entreculturas textbook review

A gripping account of Captain Cook’s final voyage

‘the wide wide sea,’ by hampton sides, recounts cook’s search for the northwest passage.

I’m grateful to the Santa Fe bookseller who put Hampton Sides’s “Blood and Thunder” into my hands some years ago. With Kit Carson’s death-defying exploits at its center, the book revolutionized my concept of America’s westward expansion. Sides’s latest effort, “ The Wide Wide Sea ,” is a gripping account of Captain James Cook’s final voyage.

Cook is a controversial historical figure, especially in light of increasing consciousness about the evils of colonialism. Yet he continues to evoke curiosity and attention. As recently as last month, Popular Mechanics published an article about the rediscovery of his curated shell collection.

Sides does not skirt the rapacious appetites of the British and other European monarchies. The magic of this book, however, is in the details of the explorer’s life at sea. Sides relies on Cook’s writings as well those of other sailors on the voyage. Based on the selected bibliography he includes, Sides’s research was voluminous.

Cook had made two world voyages by the time the book opens. He was a celebrity, having “risen from virtually nothing.” At sea, he’d bucked the Royal Navy’s tradition of violence and cruelty. He’d figured out how to avoid scurvy and brought home information of incomparable value, had mastered new nautical instruments and served as an expert scientist, anthropologist and navigator. His mapmaking skills were superlative.

After only six months at home, he took off again, in search of the elusive Northwest Passage . His third expedition consisted of 180 people in two wooden ships, the Resolution and the Discovery. They left England in July 1776.

In addition to Cook’s story, other narratives weave through the book. One particularly fascinating account is that of Mai, a native of Raiatea, a volcanic island 130 miles northwest of present-day Tahiti. When Mai was a boy, warriors from Bora Bora invaded Raiatea, murdered his father, seized his family’s land and enslaved much of the population, forcing his family to take refuge in Tahiti. In 1767, a teenage Mai witnessed the English navy’s firepower when Samuel Wallis, a British navigator, arrived in the HMS Dolphin and fought the Tahitians. Vowing to avenge his people against Bora Bora, Mai concluded that English guns were the way to go. When Cook sailed in seven years later on his second Pacific voyage, Mai requested passage, becoming the first Polynesian to set foot on English soil.

Mai’s story reads as metaphor for colonialism. He learned English and was wined and dined as a celebrity. Although horrified by London’s grinding poverty, unthinkable in his homeland, he wore the local dress and adopted the manners of a foppish English gentleman. He met King George, who provided Mai and Cook with a large assortment of farm animals and domesticated birds, to cement the king’s footprint around the globe. No surprise — the animals were hell to care for. Mai had been in search of heavy artillery from King George, but for the voyage was given only an “arsenal of muskets [and] broadswords,” as well as gifts that would have been unimaginable to the Polynesians — cut-glass bows, laced hats, crockery and telescopes. If not the cache Mai hoped for, it does reflect the English royalty’s strategy for winning friends.

It isn’t possible in this short space to describe Sides’s hair-raising accounts of the journey, an itinerary that led from England to present-day South Africa, South America, Australia, New Zealand, Polynesia, Hawaii, north to Alaska and beyond, and back to Hawaii. Just repairing and re-provisioning the ship required herculean efforts. The physical threats included days-long ocean storms, fog so thick it wasn’t possible to see from stern to bow and cold temperatures against which no garment could protect.

By the time Cook reached Polynesia in October 1777, the rat infestation was so great that “the vermin had all but taken over the holds, gangways, and lower decks.” At Moorea, 12 miles from Tahiti, Cook created a “swinging bridge” from ropes to lure the rats on land. A few made it to the beaches, introducing Polynesia to the European black rats, which remain a “scourge” today.

Cook understood that his men were vectors for infection. An ascetic, he occasionally stopped his men from going ashore to prevent the spread of venereal disease. At times he restrained his crew from violence; at other times, his temper was uncontrollable. After a series of petty thefts from the ship by Tongo natives, Cook ordered brutal floggings and had a villager’s ears cut off. In punishment for one Moorea person stealing a goat, Cook had the village and its cropland torched, along with its canoes. Sides suggests that over the course of this final voyage, Cook may have been suffering declining mental faculties.

By August 1778, the two ships were in the Arctic Ocean sailing toward Siberia. Cook was careful, “zagging outward if the pincers of ice began to close in on his vessels.” When he finally concluded there was no Northwest Passage, he decided to salvage his “defeat,” by doing “reconnaissance work in Hawai’i.” A man onboard wrote, “Those who have been amongst ice, in the dread of being enclosed in it, and in so late a season, can be the best judge of the general joy this news gave.”

People tend to know Cook was killed by native people in Hawaii. The events leading up to his death are gruesome and upsetting, including “cannibalism” made more explicable in Sides’s measured account.

This book captures a time when Europeans were finding unfathomable new worlds. Armed with extensive research and terrific writing, Sides re-creates the newness of the experience, the vast differences in and among Indigenous cultures, and natural phenomena that were as terrifying as they were wondrous.

Martha Anne Toll’s prizewinning debut novel, “Three Muses,” was published in 2022. Her second novel, “Duet for One,” is forthcoming in early 2025.

The Wide Wide Sea

Imperial Ambition, First Contact and the Fateful Final Voyage of Captain James Cook

By Hampton Sides

Doubleday. 432 pp. $35

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EntreCulturas Level 4

ISBN: 978-1-641590-30-3

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Picture This

George takei 'lost freedom' some 80 years ago – now he's written that story for kids.

Samantha Balaban

George Takei was just 4 years old when when President Franklin D. Roosevelt signed Executive Order 9066:

"I hereby authorize and direct the Secretary of War, and the Military Commanders... to prescribe military areas in such places and of such extent as he or the appropriate Military Commander may determine, from which any or all persons may be excluded..."

It was Feb. 19, 1942. Japan had attacked Pearl Harbor two months earlier; For looking like the enemy, Japanese and Japanese American people in the U.S. were now considered "enemy combatants" and the executive order authorized the government to forcibly remove approximately 125,000 people from their homes and relocate them to prison camps around the country.

Book Reviews

George takei recalls time in an american internment camp in 'they called us enemy'.

Star Trek actor George Takei has written about this time in his life before — once in an autobiography, then in a graphic memoir, and now in his new children's book, My Lost Freedom.

It's about the years he and his mom, dad, brother and baby sister spent in a string of prison camps: swampy Camp Rohwer in Arkansas, desolate Tule Lake in northern California. But first, they were taken from their home, driven to the Santa Anita racetrack and forced to live in horse stalls while the camps were being built.

"The horse stalls were pungent," Takei remembers, "overwhelming with the stench of horse manure. The air was full of flies, buzzing. My mother, I remember, kept mumbling 'So humiliating. So humiliating.'"

He says, "Michelle's drawing really captured the degradation our family was reduced to."

Michelle is Michelle Lee, the illustrator — and researcher — for the book. Lee relied heavily on Takei's text and his excellent memory, but it was the research that both agree really brought the art to life.

"I'm telling it from the perspective of a senior citizen," Takei, 87, laughs. "I really had to wring my brains to try to remember some of the details."

So Takei took Lee to the Japanese American National Museum in Los Angeles, where he is a member of the board. They had lunch in Little Tokyo, got to know each other, met with the educational director, and looked at the exhibits. Then Lee started digging into the archives.

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From 'star trek' to lgbt spokesman, what it takes 'to be takei'.

"I looked for primary sources that showed what life was like because I feel like that humanizes it a lot more," Lee explains. She found some color photographs taken by Bill Manbo, who had smuggled his camera into the internment camp at Heart Mountain in Wyoming. "While I was painting the book, I tried as much to depict George and his family just going about their lives under these really difficult circumstances."

Takei says he was impressed with how Lee managed to capture his parents: his father, the reluctant leader and his mother, a fashion icon in her hats and furs. "This has been the first time that I've had to depict real people," Lee adds.

To get a feel for 1940s fashion, Lee says she looked at old Sears catalogues. "What are people wearing? All the men are wearing suits. What kind of colors were clothes back then."

But a lot of information has also been lost — Lee wasn't able to see, for example, where Takei and his family lived in Arkansas because the barracks at Camp Rohwer have been torn down — there's a museum there now. "I didn't actually come across too many photos of the interior of the barracks," says Lee. "The ones I did come across were very staged."

She did, however, find the original floor plans for the barracks at Jerome Camp, also in Arkansas. "I actually printed the floorplan out and then built up a little model just to see what the space was actually like," Lee says. "I think it just emphasized how small of a space this is that whole families were crammed into."

One illustration in the book shows the work that Takei's mother put in to make that barrack — no more than tar paper and boards stuck together — a home.

"She gathered rags and tore them up into strips and braided them into rugs so that we would be stepping on something warm," Takei remembers. She found army surplus fabrics and sewed curtains for the windows. She took plant branches that had fallen off the nearby trees and made decorative sculptures. She asked a friendly neighbor to build a table and chairs.

"You drew the home that my mother made out of that raw space, Takei tells Lee. "That was wonderful."

Michelle Lee painted the art for My Lost Freedom using watercolor, gouache and colored pencils. Most of the illustrations have a very warm palette, but ever-present are the barbed wire fences and the guard towers. "There's a lot of fencing and bars," Lee explains. "That was kind of the motif that I was using throughout the book... A lot of vertical and horizontal patterns to kind of emphasize just how overbearing it was."

Takei says one of his favorite drawings in the book is a scene of him and his brother, Henry, playing by a culvert.

Asian American And Pacific Islander Heritage Month 2022

George takei got reparations. he says they 'strengthen the integrity of america'.

"Camp Rohwer was a strange and magical place," Takei writes. "We'd never seen trees rising out of murky waters or such colorful butterflies. Our block was surrounded by a drainage ditch, home to tiny, wiggly black fishies. I scooped them up into a jar.

One morning they had funny bumps. Then they lost their tails and their legs popped out. They turned into frogs!"

"They're just two children among many children who were imprisoned at these camps," says Lee, "and to them, perhaps, aspects of being there were just fun." The illustration depicts both childlike wonder and — still, always — a sense of foreboding. Butterflies fly around a barbed wire fence. A bright sun shines on large, dark swamp trees. Kids play in the shadow of a guard tower.

"There's so much that you tell in that one picture," says Takei. "That's the art."

"So many of your memories are of how perceptive you are to things that are going on around you," adds Lee, "but also still approaching things from a child's perspective."

Even though the events in My Lost Freedom took place more than 80 years ago, illustrator Michelle Lee and author George Takei say the story is still very relevant today.

"These themes of displacement and uprooting of communities from one place to another — these are things that are constantly happening," says Lee. Because of war and because of political decisions ... those themes aren't uncommon. They're universal."

Takei agrees. "People need to know the lessons and learn that lesson and apply it to hard times today. And we hope that a lot of people get the book and read it to their children or read it to other children and act on it."

He's done his job, he says, now the readers have their job.

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For Caleb Carr, Salvation Arrived on Little Cat’s Feet

As he struggled with writing and illness, the “Alienist” author found comfort in the feline companions he recalls in a new memoir, “My Beloved Monster.”

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MY BELOVED MONSTER: Masha, the Half-Wild Rescue Cat Who Rescued Me, by Caleb Carr

J. Alfred Prufrock measured his life out in coffee spoons . Caleb Carr has done so in cats.

Carr is best known for his 1994 best-selling novel “ The Alienist ,” about the search for a serial killer of boy prostitutes, and his work as a military historian. You have to prod the old brain folds a little more to remember that he is the middle son of Lucien Carr , the Beat Generation figure convicted of manslaughter as a 19-year-old Columbia student after stabbing his infatuated former Boy Scout leader and rolling the body into the Hudson.

This crime is only fleetingly alluded to in “My Beloved Monster,” which tracks Carr’s intimate relationship with a blond Siberian feline he names Masha — but his father haunts the book, as fathers will, more sinisterly than most.

After a short prison term, Lucien went on to become a respectable longtime editor for United Press International. He was a drunk — no surprise there, with famous dissolute-author pals like Jack Kerouac and Allen Ginsberg hanging around the house. But that he regularly beat Caleb and threw him down flights of stairs, causing not just psychological but physical injuries that persist into adult life, adds further dark shadings to this particular chapter of literary history.

In a boyhood marred by abuse, neglect and the upheaval of his parents’ divorce, cats were there to comfort and commune with Caleb. Indeed, he long believed he was one in a previous life, “ imperfectly or incompletely reincarnated ” as human, he writes.

Before you summon Shirley MacLaine to convene 2024’s weirdest author panel, consider the new ground “My Beloved Monster” breaks just by existing. Even leaving aside the countless novels about them, dogs have long been thought valid subjects for book-length treatment, from Virginia Woolf’s “ Flush ,” about Elizabeth Barrett Browning’s cocker spaniel, to John Grogan’s “ Marley and Me .” Meow-moirs are thinner on the ground.

It’s taken a younger generation of feminists, and probably the boredom and anxiety of quarantine, to destigmatize (and in some cases monetize ) being owned by a cat. Male cat fanciers, however, have long been stereotyped as epicene or eccentric, though their number has included such national pillars of machismo as Ernest Hemingway and Marlon Brando . When one male lawyer accidentally showed up to a civil forfeiture hearing behind a kitten filter on Zoom in 2021, America went wild with the incongruity.

Carr, though he’s a big one for research, doesn’t waste much time, as I just have, throat-clearing about cats’ perch in the culture. He’s suffered from one painful illness after another — neuropathy, pancreatitis, peritonitis, Covid or something Covid-like, cancer; and endured multiple treatments and surgeries, some “botched” — and his writing has the forthrightness and gravity of someone who wants to maximize his remaining time on Earth.

He capitalizes not only Earth, but the Sun, the Moon and the roles played by various important anonymous humans in his life, which gives his story a sometimes ponderous mythic tone: there’s the Mentor, the Lady Vet (a homage to Preston Sturges’ “The Lady Eve”; Carr is a classic movie buff), the Spinal Guru and so forth.

Names are reserved for a succession of cats, who have seemingly been as important to Carr as lovers or human friends, if not more so. (At least one ex felt shortchanged by comparison.) Masha is his spirit animal, a feminine counterpart better than any you could find in the old New York Review of Books personals . She eats, he notes admiringly, “like a barbarian queen”; she enjoys the music of Mahler, Sibelius, Rachmaninoff and Wagner (“nothing — and I’ll include catnip in this statement,” he writes, “made her as visibly overjoyed as the Prelude from ‘Das Rheingold’”); she has a really great set of whiskers.

Before Masha there was Suki, blond as well, but a bewitching emerald-eyed shorthair who chomped delicately around rodents’ organs and disappeared one night. Suki was preceded by Echo, a part-Abyssinian with an adorable-sounding penchant for sticking his head in Carr’s shirtfront pocket. Echo was preceded by Chimene, a tabby-splotched white tomcat the adolescent Caleb nurses miraculously through distemper. Chimene was preceded by Ching-ling, whose third litter of kittens suffer a deeply upsetting fate. And before Ching-ling there was Zorro, a white-socked “superlative mouser” who once stole an entire roast chicken from the top of the Carr family’s refrigerator.

To put it mildly, “My Beloved Monster” is no Fancy Feast commercial. All of the cats in it, city and country — Carr has lived in both, though the action is centered at his house on a foothill of Misery Mountain in Rensselaer County, N.Y— are semi-feral creatures themselves at constant risk of gruesome predation. Masha, rescued from a shelter, had also been likely abused, at the very least abandoned in a locked apartment, and Carr is immediately, keenly attuned to her need for wandering free.

This, of course, will put her at risk. The tension between keeping her safe and allowing her to roam, out there with bears, coyotes and fearsome-sounding creatures called fisher weasels, is the central vein of “My Beloved Monster,” and the foreboding is as thick as her triple-layered fur coat. More so when you learn Carr keeps a hunting rifle by one of his easy chairs.

But the book is also about Carr’s devotion to a line of work he likens to “professional gambling.” Despite his best sellers, Hollywood commissions and conscious decision not to have children to stop the “cycle of abuse,” Carr has faced money troubles. The I.R.S. comes to tape a placard to his door and he’s forced to sell vintage guitars to afford Masha’s medications, for she has begun in eerie parallel to develop ailments of her own.

“My Beloved Monster’ is a loving and lovely, lay-it-all-on-the-line explication of one man’s fierce attachment. If you love cats and feel slightly sheepish about it, it’s a sturdy defense weapon. If you hate them, well, there’s no hope for you.

MY BELOVED MONSTER : Masha, the Half-Wild Rescue Cat Who Rescued Me | By Caleb Carr | Little, Brown | 352 pp. | $32

Alexandra Jacobs is a Times book critic and occasional features writer. She joined The Times in 2010. More about Alexandra Jacobs

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EntreCulturas 2 (Spanish Edition) First Edition

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• ISBN-10 1942400543
• ISBN-13 978-1942400547
• Edition First Edition
• Publisher Wayside Publishing
• Publication date December 31, 2016
• Language Spanish
• Dimensions 11 x 8.5 x 1 inches
• Print length 516 pages
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• Publisher ‏ : ‎ Wayside Publishing; First Edition (December 31, 2016)
• Language ‏ : ‎ Spanish
• Paperback ‏ : ‎ 516 pages
• ISBN-10 ‏ : ‎ 1942400543
• ISBN-13 ‏ : ‎ 978-1942400547
• Item Weight ‏ : ‎ 2.7 pounds
• Dimensions ‏ : ‎ 11 x 8.5 x 1 inches
• #68,023 in Unknown
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• #137,353 in Reference (Books)

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Rebel Moon- Part 2: The Scargiver review – more generic sci-fi from Zack Snyder

Sofia Boutella’s dynamic star turn isn’t enough to redeem Netflix’s brash sci-fi sequel

T he concluding chapter of Zack Snyder ’s cacophonous sci-fi spectacular offers more of the same overbearing, underwhelming formula. Easily identifiable good guys – the apple-cheeked, flaxen-haired, space-Amish farming collective – are attacked by cartoon baddies equipped with jackboots and glowing swords (almost like sabres made of light. Sound familiar?). A courageous band of rebels draws on the pain and shame of their respective pasts and mounts a sturdy defence. Snyder’s trademarks – extravagant lens flares, extreme slow-motion shots of people shouting and shooting – are employed with abandon. And while Sofia Boutella, playing outlaw warrior Kora, brings a balletic elegance to her fight sequences, ultimately this is disappointingly generic stuff.

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