On ‘The Ravanayan’ and women traveling alone.

On ‘The Ravanayan’ and women traveling alone.

Most ancient stories, including several considered sacred by contemporary societies, are riddled with sex, violence, and gore.  In the Old Testament, Samson goes berserk and murders a thousand men with the jawbone of a donkey.  In the Iliad, Achilles goes berserk and drags a corpse across the battlefield, hoping to defile the body of his foe.  In the Edda, Thor goes berserk and starts smashing skulls with his hammer. 

In the Ramayana, an army of monkeys and an army of demons meet murderously on the battlefield.  From Robert Goldman, Sally Sutherland Goldman, and Barend van Nooten’s translation of the Ramayana:

In that terrible darkness they slaughtered one another in battle: the monkeys crying, “Are you a demon?” and the demons crying, “Are you a monkey?”

Kill!”  “Rend!”  “Come on!”  “What, running away?”  Such were the tumultuous cries that were heard in that darkness.

A tremendous din could be heard as they roared and raced about in that tumultuous battle, though nothing at all could be seen.

In their towering fury, monkeys killed monkeys, while demons slaughtered demons in the darkness.

And as the monkeys and demons killed friend and foe alike, they drenched the earth with blood, making it slick with mud.

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The weapons described in the Ramayana are so fantastical that some Hindu nationalists cite these passages as evidence that ancient Indians had access to advanced military technology, like atomic bombs.  Which, um, they didn’t.  These claims are equivalent to the Christian archaeologists who scour rocks for evidence of Yahweh’s genocidal flood in the Old Testament.

Ancient myths tend not to be literally true.

But, even to a generation raised on Mortal Kombat and action flicks, mythological battle scenes are pretty intense.  Especially in the Ramayana, what with those magical weapons, flying monkeys, and angry demons.  Luckily for us, Vijayendra Mohanty and Vivek Goel have collaborated to produce The Ravanayan, a gorgeous series of comic books depicting this story.

Divine arrows that explode on impact?  Yup.

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The Ramayana is an intricate, expansive myth.  Whenever I attempt to summarize it to someone, I begin tentatively – the story includes deep meditations on fate, and its chains of causality often seem involuted and intertwined.  One action causes another, but the second action also caused the first. 

For instance, Rama kills Ravana because Ravana kidnapped Rama’s spouse.  But also, Rama was born for the express purpose of killing Ravana.  Their collision was pre-ordained.

In some tellings, Ravana is a demon.  A monstrous figure who, like Lucifer, initiates an assault on the gods and must be stopped.  Because Ravana is immune to harm from deities, though, Vishnu must be incarnated as a human to slay him.  During Vishnu’s tenure as a human, other characters intentionally waste his time because they are waiting for Rama / Vishnu’s divinity to fade sufficiently for him to be able to fight Ravana.

In other tellings, Ravana is an enlightened figure.  Ravana is vegetarian, whereas Rama’s vice-like passion for hunting is so strong that he abandons his spouse in order to pursue (and kill) a particularly beautiful deer.  By way of contrast, Ravana exemplifies asceticism, forebearance, and learning … but is doomed by love.  In the essay “Three Hundred Ramayanas,” A.K. Ramanujan writes that:

In the Jain texts … Ravana is a noble hero fated by his karma to fall for Sita and bring death upon himself.

And, in some Shaivite interpretations of the Ramayana, the supposed villain has orchestrated the entire affair for the good of the world.  In these tellings, Ravana is like Jesus, intentionally sacrificing himself to potentiate salvation for others.

Mohanty and Goel’s Ravanayan follows this tradition.  In addition to stunning illustrations (seriously, check out Goel’s pictures of Brahma, a creator who contains galaxies), their books offer deep psychological insight, especially in their explanations for Ravana’s seemingly irrational behavior.  In their telling, Ravana is perfectly aware of the pain that he is causing, but he believes that the only way to save the world is by sacrificing himself and those he loves.

Goel’s Brahma.

Goel often depicts Ravana alone, repulsed by the suffering that he himself must cause in pursuit of greater good.

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Precisely because Mohanty and Goel do such an excellent job depicting other portions of the Ramayana, I was disappointed that their series skips the Shoorpanakha episode.  In this scene, an adventurous woman is traveling alone when she meets Rama and his brother.  The two are so gorgeous and charming that she feels smitten and begins to flirt.  The brothers tease her briefly … then mutilate her face by hacking off her nose and ears, a standard punishment for sexual impropriety.

As it happens, the woman whom Rama and his brother have abused is Ravana’s sister.  Shoorpanakha returns to her brother’s kingdom to show Ravana what was done to her.  Only then does Ravana decide to kidnap Rama’s spouse, hoping to punish the brothers for assaulting his sister.

In ancient India, it was unacceptable for a woman to travel alone.  Much worse, Shoorpanakha felt infatuated and attempted to act upon her desires.  Female desire was seen as inherently dangerous; Rama and his brother could been seen as exemplary men despite this assault because Shoorpanakha deserved to have her face sliced open.

Although Mohanty and Goel don’t show Rama and his brother disfiguring Shoorpanakha, her depiction in the first volume of their series is decidedly unsympathetic.  She is described as “wildness itself, chasing after anything that moved.”  When she and her siblings find an injured jungle cat, her younger brother says they should nurse it back to health; she wants to eat it. 

And then, as part of his plan to sacrifice himself for the sake of the story, Ravana murders Shoorpanakha’s husband in order to send her mad with grief. Because no sane woman would be so bold, possessed of such unnatural appetites, as to want to seduce the beautiful, charming, divine men she meets while traveling.

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The Ramayana is thousands of years old.  It’s unreasonable to expect ancient stories to mirror contemporary sensibilities.  We know now, obviously, that many people whose cells contain two x chromosomes enjoy travel, adventure, and sex.  They shouldn’t be judged for their desire.  And certainly not assaulted in retribution for it, as Shoorpanakha was.

Except that … they are.  The New York Times recently ran an article on some of the women who have been attacked while (and quite possibly for) traveling alone.

Women are still punished for their appetites.  For perfectly acceptable behavior, things that would seem strange for men to fear.

If the world were different, I probably wouldn’t fault Mohanty and Goel for their depiction of Shoorpanakha.  After all, they’re working with ancient source material.  The original audience for the Ramayana would have shared a prejudice against adventuresome women.

But, until our world gets better, I feel wary of art that promotes those same prejudices.

A beautiful comic book could change the way kids think about the world.  In The Ravanayan, Mohanty and Goel push readers to feel empathy even for a story’s traditional villain.  I just wish they’d done more.  Our world still isn’t safe for women.  Shoorpanakha, too, has a story that deserves to be heard.

On Vaughan & Staples’s ‘Saga’ and parenting metaphors.

On Vaughan & Staples’s ‘Saga’ and parenting metaphors.

I’m reasonably well-versed with small stuff.  I’ve studied quantum mechanics, spent two years researching electronic structure, that sort of thing.  I imagine that I’m about as comfortable as I’ll ever be with the incomprehensible probabilistic weirdness that underlies reality.

But although I helped teach introductory calculus-based physics, I’ve never learned about big things.  I took no geometry in college, and most big physics, I assume, is about transferring equations into spaces that aren’t flat.  The basic principle seems straightforward – you substitute variables, like if you’re trying to estimate prices in another country and keep plugging in the exchange rate – but I’ve never sat down and worked through the equations myself.

There’s only so much physics you can understand without chugging through the math.  Our numbers don’t quite describe the world – they can’t exactly express quantities like pi, or the solutions to most three-body problems – but they do a better job than our words.

gravity.pngStill, some excellent pop-science books on gravity have been published recently.  My favorite of these was On Gravity by A. Zee – it’s quite short, and has everything I assume you’d want from a book like this: bad humor, lucid prose, excellent pacing.  Zee has clearly had a lot of practice teaching this material to beginners, and his expertise shines through.

Near the end of the book, Zee introduces black holes – gravity at its weirdest.  Gravity becomes stronger as the distance between objects decreases – it follows an “inverse square law.”

If our moon was closer to Earth, the tides would be more extreme.  To give yourself a sense of the behavior of inverse square laws, you can play with some magnets.  When two magnets are far apart, it seems as though neither cares about the existence of the other, but slide them together and suddenly the force gets so strong that they’ll leap through the air to clank together.

But because each magnet takes up space, there’s a limit to how close they can get.  Once you hear them clank, the attractive magnetic force is being opposed by a repulsive electrostatic force – this same repulsion gives us the illusion that our world is composed of solid objects and keeps you from falling through your chair.

Gravity is much weaker than magnetism, though.  A bar magnet can have a strong magnetic field but will have an imperceptible amount of gravity.  It’s too small.

A big object like our sun is different.  Gravity pulls everything together toward the center.  At the same time, a constant flurry of nuclear explosions pushes everything apart.  These forces are balanced, so our sun has a constant size, pouring life-enabling radiation into the great void of space (of which our planet intercepts a teensy tiny bit).

But if a big object had much more mass than our sun, it might tug itself together so ardently that not even nuclear explosions could counterbalance its collapse.  It would become … well, nobody knows.  The ultra-dense soup of mass at the center of a black hole might be stranger than we’ve guessed.  All we know for certain is that there is a boundary line inside of which the force of gravity becomes so strong that not even light could possibly escape.

Satellites work because they fall toward Earth with the same curvature as the ground below – if they were going faster, they’d spiral outward and away, and if they were going slower, they’d spiral inward and crash.  The “event horizon” of a black hole is where gravity becomes so strong that even light will be tugged so hard that it’ll spiral inward.  So there’s almost certainly nothing there, right at the “edge” of the black hole as we perceive it.  Just the point of no return.

If your friends encounter a black hole, they’re gone.  Not even Morse-code messages could escape.

(Sure, sure, there’s “Hawking radiation,” quantum weirdness that causes a black hole to shrink, but this is caused by new blips in the fabric of reality and so can’t carry information away.)

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The plot of Saga, by Brian K. Vaughan and Fiona Staples, revolves around a Romeo & Juliet-esque romance in the middle of intergalactic war, but most of the comic is about parenting.  K read the entire series in two days, bawling several times, and then ran from the bedroom frantic to demand the next volume (unfortunately for her, Vaughan & Staples haven’t yet finished the series).

Saga is masterfully well-done, and there are many lovely metaphors for a child’s development.

For instance, the loss of a child’s beloved caretaker – babysitters, daycare workers, and teachers do great quantities of oft under-appreciated work.  In Saga, the child and her first babysitter are linked through the spirit, and when the caretaker moves on, the child feels physical pain from the separation.

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A hairless beast named “Lying Cat” can understand human language and denounces every untruth spoken in its present – allowing for a lovely corrective to a child’s perception that she is to blame for the traumas inflicted upon her.

lying cat from Saga

Perhaps my favorite metaphor in Saga depicts the risk of falling into a black hole.  Like all intergalactic travelers, they have to be careful – in Saga, a black hole is called a “timesuck” and it’s depicted as a developing baby.

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My favorite scene in the film Interstellar depicts the nightmarish weirdness of relativistic time.  A massive planet seems perfectly habitable, but its huge gravitational field meant that the years’ worth of “Everything’s okay!” signals had all been sent within minutes of a scout’s arrival.  The planet was actually so dangerous that the scout couldn’t survive a full day, but decades would have passed on Earth before anyone understood the risk.

Gravity eats time.

So do babies.  A child is born and the new parents might disappear from the world.  They used to volunteer, socialize, have interests and hobbies … then, nothing.

They fell into the timesuck.

On Gerry Alanguilan’s “ELMER,” his author bio, and animal cognition.

On Gerry Alanguilan’s “ELMER,” his author bio, and animal cognition.

I was talking to a runner about graphic novels, once again recommending Andy Hartzell’s Fox Bunny Funny (which I imagine would be exceptionally treasured by a young person questioning their gender identity or sexuality, but is still great for anybody who feels they don’t quite fit in), when he recommended Gerry Alanguilan’s ELMER.  An excellent recommendation — I thoroughly enjoyed it.

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The comic’s premise is that chickens suddenly gain intelligence roughly equivalent to humans.  Then they fight against murder, oppression, and prejudice in ways reminiscent of the U.S. civil rights movement.  The beginning of the book is horrifying, first with scenes depicting chickens coming into awareness while hanging by their feet in a slaughter house, then the violent reprisal they affect against humans.

gerryAlanguilan is a great artist and clearly a very empathetic man.

But that’s why I thought it was so strange that two out of four sentences of his short bio on the back cover read, “Gerry really likes chicken adobo, Psych, Mr. Belvedere, Titanic, Doctor Who, dogs, video blogging and specially Century Gothic. Transformed.”  For a moment I thought the first clause might be ironic because his author photograph for ELMER was taken in front of a busy bulletin board & one sheet of paper was a diet guide that appeared to have the vegan “v” logo at the bottom — maybe Gerry is making a point about what he gave up! — but with some squinting I realized it was a “Diet Guide for High Cholesterol Patients,” the symbol at the bottom merely a checkmark.

Why, then, would Alanguilan want to punctuate his work with the statement that he eats chickens, as though that is a defining feature of his life?

It’s commonly assumed among people who study animal cognition that other species are less aware of the world than humans are.  That humans perceive more acutely, our immense brainpower ensuring that our feelings cut deep.

The differences are matters of degree, though. It’s also widely acknowledged that humans exists on the same continuum as other animals, with no clear boundaries — genetic, physiological, or cognitive — demarcating us from them.  I thought this was phrased well by Frans de Waal in his editorial on Homo naledi and teleological misconceptions about evolution:

capThe problem is that we keep assuming that there is a point at which we became human.  This is about as unlikely as there being a precise wavelength at which the color spectrum turns from orange into red.  The typical proposition of how this happened is that of a mental breakthrough — a miraculous spark — that made us radically different.  But if we have learned anything from more than 50 years of research on chimpanzees and other intelligent animals, it is that the wall between human and animal cognition is like a Swiss cheese.

This is why, after reading Alanguilan’s brief biography, I began to wonder what percentage of human-like awareness chickens would need to have for their treatment in slaughterhouses, or the conveyer belt & macerator (grinder) used to expunge male chicks, or their confinement in dismal laying operations, to seem acceptable?

In Elmer, Alanguilan makes clear that their treatment would be unacceptable if the average chicken had one hundred percent of the cognitive capacity of the average human.  But then, below what percentage cognition does their treatment become okay?  Eighty percent?  Ten?  One?  Point one?

I think that’s an important question to ask, especially of an artist capable of creating such powerful work.

(And I should make clear that my own moral decisions exist in the same grey zone that I find curious in Alanguilan’s author bio.  I support abortion rights, an implicit declaration that the fractional cognition of a fetus is insufficient to outweigh the interests of the mother.  It’s more complicated than that, but it’s worth making clear that I’m not purporting to be morally pure.)

It’s true that humans are heterotrophs.  It’s impossible for us to live without harming — it irks me when vegetarians claim, for instance, that plants have no feelings.  They clearly do, they have wants and desires, they have rudimentary means of communication.  You could argue that eating fruit is ethically simple because fruit represents a pact between flowering plants and animal life, which co-evolved.  A plant expends energy to create fruit as a gift to animals, and animals in accepting that gift spread the plant’s seeds.

ketchupsmoothieBut anyone who eats vegetables (where “vegetable” means something like kale or broccoli or carrots — Supreme Court justices are not scientists) harms other perceiving entities by eating.

Which is fine. I eat, too!  Our first concern, given that we are perceiving entities, is to take care of ourselves.  If you didn’t care for your own well-being, what would motivate you to care for someone else’s?  Beyond that, I don’t think there’s a simple way to identify what or whom else is sufficiently self-like to merit our concern.  Personally, I care much more about my family than I do other humans — I devote the majority of my time and energy to helping them.  And I care much more about the well-being of the average human than I do the average cow, say, or lion.

Moral philosophers like Peter Singer would describe this as “speciest.”  I think that’s a silly-sounding word for a silly concept.  I don’t care about other humans because we have similar sequences in our DNA, or even because they resemble what I see when I look into a mirror.  I care about their well-being because of their internal mental life — I can imagine what it might feel like to be another human and so their plights sadden me.

Sure, I can imagine what it might feel like to be a chicken… but less well.  Other animals don’t perceive the world the same way we do.  And they seem to think less well.  I’d rather they not suffer.  But if somebody has to suffer, I’d rather that somebody be a Gallus gallus than a Homo sapiens.  I’d rather many chickens suffer than one human — I weigh chickens’ interests at only a small fraction of my concern for other humans.

Humans can talk to me.  They can share their travails with words, or gestures, or interpretative dance, or facial expressions.  And that matters a lot to me.

But integrity matters, too.  For instance, it seemed strange to me that David Duchovny could both write the book Holy Cow, in which he depicts farmed animals attempting to escape their doom, and still announce that he is “a very lazy vegetarian, which means I will look for the vegetarian meal, but I will also give up.”

My main objection isn’t to people eating meat.  It isn’t even to people who understand that animals can think (with differences in degree from human cognition, not differences in kind) eating meat.  Not everyone lives where I do, within a short walk of several grocery stores that all offer excellent nutrition from plants alone.  It’d be extremely difficult (and expensive) for humans living near the arctic to stay healthy without eating fish.  Those people’s well-being matters to me far more than the well-being of fish they catch.

And, for people living in close proximity to large, dangerous carnivores? Yes, obviously it’s reasonable for them to kill the animals terrorizing their villages.  I wish humans bred a little more slowly so that there’d still be space in our world for those large carnivores, but given that the at-risk humans already exist, I’d rather they be safe.  I can imagine how they feel.  I wouldn’t want my own daughter to be in danger.  I ruthlessly smash any mosquitos that go near her, and they are far less deadly than lions.

I simply find it upsetting when people who seem to believe that animal thought matters won’t take minor steps toward hurting them less.  It’s when confronted with stories about people who understand the moral implications of animal cognition, and who live in a place where it’s easy to be healthy eating vegetables alone, but don’t, that I feel sad.

If you had the chance to make your life consistent with your values, why wouldn’t you?

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