome alone. There is a limit to what one person can achieve or grow beyond—and that sucks. I’ve even touched on one of my own limitations when it comes to diet. I consider myself an animal lover. But no matter how you gussy it up, though, no argument has ever convinced me that quality about my character isn’t incompatible with the fact that I find chickens delicious—and am therefore unwilling to stop eating chickens. As an individual, the willpower to change—on this specific topic—just isn’t there for me. I just accept the flaw and live with the discontinuity.

I would argue, though, that the point of a society is to overcome individuals’ flaws and deficiencies to create a better world for everyone. In America—this American too—we’re deeply skeptical of that concept, and historically, we have always been so too. We believe in the strength and character of the individual, the maverick, the pioneer, and there is precedent for this belief. When individual Americans such as Abraham Lincoln and Ulysses S. Grant led us through the civil war, they had their supporters, numerous even—but the collective in power was mostly against them. That’s another example of how the collective isn’t always morally correct. But on the other hand, taking another American president whose face is on money as an example, Andrew Jackson was undoubtedly a dynamic individual, and he was a lunatic. So you win some, you lose some. 

The great question is; how do we balance these conflicting notions of the flexibility and innovation of the individual and our species superpower of collective cooperation to change the world—and do it for the benefit of all life, not just human life?


Monday, February 8, 2021

Micro Mention "The Handmaid’s Tale"

Margaret Atwood


"The Handmaid’s Tale" by Margaret Atwood is one of those dystopian novels that should make you uncomfortable and be required reading like "1984" and "Fahrenheit 451." Why this book is particularly sinister is it feels more plausible than the other two.

It especially feels real in light of the recent political unrest at the Capitol. After all, Gilead got its start after most of Congress was executed by a radicalized group of dissidents. If you can't see the parallels there, I don't know what to tell you. 

I would like to think that no American would actually want a totalitarian state for absolute control that allows the stripping away of women's agency as people. To reduce them to nothing more than babymaking factories or trophies. But I'm less certain of that today more than any time in the last decade. 



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Author's Website: http://margaretatwood.ca/


Friday, January 22, 2021

"Desert Solitaire," by Edward Abbey--Nonfiction Review

Today we’re heading out into the dry country, deep into the desert of the southwest with Edward Abbey’s “Desert Solitaire.” It’s a Walden-Esque experience but in modern times.


Edward Abbey


What I love about this book:

Part of my psychology deeply admires the recluse who goes out and lives on the fringes of civilization and wilderness, and “Desert Solitaire” really scratches that itch for me. I’ve said this before, but Edward Abbey really feels like a reincarnation of Henry David Thoreau to me. Both men were writers, lovers of the wilderness, and had starkly serious political opinions that they somehow managed to express in folksy and sometimes slyly humorous ways.

Since Humboldt’s “Cosmos” and Thoreau’s “Walden,” there hasn’t been a book about the natural world and the wilderness that has so thoroughly captured my attention. In all its austere beauty, the southwest of the United States is interesting to me, and I don’t think anyone has ever described it as well as Abbey.

A lot of this book tells of Abbey’s time as a park ranger in the government’s employ, a government he wasn’t a fan of but so are many public servants. Anyway, the more he explained his job, and despite its obvious drawbacks, I found myself deeply envious of him. Something is alluring to me about the prospect of spending long days out in the middle of nowhere with little to do other than be a steward of a specific range of parkland. There is a simplicity and clarity of purpose to being a ranger that you really can’t find in many other professions.

I’ve always been a sucker for the stories of a lost cause—except, you know, for the confederacy, because they were traitors—and not just lost causes but vanishing ways of life. So I really enjoyed Abbey’s stories of the hardscrabble lives of the last generation of true cowboys in the old model. The grit and grime of the profession of driving cattle is romantic to me, paradoxically, because of how unromantic it was compared to the movies. Mostly, it was hard, dirty toil.


What I don’t love about this book:

This book underscores a very real degradation of the barriers between civilization and wilderness. And not just that, but the shrinking of the world’s wild places until they disappear. There may come a day when it’s no longer possible to literally go out and get away from people on the earth, and that’s a sad thought.

I loved reading about Abbey’s adventures and his descriptions of those adventures to places that few people have ever seen on earth. It saddens me to think that several of these places will never be seen again the way he saw them because some have been destroyed. When you build a dam, you do it as a boon to civilization, but it costs something to the natural world, and all the life behind that dam pays the price. There are some places that Abbey describes that are literally underwater now.

Abbey, at times, for all his genius, could be startlingly full of shit. At one point, he goes on about that it’s his job as a park ranger to preserve all life, and then, later on, he kills a rabbit with a stone and for no better reason than to see if he could. He doesn’t eat the rabbit, doesn’t feed it to anything. He just wanted to know if he could throw a stone and hit it in the head. Turns out yes.

The rabbit thing isn’t the only thing in his character that was objectionable. I’m pretty sure Abbey wouldn’t at first understand the charge, and once it was explained to him, he’d dismiss it out of hand as irrelevant, but he was an ableist. His prescriptions that when people go out to enjoy our shared common public lands—something all citizens and tourists of the United States should be able to enjoy—that they should be required to exclusively walk, ride a bike, or ride a horse—are narrow-minded.



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Parting thoughts:

Abbey didn’t have a great relationship with his fellow creatures—as in—human creatures. He seems like he could be amiable on an individual to individual basis, or even as a park ranger to a small group of people. Still, it becomes pretty clear that he wasn’t a fan concerning humanity in total. It isn’t so much in his direct comments, which there are numerous, that shows the true depth of his contempt for people, but in his more thoughtless remarks and suggestions. His implied assertion that public lands are only for the fit among us led me to think this about him.

I can knock down that sentiment by just pointing out some people are born without legs. Are they less entitled to nature? Sure, that’s an extreme example, but sometimes extremes are necessary to illustrate some ideas’ ludicrousness. A less extreme example is sometimes, people are injured, by no fault of their own, and lose limbs. Are they now less worthy? If your answer is anything but no, here is a rare unqualified statement from me—you’re an asshole. Just because someone is sick, injured, old, or disabled in any other way does not diminish their personhood.

In their love for the natural world, some people like Abbey forget that people are part of that world too. The impulse to rope everything off from the unworthy amongst us in the name of preservation is a tempting one. But precisely who gets to do the choosing of who gets to appreciate the natural world, and who does not? What criteria will they use?

In the end, I believe we should be more vested in educating people on why they should value and respect nature, more so than concerning ourselves with erecting barriers to entry. I believe this because we all spring from nature. We are all its progeny, and we are all its legacy and inheritors, not just a few elites who “get it.” We’re all subject to its cycles, and we must find that balance between both worlds, or there will be nothing for all sides, and all the lands of the earth will be emptier than even the harshest deserts today.


Friday, November 13, 2020

"Invisible Man," by Ralph Ellison--Fiction Review

Today’s review is on “Invisible Man” by Ralph Ellison—ah-ha! You all read this review’s title and thought ole Kevin was losing his marbles, reviewing the same book twice. But no—this is another book about invisibility, metaphorical invisibility, where Ellison tries to capture the black experience through fiction. 


Ralph Ellison


***The Non-Spoiler part of this review***


What I love about this book:

This book is really a series of stories, loosely strung together by our unnamed protagonist, a young black man. Because of circumstances mostly out of his control, he leads several lives that make him an excellent everyman character—who is black. I say he’s an everyman character, but part of the novel’s point is he’s also no one because of his persistent anonymity. The whole device of never properly naming the protagonist of the story is clever in supporting this theme.

Sometimes funny, “Invisible Man,” for the most part, is rather poignant. I believe its most salient point is that—despite how society acts—black people aren’t all a homogenous group. They are people, some good, some bad, some apathetic, and others deeply caring and loving. They don’t all think the same, they don’t all value the same things, but they all have the shared experience of being black, which in America, historically and today, is a mixed bag—often negative. All that, plus the marginalization and being robbed of agency in one’s own life, is what I believe Ellison was trying to capture with this novel.

Ellison had to have known he would ruffle some feathers with this novel because he takes an unsparing examination of all society. Not just with what you might expect—topics such as racism and how violence tends to only accomplish more violence, but his critiques also wither things that are nearly universally considered virtues. His point, I believe, is that under the right circumstances, even good things can be corrupted—and that’s a brave and subtle point to make.   


What I don’t love about this book:

The whole medical experiment scene, while creepy, and I like creepy, just ends awkwardly. I get the spirit of what Ellison was driving at—a sort of Tuskegee Experiment vibe—but plotwise, it’s an episode somewhere in the middle of the story that feels out of place. After the protagonist is injured “accidentally” at the paint factory he is working at, he’s taken to the company doctor to be treated. And sure, that was a popular thing back in the day and relevant to the black experience. If you’ve ever read “The Immortal Life of Henrietta Lacks,” you’ll know that the medical profession has had some troubling track records with black people. But why it doesn’t work for me is it doesn’t add or take away anything in the novel. It happens, the protagonist has an odd conversation with the doctor, and then he leaves. But other than suffering from feeling faint for a bit, he has no further complications, and it’s as if nothing happened.  

Narratively speaking, occasionally, the transition from one scene to the next got a little foggy for me. I’ve considered that might be an intentional move by Ellison to further the novel’s surreal atmosphere, but, for me, any time I miss a mental gear change as I did several times in this book, it just annoys me.



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***The Spoiler part of this review***
***Ye be warned to turn back now***

Friday, May 29, 2020

"Shattered Sword," by Anthony Tully and Jonathan Parshall--Nonfiction Review

It’s the Friday after memorial day, my fine internet strangers, so for today’s review, we’re talking about “Shattered Sword” by Anthony Tully and Jonathan Parshall, a history on the Battle of Midway during World War Two. How this nonfiction is different from most contemporary histories of the battle written in English is it’s largely from the Japanese’s perspective. 

Anthony Tully Jonathan Parshall



What I love about this book:

“Shattered Sword” is a deep dive into the minute details of the Battle of Midway, leading up to the battle, during, and immediately after the battle. The authors use a plethora of eyewitness accounts where possible and inform those accounts by filling in gaps with official logs from the ships that fought the battle.

I appreciate the attention they took to giving the best possible description of the military hardware being used and their differences on either side of the conflict. The same goes for the different tactical doctrines of the Japanese and American naval ships and aviators. 

War is rarely as symmetrical as it’s imagined in the movies where it’s either shown as a conflict of equals or one side which is vastly technologically superior to the other. World War Two is a fascinating conflict to me because it’s a hodgepodge of different militaries with different advantages and disadvantages, and the technology level is asymmetrical. 

What I mean by this is the Japanese Zero fighter was unquestionably a better plane than the American Wildcat—fighting a Zero in a Wildcat was almost always a death sentence. The Japanese didn’t have a handle on radar like the Americans did, which created a whole different tactical dimension. American torpedos were notoriously unreliable compared to their Japanese counterparts, often being too heavy and sailing right under their targets or when they weren’t, ramming into their targets but then would fail to explode. On the other hand, American anti-aircraft guns were strikingly superior to the Japanese AA guns, which didn’t manage to shoot down more than two American planes, according to “Shattered Sword,” during the Battle of Midway.

The book captures this back and forth comparison of Japanese strengths and weaknesses vs. American strengths and weaknesses—but it’s more than just that. It also describes the mindsets and cultures of that era that created those advantages and disadvantages. “Shattered Sword” has, even more, to offer than just military hardware comparative analysis and cultural commentary of the opposing forces—it also delves into the strategic mistakes that Admiral Yamamoto made before a single shot was ever fired. Then it breaks down hour-by-hour how those mistakes disastrously played out for the Japanese at Midway.          


What I don’t love about this book:

I appreciate the authors’ rigorous sticktoitiveness to what can be analyzed or conjectured from their own personal ken. However, when it comes to the point at the end of the book about the significance of the actual Battle of Midway in the Pacific War, I feel they’re a bit understated. Indeed, I accept the notion that in a prolonged war, based on economics, access to raw materials, personnel, and frankly the number of usable shipyards, I believe that an American naval victory in the Pacific over the Japanese was inevitable. I understand their reasoning for pouring a cold bucket of reality on the myths of Midway.  There certainly is an over-inflation of the importance placed on an American victory there to the Allies cause. 

What I disagree with is they seem only to measure “significance” based on the final results of the war. There is a lot to be said for soldiers’ and sailors’ morale and how it impacts their fighting effectiveness. And the other thing to take into account is initiative, which is paradoxical because the authors talk about the importance of initiative more than once in this book and how important it is for strategic purposes. So a loss at Midway would have been a massive blow to both American morale and initiative, while maybe this wouldn’t change the end result of the war; it would have certainly dragged it out longer, and cost more lives and ships. That’s my counter-argument for why winning at Midway was so crucial to the American navy. The authors even point out that after Midway, the Japanese won a few tactical victories but never recaptured the overall strategic initiative and, therefore, couldn’t make any moves that weren’t just reactions to what the Americans were doing.          


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Parting thoughts:

I watched the 2019 movie “Midway,” at about the same time I was reading this book. While it does an admirable job of using actual historical American aviators as characters instead of fictional creations, and it gets the what happened and when mostly right—it’s still primarily popcorn-munching nonsense. 

What it and nearly every other movie based on World War Two gets wrong—on purpose, in my opinion—is how ill-prepared the United States was at the beginning of the war. Hollywood is squeamish about this fact, and not just with “Midway” if you’ve ever seen “Pearl Harbor,” you can see the same thing. What I’m referring too are these movies play lip service to the idea that we weren’t prepared for war and then the plucky, brave American ace combat pilots get into their planes and give those ole’ Japanese what for and splash a few zeros. 

That myth is a disservice to the memory of those men who flew those planes and fought the Japanese. What they were, was mostly amateurs, who had shittier and slower planes than the Japanese—but those brave amateurs still got into those crappy planes, fought, and died in droves. Day in, day out, until we managed to grind the Japanese down by our ability to outproduce them, and those amateurs became seasoned pilots, and we finally built some better planes. That is true bravery, to know you’re outgunned, by better pilots, with better machines, and still, you’re going to fight until the homefront can build more and better ships and planes. Books like “Shattered Sword” and “Tin Can Titans” and “The Arsenal of Democracy” really drive home our ill-preparedness to the point that as an American, it gave me a minor existential crisis. 

The United States, as the underdog and not the most technologically advanced in warfighting capabilities, like with every other American, is a foreign concept to me.  It’s a statement that almost has no meaning—like saying the sky is going to be C sharp tomorrow instead of blue. It sheds light on our current pathological over preparedness to fight a conventional war like nothing the world has ever seen or is likely even capable of launching against us. The United States isn’t satisfied with spending more on defense than the next most prepared guy—we spend more on it then the next ten most prepared guys, where guys are countries, and nearly all of them are our allies. This is why no one does or likely will, in the near future, commit to fighting us in a conventional war. If at the beginning of the war in Afghanistan, we’d agreed to settle things by lining up all of their tanks vs. all of our tanks—then the conflict would’ve ended in less than an hour.  Hell, most of our tanks wouldn’t need to fire a single shot or even put shells in most of the tanks—or gas. This is because the Taliban never had the resources to field a battalion of tanks, so why would they fight that way? The answer is they wouldn’t, and obviously didn’t, they stuck to their strengths, which is mostly guerrilla warfare tactics in either mountainous or urban environments. That isn’t a way to win against a standing army, but it is a way not to lose and, after all, a strategy that is essentially a holding pattern until the paradigm changes is a perfectly valid one—I mean, we did it. Also, this isn’t the first time this tactic has been used against us, all of the Vietnam war was essentially our soldiers wandering the jungle while the Vietnamese used guerrilla tactics on us until we gave up and went home.      

These are the sorts of thoughts that give me pause when people start talking real gung-ho about a war with China. They cite our military might: how powerful our ships, planes, guns, bombs, drones, and whatever else is and how technologically advanced we are as if I can’t appreciate that simple logic. Going back through American history—to all the wars that were win or face annihilation, which wasn’t all of them despite what the government would like you to believe, we didn’t win because we made the best guns, ships, or planes. In World War Two, for example, we won out against the Japanese and the Germans who overall had superior training and weapons because we could make more than them. As in, in more people and guns—Russia was especially good at the people part, not so much the guns part. In a modern conflict between the United States and China, who do you think has the production advantage? 

This is all navel-gazing, though, because it’ll never be an issue. Here is a bold prediction, and history has a way of making people eat those, but I don’t believe a multi-year, global conflict like a world war, fought with traditional weapons, like guns, planes, tanks, and ships—can ever happen again. That sounds reassuring, but it isn’t, it’s much worse than that because nuclear weapons exist. The moment a nuclear power gets backed into the metaphorical corner by conventional weapons where the genuine threat of annihilation seems likely—or even possible—well then, they can always just nuke the fuck out of the other guy. That guy will, of course, choose to nuke the fuck out of him right back. After all the radioactive fallout finally washes away over the bones of our civilization, then the cockroaches will get their shot at being “civilized.”

While we’re on a negative spiral here—let’s commit to it, and I’ll leave you with this particularly unpleasant thought. The only reason all of this hasn’t already happened is because of a concept called nuclear deterrence. What it basically means is, “I have nukes, and you have nukes, and if you use your nukes, I’ll use mine, and vice versa, and either way, we’ll both end up dead—so let’s not do that.” However, the Achilles heel of nuclear deterrence is it presumes everyone involved has an understanding of and respect for the power of these weapons and is also perfectly rational, reasonable, and not suicidal. Unfortunately, about ten thousand years of human history teach us that those traits are really just options in our leaders and not necessarily requirements.    

Friday, May 8, 2020

"Calypso," by David Sedaris--Nonfiction Review

It’s Friday, and we’re all about that review game here. Today’s review is “Calypso” by David Sedaris. It’s a collection of funny essays, commenting on politics, society, the author’s own life just like—well every other David Sedaris book, I presume, I’ve read a lot of them but not all as of yet. And no, the fact that it’s titled “Calypso” has nothing to do with the fact I reviewed “The Odyssey” last week. It’s just one of those coincidences. Set up by the Illuminati to control the world!

David Sedaris


What I love about this book:

David Sedaris is very funny. He can be everything between charming or witty to acerbic and petty while feeling no compunction to apologize for who he is at any time. This gives him a blunt refreshing honesty, and you’ll find out relatively soon whether or not you like him or not. 

Every Sedaris story is the same formula, which goes like this: here is a weird situation that David Sedaris is in—and it’s all about how in response to the situation, likely he’s put himself in, he’ll be weird about the whole affair. Now at first, I’d forgive you for thinking that this sounds like a bad thing. After all, a lot of popular culture, especially in the part that reviews things, either implies or outright points out that repetition is a bad thing. But I’d argue that sometimes, like in his case, he’s perfected his craft to such a fine point that it’s always fun to read. 

Here’s an analogy I’m sure he wouldn’t appreciate much, but it’s like watching the home run derby. Essentially the same thing is happening over and over again. We’re watching a guy hit home runs, one after another, over and over again. That’s what reading “Calypso” is like to me, watching Sedaris set up each story about his life, and then with supreme comedic timing, knock it out of the park repeatedly. 

My absolute favorite chapter of this book is “Stepping Out,” which is about how Sedaris became obsessed—like he often does with random things—with his Fitbit. It’s a perfect distillation of his humor and who he is as a person, displaying all of his positive and negative qualities in one neat package. While I don’t have a Fitbit of my own, I do have a step counter on my smartphone. More than once, I saw myself in some of the things he was saying in the chapter. This chapter was especially exciting for me because before reading it, a few years back, I had happened to see a headline to an article with a picture of David Sedaris standing next to a garbage truck. Upon clicking on the article, I found out that his local council named a garbage truck after him—and this chapter finally explained why.      


What I don’t love about this book:

The actual chapter titled “Calypso” that the book is named after is probably my least favorite of the bunch. He starts by talking about the Ebola scare the United States experienced recently, and his mockery for frightened people, which doesn’t land particularly well, considering current circumstances. Most of the chapter is about his quest to have a lipoma removed from his body—not because it was life-threatening or anything—and feed it to a sea turtle that lives near his vacation home. Why? Because he’s an odd bird. 

Furthermore, the title of the chapter “Calypso” has nothing to do with anything other than a throwaway joke about how “Calypso” would be a stupid name for a cat. Which he then proceeded to name this chapter after—and then the whole book. I get the hypocritical joke he’s making here, but when I discovered the genesis for the title of this book, all it caused me to do was roll my eyes.

In the chapter “The Spirit World,” towards the end, he describes the last time he saw his sister, Tiffany, before she took her own life. I struggled with whether to put this in the section for things I love or don’t love because I respect him for not sugar-coating how poorly he treated her in that last meeting. In the audio version, you can hear in his voice the regret. The subtext he plays within this chapter is how, in the end, we all desire catharsis—reconciliation, and how he will never get that with his sister. Ultimately, I put this topic here because it’s a net negative for me. My disappointment in him for that moment is too great to not.
     


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Parting thoughts:

I’ve read a few of David Sedaris’ books, the first of which, “Me Talk Pretty One Day,” was a cherished gift I received a few years back. I got hooked on him again, like with most things, because of Audible, where he narrates his own books, which make the experience of them all the better since they’re in his voice. Sedaris does a lot of public speaking at events where he does what he does in his books, which is talk about some story from his life while making humorous observations.

So it was on one of these youtube time sinkhole journeys, watching him speaking at this or that, that I discovered an undercurrent of some commentators and even some reviewers who really don’t like David Sedaris. At first, I thought, the funny gay guy who tells odd stories? This can’t be right.

All the negative reviews and comments mostly about him primarily fall into the same vane, attacking him for not being a very nice person. They’re far more florid than that, of course, but you’re on the internet—well at least to read this blog—so you know what anonymous internet people are like—they’re dicks. So I don’t feel the compunction about not being any more explicit.  

There are even a particularly nasty few who take issue with how he handled the suicide of his sister, which he talks about in this book. There is a lot of self-righteous squawking about how he was insufficiently sensitive toward his troubled sister, Tiffany. As I previously mentioned in this post, I, too, was a bit disappointed about some aspects of his interactions with her, but I don’t think it’s fair to judge a person’s entire character based on one bad moment. Especially when it comes to family, families can be messy, dynamic, and complicated. A few stories here and there aren’t enough to judge what it was truly like to live with her as a family member, and since the last time he saw her was years before her suicide, I’m certain he could never have predicted that would be the last time he saw her alive. 

David Sedaris never claimed to be a saint or a perfect person, or even to aspire to be either of those things. I feel like we demand too much of people who live in the public eye. We expect them to be better than us, and when they have shortcomings, they’re castigated harsher than we’d expect for a private person. I believe this impulse comes from a place of jealousy, which is always an ugly feeling to express. So instead, it gets couched in a “belief” of superior morals allowing for a downward glance along the nose at the universally low moral turpitude of the elites—which is bullshit. 

Friday, April 10, 2020

"Cosmos," by Carl Sagan--Nonfiction Review

We’ve made it to another Friday, my dear internet strangers. You all still socially distancing? Still, reading this blog? Good, you’ll survive… that isn’t to imply reading this blog will impact your chances of survival one way or another, or is it?

Anyway, in today’s nonfiction review, we’re talking space stuff, shocking, I know, with Carl Sagan’s “Cosmos.” It’s one of those books that I believe everyone should read at least once in their life because the gifts Carl Sagan left us with are genuinely precious—chief of which is the gift of perspective.

Carl Sagan


What I love about this book:

It isn’t just a book about astronomy. Don’t get me wrong, I love me some astronomy and could talk about it for many an hour—but Sagan doesn’t limit the topics covered in “Cosmos” to things that happen in outer space. After all, like that stoner you met in freshman year, once said, “like everything man, is like the universe, so like we’re all the universe, man.” He wasn’t wrong—inelegant maybe—but not wrong. Sagan describes it a bit more elegantly by saying that we are all made of star-stuff. He leads you on the journey of why that is true, explaining that all elements making up matter are ultimately forged through the process of fusion in the furnaces of every star. The rarer and very dense elements, further down the periodic table, can only be made via this process, not in normal stars but only after a star dies in a fiery explosion called a supernova.

Without getting too much further into the weeds—understanding that and how matter and energy can’t ever truly be destroyed but only transformed creates an opportunity. The opportunity to realize that not only are we all fundamentally the same, but the greater truth that we are connected to everything, everywhere, for as long as time passes. No one and nothing is ever truly lost, only changed in form and pattern.

Overall, the text of “Cosmos” is accessible for everyone, regardless of personal scientific education level. Carl Sagan wouldn’t have been the arch science communicator we remember him as if he could only express himself in a meaningful way to other astrophysicists. His book is the perfect starting place for anyone interested in the stars, physics, or the universe as a whole. He doesn’t dumb down the concepts presented in the book, more he just slowly and robustly explains them without presupposing the audience all have PhDs. How does he do this? With a lot of metaphors. 

Sagan sometimes even flexes his fiction muscles at various points in the book, for which I’m appreciative. He’s a powerful writer, and his talents with fiction are sometimes forgotten in the face of his nonfiction accomplishments as an astronomer, astrophysicist, and a science communicator—especially in the shadow of the television programs that share a namesake with this book.         


What I don’t love about this book:

Sagan can wax poetic like the best of them, and most of the time, it’s lovely—flowery and so forth, but it can be a bit long-winded. The problem is he takes a while,  getting to his point of whatever he’s describing. When he does get there, it’s usually graceful, sort of like how the Sistine Chapel is elegant—but if all you wanted was a picture, there are no pictures in Cosmos, only Sistine Chapel(s), metaphorically speaking. Literally, there are several pictures in “Cosmos,” and what I’m getting at is the word choice is always elevated, and with elevated language, your audience needs to be in the right mindset to appreciate the product fully. I understand why the author chose to write this book in such a revering way. This is his life’s work, and it’s about the most significant topic possible because it’s about the whole universe—which by definition, is the biggest thing that can be conceived of that we know for certain exists.

Also, “Cosmos” is guilty of one of my primary nemeses when reading—hyper long chapters—right up there with super short chapters in terms of how much it annoys me. I get it—the thirteen chapters of “Cosmos” accompany the thirteen episodes of the original “Cosmos” show, but it still aggravates me for petty reasons.

It’s hard to say what any chapter in the book is precisely about in a concise way. Certainly, they’ve all got individual themes, and they’re about a lot of things, but without breaking them down further, they all become vast self-contained literary adventures in their own right. So my experience reading “Cosmos” wasn’t that I was reading one book but several small books tied together. 



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Parting thoughts:

Carl Sagan lived and died a little before my time—so sadly, I don’t know the experience of him and his work as a science communicator during my formative years. Those figures for me are Bill Nye and Neil deGrasse Tyson. Yes, I was alive in 1996 when Carl Sagan died, but I was in elementary school, and my love for the stars hadn’t been fostered much beyond reruns of “Star Trek: The Next Generation.”

Even still, it has been an emotional journey for me to discover his work and watch his old shows now that I’m older. My introduction to him, was in fact, “Cosmos” but hosted by Neil deGrasse Tyson. I guess technically the first thing I’d experienced by him was “Contact” the 1997 film based on his novel of the same name—but I don’t count it because I hadn’t realized that movie was based on a novel, haven’t seen it since the ’90s, and it went way over my head back then. I’ll have to revisit it at some point.

Why this stuff resonates with me so much is because outer space, the further reaches of our solar system and beyond, is our only logical future as a species. There are no more oceans to cross on Earth, no more lands to discover—this is it, and there are more of us every day. I know it’s a strange thing to say during a pandemic, but even after world wars one and two, and the Spanish flu, which by all accounts was far more lethal than COVID-19, the Earth’s population still grew and grew at ever-increasing rates. It will continue to do so—even after this.

Carl Sagan was ultimately an optimist. He believed in humanity, and that we can be better. Through the rigorous use of the scientific method, one day, we will reach the stars, and it is a beautiful dream. Before that can happen though, we as a species need to do better, to cooperate and learn to let live, better. For me, that is ultimately the perspective Carl Sagan wanted us to adopt—and I hope we don’t let him down.