Chapter 2 – The Blood Fever

The Tinsha Monastery was high in the peaks of the Llangon Mountains, and even in the modern era the sand was still tinged green from the centuries of civil war that had ravaged the planet. The followers of Hakhir had traveled there to build a new sanctuary after hearing the words of Surak and withdrawing from the bloody conflict.

Before the Time of Awakening, their ancestors were the Kolinahru, a faction from Gol known for their psionic abilities. Their powers should shatter bones, melt brains, and crush organs with a mere thought. It is said that when they heard the words of Surak, and withdrew from the fighting, the warlords were deprived of their greatest weapons and peace was at last inevitable.

For hundreds of years, the Hakihr turned their powers inward. They rejected the simple aesthetic of their spiritual cousins in the cities and painted their skin with shi’ar flower[1], grew their hair long, and wore beads and braces etched with the words of their prophets. The study of blood types, fingerprints, and eye color evolved into a center for the study of Biometrics, and included an infirmary, an orphanage, and eventually shuttlecraft platforms.

The rocks grew worn and old with use, and the sheltered threshold became known as a place to leave unwanted children, so nobody was surprised when a little girl appeared on the stone steps one chilly morning. The rains were late that year, and it was a rare morning fresh with water. Hence the name that invoked the title of an ancient sea god.

The Mother Superior had adopted T’Nedara into the temple, like she had so many others, and like the others she was a foundling with an unknown ancestry. She proved to be a more than competent student, and it made her stand out in her early years. The Mother Superior had other charges, but she grew close to this one, and became her mother as well as her mentor.

The Temple kept the old ways, but she could feel they were starting to question its purpose. The Old Gods were a novelty on Vulcan now, diminished into quiet and harmless effigies by the legacy of Surak. The temple was evolving from its roots into a center of study in Biometrics. Perhaps their future was in science, as opposed to the spiritual, but the loss of the old rituals saddened her.

The Mother Superior had hope for T’Nedara as someone who could carry the temple’s future. Thanks to her residence as a monk, her status as an orphan without a family name or lineage, and her eventual graduation to a Priest, she was spared the tradition of Koon’ul.^[2]

Ironically, this led to another problem.

The Captain of the Guard, a male named Serik and the son of one of the Temple’s benefactors, decided he wanted a second wife and asked for T’Nedara. She wasn’t promised to anyone, and his mother’s donations had secured him his title as Captain, why should it not secure him another mate?

The Mother Superior didn’t like the idea, but she did not feel like she was in a position to argue nor speak for her ward. She would be a secondary consort as opposed to a principal wife, thus she could stay in the temple and retain her current position, but due to the marriage bond she would never be able to ascend to the position of Mother Superior.

What reason did she have to refuse that was not based on personal sentiment or reckless ambition?

T’Nedara’s usually calm and statuesque demeanor showed a visible tremble when Serik made his claim. Her favorite student understood these nuances and initially agreed as protocol demanded, as it was a logical union that would allow her to keep their wealthiest patron happy.

She didn’t exactly refuse, but was careful not to return in kind.

“Your proposal is logical and would honor the temple.” She declared. “But the ancient laws compel me to warn you, there may be a challenger.”

The Mother Superior suspected as much. She had seen T’Nedara and one of the new guards, standing close together in the shelter of the stone arches. They spoke to each other in hushed tones and even held hands[3] when they thought nobody was looking.

“Then the proposal is accepted,” the Mother Superior declared, facing Serik and his mother, “but T’Nedara has the right to call the Kal If Fe.”

She turned to her favored acolyte, and spoke as much as a mother as a spiritual leader. “The choice is yours. If he will stand, then let your Champion reveal himself.”

T’Nedara returned to her only hours later. Her cheeks were a warm, dark green, and she had news from the infirmary.

Pon Faar, they said, after examining one of the guards, a male named Selek.

He was at a point in life where he would have been familiar with techniques to control the Vulcan mating urge, but this time it had been triggered by an external force and had arrived earlier than expected.

Every seven years, the Vulcan male is compelled to return to where he was born and breed if possible. Although ancient Vulcans were slaves to their impulses, modern times have a variety of viable treatments should travel or mating not be an option, including meditative techniques and medication.

It happens to both sexes, but for Vulcan males, it can be a death sentence if not properly treated.

When the Mother Superior saw Selek, he was kneeling in a state of deep meditation. His fingers were laced in front of his face, and his breath coming in shallow, raspy whispers.

She spoke some quiet words over him. His hands fell to his knees, and she placed her fingers on the pressure points on his temples and jaw. Despite her strict Vulcan facade, she couldn’t hide how impressed she was by the pain coursing through him. He must have been highly disciplined to keep his silence.

“Selek, you feel the pain of Pon Faar,” She said, with calm authority, “this is the Vulcan heart. This is the Vulcan soul. Prepare yourself.”

She removed her hand. Selek’s head fell. He descended into the Plak-tau, and would not speak again until the moment T’Nedara stepped forward and named him as her Champion.

The Mother Superior made both Serik and T’Urel aware of the situation and warned them accordingly.

“She will call the Kal If Fe,” The Mother Superior spoke to the Matron. “Your son already has a wife. He stands between the rage of Pon Faar and its chosen mate. I beg you, withdraw your claim on T’Nedara.”

Serik was arrogant, and he and his mother refused, assuming that Selek’s fighting skills were just for show.

When the challenge began, Selek was kneeling in the shadows by the jade stone, the tips of his fingers trembling. His hands were extended in front of his face, the fingers laced together as he chanted a mantra against the pain.

In this case, Serik was considered the fiancé and Selek his challenger. T’Nedara stepped forward at the appointed moment to call forth her champion, and Selek did not move until she stood before the gong and said his name.

There was a sparring ring in the temple used for training and teaching, and the Mother Superior quickly saw to it that it was prepared for a formal ceremony. It was the logical course of action, but she had her own personal reasons. If her dearest ward was to have her fate determined by the rite Kal If Fe, not a single banner or blade could be out of place.

A variety of weapons lined the sparring circle. Both chose the lirpa. If a fighter managed to dodge the fan-shaped blade at one end, they were in danger of being crushed by the bulbous sphere on the other.

Serik was not completely inept, but his fighting skills had not been tested. He had learned more about ceremony than actual fighting. He made some deadly hits, but was no match against Selek.

The challenger had a definite advantage. The influence of Pon Faar was a buffer against pain and injury, but it was more than biology that drove him.

T’Nedara stood as close to the fighting ring as protocol dared, and by the time it was over, her robes were spotted with the blood of both challengers. It was not until Serik lay dead that Selek finally collapsed. His wounds were not mortal, but serious enough to render him senseless.

In all her long years, the Mother Superior had never seen such a savage and decisive Kal If Fe. It gave her some hope that the old ways could survive, but it was a bittersweet joy. Her dearest ward was now a bride, and the future of the temple was uncertain.

Selek rose slowly from sleep like an air bubble rising through a layer of thickened blood. He sat up carefully. His whole body was sore. It felt like a herd of myrmidex^[4] had galloped over him.

A coolness touched his shoulder. He was not wearing a sleeping robe^[5], and the cold of the stone was sharp against his bare skin. T’Nedara was sitting on the edge of the infirmary bed, and she was pressing a pitcher of water against his arm. He nodded gratefully and took a deep drink. It was a relief to be himself again.

“Some of your cuts have opened,” She said. “Let’s go and fix them.”

It was very early morning and the Infirmary was quiet. Incense burned in the corners and the lights were dimmed. T’Nedara worked with her virtual needle, hot and sharp, and the light of a few small floating lanterns hovered over Selek’s back and shoulders.

“You’ll feel some pain again,” She touched the cut on his shoulder blade gently. “And you’ll be more sensitive for a few days. The pendulum has swung back.”

The madness of Pon Faar was similar to a rush of adrenaline in a human that would make them numb to pain or fear. Selek’s wounds weren’t too serious, but T’Nedara made a mental note that the condition could take its toll on the body and slow the healing process.

She drew herself upward, and the floating lights rose with her.

“Better,” she said and then exhaled deeply herself. She was also fatigued.

“We both require more sleep,” he murmured, and she nodded.

They quietly collected some clean sleeping robes and returned to their modest bower. Without a word, they removed the infirmary sheets that were smeared with Selek’s blood, and then fell back into the bed together.

It was a gentle, deep sleep that lasted well into the next morning, and would have been longer had they not been roused.

T’Urel barely even looked at her son’s remains. The Mother Superior’s words echoed in her ears as she contained her rage.

“He died well and will have a funeral with all the ancient rites. You should be proud.”

“I trust my last donation will be more than enough for a military funeral.”

“It will not,” the Mother Superior replied coldly, “and such formalities related to class are obsolete in Vulcan life. It’s illogical for you to assume your donation would pay for an expense unrelated to temple business.”

“It is perfectly logical to expect reparations…”

“From who?” The Mother Superior’s voice raised and hardened. “The mating rites are known to you. Money and social credit are not what makes the Vulcan blood burn. Should you ask T’Plana-Hath^[6] herself, or demand it of the ancient gods?”

There was a heavy silence that hung in the dry air of the Mother Superior’s quarters.

“Who is this Selek?” T’Urel spat out the name with contempt.

The Mother Superior did not know how to answer. Selek’s father was Koss, a known intellectual, scholar, and researcher known for a prosperous architectural career, who generally stayed out of politics.

His mother, however, had caused some controversy early in her career as a subcommander on a starship, but not a Vulcan one. She had spent a few years babysitting Terrans on behalf of the Vulcan High Command, and there was some talk about her son’s true bloodline.

There was no time for an answer. T’Urel had turned and stormed from the room, her face frozen in anger as she stomped to the Infirmary.

“Neddy,” T’Krella was a novice in the temple, but T’Nedara had schooled and trained her, and the two had grown close.

T’Krella barely had the courage to creep to the side of the bed. She wasn’t only afraid of the angry lady outside but of the male lying next to her mentor and friend. T’Krella had been present at the Kal If Fe, and the memory of his terrifying face, twisted with rage and smeared with blood, was etched in her mind.

She peeked over the edge, trying to ignore the hulking mass on the dark side of the bed, and said her friend’s name again with more urgency.

T’Nedara opened her eyes and stared curiously at the little hands and eyes peering at her from behind the thin curtain.

“T’Urel is outside,” she heard a voice hiss, and then a figure darted back to the shadows.

There were voices outside. One that was rather loud and angry.

T’Nedara slipped out of bed and opened the hood of her robe. She had barely lifted it over her head before stepping outside to face her would-be-mother-in-law’s wrath.

“Honored Matron,” she spoke calmly and bowed.

“You speak well, for a mere orphan who has insulted my family and robbed me of a son,” was the angry reply.

“Matron, the protocols have been followed.” T’Nedara might have been clothed in little more than a simple sleeping robe, plain white and embroidered with black runes, but her voice had the ring of ancient authority. “Your emotional outburst has no place…”

“I will determine my place,” T’Urel turned and opened her mouth again to speak, but was abruptly halted when a tall figure appeared in her way. In her blind rage, she almost ran into him.

Selek glared at her. His eyes were on fire but no emotion showed in his face.

“My condolences on the loss of your son, Matron.” He bowed his head. “He fought well. We will honor him.”

T’Urel’s nostrils flared, and she pursed her lips together. There had been all kinds of phrases running through her head, a million sharp and biting quips, but she forgot all of them now.

“Congratulations,” she spat out the word like a curse and stomped off.

Selek wrote to his mother later that morning. He carefully reviewed the brief contents of the letter before closing it and affixing her name and title.

Dearest Ko’mekh^[7];

I hope you are well. If you’ve already heard about the duel, then I apologize for not sending word first. I meant no disrespect and everything happened very quickly.

My mate is named T’Nedara, and she is a priest and monk of the temple. Her field is Biometrics and she is highly skilled.

I understand your work keeps you busy, but I would be honored by your visit. I would find comfort to introduce you to my mate.

Selek

Sub Commander T’Pol

Vulcan High Command

1 A plant similar to the henna of earth.

2 Arranged marriage in childhood. Vulcans are generally seven years old when betrothed to a future mate.

3 This is more like kissing than just “holding hands.” The fingers and hands are erogenous zones for Vulcans, so this is a gesture for lovers alone. It’s not something done with friends or acquaintances.

^[4] A six-legged herd animal native to Vulcan.

^[5] Vulcans have a variety of sleeping robes and gowns that often take the place of blankets, sheets, or other bed linens that humans would use.

^[6] An ancient historical figure known as the Matron of Vulcan Philosophy.

^[7] The Vulcan term for mother

Cheladas

Posted by Kristy Ambrose

It’s that time of year again. The frost is on the ground, the Thanksgiving turkey is picked clean, and the winter holidays are approaching. If you’re heading to Mexico for some hot steamy fun, cool off with one of the many beer cocktails that are making waves south of the border. Bring a few recipes home and use them with your favorite local craft beer to remember your sunny vacation.

Before we swim over to the poolside bar, it helps to know a few things about Mexican mixed drinks, especially ones that include “chela”, a nickname that Mexicans have given to everyone’s favorite frosty beverage.

If you’re heading to Mexico for some hot steamy fun in the sun, make sure to try one of the many beer cocktails that are making waves south of the border. Bring a few recipes home and use your favorite local craft beer to remember your vacation.

Before we head to the bar, it helps to know a few things about Mexican mixed drinks, in particular ones that include beer.

Let’s start with some of the more surprising and exotic ingredients with this handy glossary.

Salsa. This is not the chunky variety that you use as a dip back home. In Mexico, salsa just means “sauce” and it can be any number of dips or toppings. Ketchup, Worchester sauce, salsa maggy, and Valentina are all examples of “salsa.”

La Ramona

A distinctive drink that’s often served in a large, bowl-like glass with the open beer bottle used as a garnish. Tequila, beer, clamato, salsa inglesa, salsa maggy, (petroleo) limone, tahini, orange juice.

La Ramona is a distinctive drink that’s often served in a large, bowl-like glass with an open beer bottle used as a garnish. It includes tequila and beer, Clamato juice, Worcestershire sauce, lime, and tahini.

Gummi Chela

Candy is dandy, liquor is quicker, and together they’re better. Limone, clamato, sal, mango gummies with red sauce, preferably dark beer. If you’re in the mood for something sweeter, try a Gummi Chela.

We’re not sure who had to the idea to combine dark beer, Clamato juice, and gummy bears with spicy red sauce and a rim of tangy salt, but kudos to that creative mind.

West Coast Michaleda

This one is more popular on the Pacific Coast of Mexico, where tourists from the northwestern US and Canada’s Lower Mainland tend to congregate. Coasties from the north like their seafood and beer, so why not combine them into one big happy glass? This drink that eats like a meal includes fried or peeled shrimp, pan drippings, other “chela” fixens. Dark beer is recommended but it’s not a requirement.

The West Coast Michelada was invented on the Pacific Coast of Mexico, where tourists from the northwestern US and Canada’s Lower Mainland tend to congregate. Visitors from the north like their seafood and beer, so why not combine them into one big happy glass? This drink that eats like a meal starts with a dark beer and includes fried or peeled shrimp, pan drippings, and other typical “chela” garnishes like lime, spicy red sauce, and salt.

Michelada de Sabores

Boilermakers. That means you get a shot glass either on the side of actually dropped into an oversized mug of beer. A frosty beverage with lemon, salt, and almost any flavor of alcohol but in particular tequila or mescal.

Pina Colada Chelada

Take away the sweet coconut milk and rum and replace it with beer, and you have this creative take on an old favorite. It might need a different name at that point, but there has yet to be a Beer Cocktail Committee ruling on what exactly this dink might be.

The Refugee Crisis

Posted by Kristy Ambrose

The Illiad told the story of Troy’s destruction. The Odyssey brought the Greeks home. The Aenid followed the Trojan survivors west.

But what happened then?

A Two Scene Play

About 1000 BC, in what is now central Italy, formerly the Etruscan Federation. Every year, the leaders of the 12 biggest and most prominent cities meet to discuss reginal issues. Most of the time these meetings are discreet, civilized, and orderly. Today, however, the council is facing a crisis that will shake the foundations of their comfortable little empire.

Cast of characters;

The cities of the Federation: Arezzo, Kisra, Clevsi, Orvieto, Perugia, Cortona, Populonia, Vieo, Tarquinia, Vatalu, Volterra, and Volci

Aeneus, The Last Prince of Troy

Setting: The interior of a lavish but practical council room, featuring a long table with 12 chairs. One of the chairs is empty. The other eleven council members are talking about the latest news and wondering where the missing member – Vieo – could be. There’s a general murmur of chatter in the room as the scene begins.

Scene 1

ORVIETO: So, where is he? The sooner we get started the sooner we can leave. I have grapes that need pressing.

PERUGIA: You can fuss over your grapes later. Vieo is the closest to the coast, and he sent a messenger about the boats coming into sight. I sent a note back that he was to get a reasonable estimate of how many there are.

VOLTERRA: We could almost see them from the mountaintop. Word from the north says 30 boats, but…

The council door swings open, and Vieo stumbles in, obviously agitated and rushed.

CORTONA: Ho, our coastal friend arrives! What news from….

VIEO: (interrupts, obviously upset) They lied to us! I knew it, those bloody Carthaginians! They said what, 20 boats, maybe? There are more than 60 boats parked next to the swamp below my city!

The other cities make frightened or angry gestures while the chatter in the room intensifies. Only the two central figures, Perugia and Tarquina, remain calm, speaking quietly together. The chatter goes on while Vieo takes his seat. The other figures next to him at the table offer him comfort and a cup of wine.

ORVIETO: Drink up friend, it’s my latest vintage. Calm yourself, poor fellow!

VIEO: (hand trembling, puts the cup on the table) There were some big ships, enough for an army…and they say the prince himself is with them!

VOLTERRA: Dear gods, no wonder Dido sent them off! If Carthage can’t handle them…

AREZZO: The Trojan army, at our doorstep!

KISRA: We’ll be crushed!

PERUGIA and TARQUINIA have been sitting quietly, observing the scene. When panic sets in, TARQUINIA calmly rises. Her voice echoes throughout the council chamber.

TARQUINIA: That’s enough! Vieo, sip your wine, and you two (nods at his seatmates), pipe down! As if we don’t have our own fearsome army? Future generations can rave about checkerboard patterns and sweet white wine, but is that’s what built the Federation?

KISRA: But…the Trojans….

PERUGIA: (interrupts her) …have been crushed by the Greeks. You mean those Trojans? Whatever they have in our harbor is no more than a ragtag group of pathetic survivors.

TARQUINIA: Those that fled, and have been running west, wide eyed and scared, like a lost herd of deer ever since.

VOLTERRA: The prince, though! What if he sends a delegation? An official letter or…

PERUGIA: (produces a rolled parchment) Like this?[1]

The scroll has a red ribbon and a golden seal that bears the crest of Troy. A collective gasp fills the room. The chatter dies down as TARQUINIA motions for silence. PERUGIA rises to her feet.

PERUGIA: The Prince has requested asylum for the survivors. Including a space to build permanent homes and settlements.

A murmur goes through the room. Voices are raised once again.

CLEVSI: It is as we feared!

VOLCI: A Prince of Troy, building a new city!

CORTONA: How long is it until they march north?

VALATU: Another empire, here on our shores!

VOLTERRA: May Tinia rain fire on their ships!

AREZZO: (yelling) My people will die before that eastern filth touches our streets!

KISRA: (cries loudly, clutches her beaded necklace) They’ll take our daughters, steal our children!

PERUGIA and TARQUINIA stay silent for a few moments and calmy let the anger in the room rise to a crescendo. When the murmur rises to a roar, they nod to each other, and TARQUINIA interrupts again.

TARQUINIA: Fellow cities, please, please!

PERUGIA: We understood you would have this response. We have already drafted a response we think everyone will accept.

A hush falls over the room as PERUGIA produces another parchment, obviously a rough copy, and reads it out loud.

PERUGIA: We are grateful and honored to have the Prince of Troy alight on our humble shores. We are happy to accommodate your request for succour in our friendly Federation. (an angry murmur ripples through the air, PERUGIA raises her voice to speak over it) All we ask in compensation for this accommodation is whatever is left from your family’s hoard, and you and your people may have the lowlands below the cliffs of Vieo (PERUGIA takes a moment to nod in the city’s direction) which marks the southern border of the Etruscan Federation. (a deadly hush suddenly falls over the table). May you prosper and live in peace in your new home.

There is now total silence in the chamber. Anyone standing slowly returns to their seat.

CORTONA: Sweet merciful olives. He’s giving them the swamp.

VIEO: By Una’s tits, (he’s staring at PERUGIA) you are a heartless bitch.

PERUGIA: Well, YOU were the one crying about all those boats. Now you get a nice view to watch their progress.

VIEO: Progress? Are you crazy? They’ll die down there. Fever, no fresh water, nothing but bracken…

AREZZO: Nothing grows in that swamp. Are they going to live on anchovies?

VIEO: That’s the point (speaking with a sudden, resigned calm, as he stares into the now empty wine glass).

TARQUINIA: Either they wither and stay weak and under our control, or they die. Either way, we’ll have the last of the Trojan riches, with no war or opposition.

TARQUINIA returns to her seat. PERUGIA remains standing.

PERUGIA: (waves the parchment in the air) Well, that’s our draft. What say you?

Every city raises a hand in agreement, except for VIEO, who puts the empty glass on the table and gives it a forlorn stare. PERUGIA smiles and slowly returns to her seat. The lights dim and the scene ends.

Scene 2

A year has passed, and the day of the annual meetings has arrived. PERUGIA and TARQUINIA are the only ones sitting in the chamber. They’re sitting in front of a large basket filled with gold coins and other spoils. Other members start to filter in, and cordial nods and greetings are exchanged as the council chamber fills up. Once again, however, VIEO is late, and his chair remains vacant).

CORTONA: (gestures towards the empty seat) The one person I wanted to see.

VOLTERRA: Right? What is it this time?

KISRA: Perhaps the drama in the swamp is keeping him busy.

A light wave of laughter ripples through the chamber. PERUGIA and TARQUINIA laugh a bit louder than the others. But then VIEO appears from stage left, wearing rich robes, some impressive jewellery, and carrying a fancy carafe. Everyone changes their tune to greet him.

PERUGIA: Oh, there he is! (smile fades and regards his clothes with a raised eyebrow). What news from the coast?

VIEO: (obviously in high spirits, ignores PERUGIA at first) Hello everyone! Well met, my friends, well met indeed. (walks over to Orvieto first) Orvieto, lover of wine and song, hand me your cup. This is the best vintage you’ll ever taste. Don’t scowl at me that way! Come now, tip your glass!

ORVIETO: A bold claim! The best? Better than the golden fruit of my sunny hillside?

ORVIETO sniffs the glass, takes a sip, his facial expression changes completely as he takes a deep drink. The other cities gasp in a mix of appreciation and apprehension. A vintage better than the wine of Orvieto!

ORVIETO: (offers his glass again) What on Una’s green earth? Where…

VIEO: I have a new friend, and they could even teach you something about wine. And other things! And here he is! Friends, may I present…

A figure in rich, flowing robes sweeps into the room. He’s a tall, handsome gentleman with a glowing smile, obviously high-borne and wealthy. A surprised gasp fills the room. Several cities jump out of their seats to shake his hand and complement him.

VIEO: Aeneus, the Prince of Troy!

PERUGIA and TARQUINIA look at each other in surprise, then look back at Aeneus. The prince seems to understand the tension and clears his throat, as if to make an announcement. The chamber falls silent.

AENEUS: Kind, compassionate leaders of the Etruscan Federation, it is indeed I. Prince Aeneus, the last surviving member of a once great royal house. I thought of sending a letter, like last year, or maybe even a formal delegation. But my friend here, (nods towards Orvieto) insisted that I visit personally as his guest.

TARQUINIA: (one of the few cities that isn’t swooning, rises and bows gracefully) We are honored by your presence, Lord Aeneus. How have you and your people been keeping for the last year?

TARQUINIA is painfully cordial and acts completely oblivious to the fact that she sent the refugees to die in a swamp. Aeneus, however, remains totally unfazed as he explains.

He produces his own decanter and starts to fill every glass on the table. VIEO is refilling ORVIETO’s glass and his neighbours are leaning forward, pushing their own glasses forward to get a taste.

AENEUS: Well, we did have some challenges! But such a rich land! How generous of you to give it so cheaply!

PERUGIA: (slowly blinks and leans forward) A rich land, you said?

AENEUS: Oh, absolutely! Once we built some aqueducts for drainage and irrigation, we started to see some impressive results. We made too much wine, so I thought I would bring some. Have you tried it?

PERUGIA: (blinks a few more times, getting slightly flustered) Not yet…(holds glass aloft, AENEUS pours a generous amount in, smiles and winks at her). Oh…that’s lovely, thank you.

VIEO: The aqueducts, my lord! The sweet water! (takes a gulp of wine). Tell them about the houses of bathing!

CORTONA: The houses of what? What was that?

VIEO: The water supply is so generous, all from what used to be a swamp! The crops are fine and strong, the animals are fat and happy…

CORTONA and RAVENNA: The bathing house!?

AENEUS: A simple and essential civic addition, my friends. A place for everyone to refresh, stay clean, and maybe have a bite to eat. A social time, something for leisure.

TARQUINIA: Ah, indeed, you would presume to teach the Etruscans of leisure?

Everyone laughs politely, including Aeneus.

AENEUS: Of course, you must come and see them yourselves! Don’t be alarmed, the swamp has been almost completely drained but my engineers are still working on more stubborn parts. Draining water is a different idea than moving it in, certainly! But we managed. The land is rich if it’s managed properly.

VIEO: There’s a city too, and a port! (VIEO walks over to AENEUS, swaying a little) What are you calling it again?

AENEUS: Ah, yes, our little new Old City! We’ll think of another name soon enough. But does everyone have a full glass? Come now, take your seats, and accept some friendly gifts as symbols of our gratitude! How many of you have tried garum?

An entourage of Trojans comes in carrying baskets, chests, and litters overflowing with riches. Trade goods from all over the Mediterranean are stacked high on each, like silk, spices and ceramics. There’s also plenty of local goods, like olive oil, fruit, and fish. The crowd of Trojans and Etruscans mix happily and freely, talking about the exotic wares. TARQUINIA and AENEUS move to the front of the crowd and stand together, before the audience.

TARQUINIA: (has a silk scarf on and some long, beaded necklaces) I must say…this visit is a pleasant surprise.

AEUNEUS: Perhaps you did expect a visit eventually, but not of this nature. I do hope we can have a closer relationship in the future. Maybe I can name our new city after our mutual descendants, eh?

AENUES extends his hand and TARQUINIA enthusiastically clasps it.

TARQUINIA: Absolutely! (pauses briefly) Would you like to marry my daughter?[2]

FIN

[1] Etruscans are known for their love of geometric patterns.

[2] According to Virgil’s Aeneid, Prince Aeneus is the direct ancestor of Romulus and Remus.

Anachronism in “Titus,” the 1999 Film Adaptation of Shakespeare’s “Titus Andronicus.”

Posted by Kristy Ambrose

By Kristy Ambrose

Anachronism is a theatrical device that places something modern in an old or ancient setting. Although this technique is associated with postmodern cinema, plays from the Middle Ages also utilize anachronism. Shakespeare used the technique to make allegorical references to contemporary themes and political figures. This connected the mentality of his audience with the drama on stage. In modern Shakespearean adaptations, anachronism is often utilized for the same purposes. One of the richest examples is Julie Taymor’s 1999 film, “Titus.” The film uses music, costuming, and set design from various eras, with a special emphasis on the 20th century, in a Classical Roman setting. This use of anachronism helps convey the timeless themes within the play and gives the modern audience a frame of reference.

Shakespeare’s play Titus Andronicus is unique among the Bard’s work for several reasons. Unlike other plays that use a setting from Roman antiquity, such as Julius Caesar, the characters and events of Titus Andronicus are wholly fictional even if the era is not. It contains extreme examples of the death, violence, and evil schemes that are scattered throughout the tragedies. Elizabethan plays were known for their reliance on shock value when it came to drama, and Titus was written at a time when the practice was actually fashionable. This is not one of the most popular plays when it comes to theater productions because of the horrific subject matter, and that’s as true for now as it was in Shakespeare’s time. (Ebert)

One thing that is fairly new is the concept of adapting stage plays for the silver screen. A Shakespearean play often has to be edited to fit into the common three act structure that defines most films. In the case of Titus, some speeches are rearranged and scenes are in a different order than the play. The dialogue itself is quite faithful to the play, with some lines omitted or paced elsewhere, but nothing is added. (Titus, 1999) There are some extra scenes added at the beginning and end but these do not contain dialogue. You can follow the text of the play as you watch the film. (Shakespeare).

The backdrop of the theme, imperial power and perpetual war, connects to the underlying theme of war. The opening scene is not in the play and takes place in a contemporary kitchen. The vintage furniture and fixtures date from the 1960s and the toy soldiers cover a variety of eras. There are Roman soldiers along with soldiers from a modern army on the kitchen table. The child is carried from the modern house into a Roman amphitheater. This transition from modern to ancient is jarring and sudden and i meant to guide the audience from their own time into a much older one.

“Titus” was filmed in Roman ruins throughout Rome and the amphitheater featured in the beginning and opening scenes is located in Croatia. The play and the film are set in an unspecified historic period and the anachronism in this scene emphasizes the ambiguous historical time frame. The following scenes, in which the dead soldiers are interred and Alarbus is sacrificed, are virtually devoid of anachronism except for some details on the uniforms of Lucius and Titus’ other sons. In the play, this is the second scene, but it is moved to the opening in the film. The sacrifice of Alarbus is the “major reversal” that sets the rest of the story in motion and takes place within the first ten to fifteen minutes of a movie. Introducing the title character first is also preferable for this medium so the audience knows exactly who he is.

As we move to the debate of Bassianus and Saturninus the time period shifts again, This time, the audience again follows young Lucius to a setting that could be any political uprising. We are back in modern times again, but not the 1950s kitchen. The clothing, music and even the hirstyles reflects the Fascist philosophy of 20th century Italy and, the hedonistic music is reminiscent of 1920s big city life. (Ebert).

Saturninus is marked out as a villain partly because of his modern clothing and hairstyle. He and his rival, Bassianus, are both dressed in modern clothing. They drive cars and use microphones that would date from the 1920s. It is in this scene that we see how color is used with anachronistic features. Each faction has different flags. The colors of traditional Rome have already been established as black, white and light blue. Bassianus is flying blue and white banners as he approaches the capital building. The banners of Saturninus are red, orange and back, a contrast to the muted colors of his brother and in a pattern that recalls the modern German flag. His haircut is reminiscent of the clean-cut styles often worn by Nazis and his black suit mimics a Nazi Gestapo uniform.(“Good Hair, Evil Hair.”) The announces his intentions to rule Rome before the capitol building, which is not Classical but instead mimics modern Fascist architecture. The references to Nazi Germany could hardly be more stark.

Anachronism is used in this part of the film to help introduce main literary themes. There’s the conflict between traditional and modern, symbolized in the younger Bassianus claiming the throne despite his less-qualified older brother being first in line. A more compassionate and qualified ruler can be defeated by a more populist authoritarian one. Titus himself is often shown in traditional Roman military uniform, which is steadily shed as his misfortunes mount.

The two main female characters, Lavinia and Tamora, wear both traditional and anachronistic costumes and hairstyles. The colors used in their costumes is also significant. Tamora is introduced first in the traditional clothing and attire of an ancient Goth. When she is presented as part of the spoils of conquest to Emperor Saturninus from Titus, she is dressed richly in gold. This puts her in contrast to a film palette that is mostly white, light blue or black. Lavinia is always in either black, white, or grey. The only other color we ever see on her clothing is the red of her own blood.(“Titus.”)

Lavinia first appears in a black dress and veil, the cut and style of which is reminiscent of Jackie Kennedy. This is a callback to the opening scene which was set in the same 1960s era and an example of traditional modern clothing. As the daughter of Titus, Lavinia embodies the best and most pure example of Roman piety. This is symbolized by her conservative, anachronistic clothing and her entrance, to pay her respects to her fallen brothers and victorious father in their family tomb.

The Andronicus family tomb is darker than the Senate chamber and throne room, but other than lighting there is little difference in color. When we see Lavinia in the Senate chamber as the intended of Saturninus, she is wearing the same black dress. In the same scene, Tamora is dressed in a golden breastplate and gold is woven into her blond hair. She embodies the spoils of war and how easily compulsive lust and unlimited riches can corrupt a weaker man. Saturninus admits as much when he sees her by referencing her unique appearance.

On lines 288 and 289 in Act 1 Scene 1 he says, “A goodly lady, trust me; of the hue / That I would choose, were I to choose anew.” (Shakespeare). A similar device might have been used in Elizabethan times to portray Tamora as a powerful character.

Strong colors and modern but less conservative clothing are used to distinguish the main villains throughout the film adaptation. They are connected with symbols of ruthless imperial power from the modern age. The wedding feast of Emperor Saturninus and Empress Tamora is a picture of decadence. It takes place in an interior amphitheater decorated with murals and centered around a luxurious pool. This is one of the more colorful sets in the film and also one of the most historically accurate. (“Titus (1999)”)

The music dates from the early 20th century, the clothing ranges from the Classical time period to contemporary designs. We have a rich Roman banquet combined with a swinging Prohibition-style party. Saturninus is still dressed in the same era of clothing but more white than black. Tamora wears a modern sequin gown. She’s literally in gold from head to foot. Modern audiences would recognize these symbols of wealth and power. These eras were also indicative of a time when wealth meant ignorance and power meant corruption. Rome eventually fell apart and the excess of 1920s dissolved into the Depression of the 1930s.

The villains of Titus will also fall, in a dramatic bloodbath that is actually fairly tame compared to other tragedies like Hamlet. The setting is the rustic dining room at the Andronicus estate, which is deliberately designed to fit into any or no time period, but the guests are attired in modern clothing. Titus himself is wearing a clownish chef’s outfit, which dates from the 18th century, Lavinia appears in a white dress with a modern cut that mimics a burial shroud, while Saturninus and Lucius are still wearing modern military uniforms. Both Saturninus are dressed in white and gold. The clothing of Lucius and the Emperor is a reminder that this dinner is a military negotiation and tensions are already high. Tamora stands out again in gold braids similar to the scene in the Senate, reminiscent of the lust and greed that drew the young emperor to her side.

As the film closes, the audience once again follows Young Lucius to a somber but hopeful resolution. He is wearing a modern white suit that could be for both his father’s coronation and his grandfather and sister’s funeral. The play that began with a messy game of war ends with a peaceful sunrise and two hopeful children walking from the ancient ruins into the horizon. By returning to the present era at the end of the film adaptation, director Julie Taymor takes the modern audience out of the surrealistic nightmare of Titus and back to waking reality. (“Titus (1999)”)

The use of anachronism in the play serves an important artistic function. Titus alienated many in Shakespeare’s time with it’s violence but many others were drawn by this same thing. Today’s audiences are equally fascinated by horror, evil plots, and death. The universal themes of revenge, greed, lust and even squabbles between lovers and family members are still featured in movies and television shows as a source of drama and intrigue. Anachronism helps an audience in the modern era understand these timeless concepts as part of their own personal experiences.

Works Cited

“Good Hair, Evil Hair.” TV Tropes, tvtropes.org/pmwiki/pmwiki.php/Main/GoodHairEvilHair.

Gabe Moura. “The Three-Act Structure.” Elements of Cinema – A Student’s Guide to the Fundamentals of Filmmaking, http://www.elementsofcinema.com/screenwriting/three-act-structure/.

Roger Ebert. “Titus Movie Review & Film Summary.” Movie Reviews and Ratings by Film Critic Roger Ebert, http://www.rogerebert.com/reviews/titus-2000.

“Titus.” Directed by J Taymor, Clear Blue Sky Productions Overseas FilmGroup Urania Pictures S.r.l. NDF International. Film.

“Titus (1999).” IMDb, 21 Jan. 2000, http://www.imdb.com/title/tt0120866/?ref_=ttrel_rel_tt.

William Shakespeare. “Titus Andronicus.” Open Source Shakespeare, http://www.opensourceshakespeare.org/views/plays/play_view.php?WorkID=titus&Scope=entire&pleasewait=1&msg=pl.

Bibliography

“A Brief History Of The Chef’s Uniform.” Escoffier, 17 Feb. 2016, http://www.escoffier.edu/blog/culinary-arts/a-brief-history-of-the-chefs-uniform/.

De Grazia, Margreta, et al. “Anachronism.” Cultural Reformations: Medieval and Renaissance in Literary History, Oxford UP, 2010.

Ebert, Roger. “Titus Movie Review & Film Summary (2000).” Movie Reviews and Ratings by Film Critic Roger Ebert, 21 Jan. 2000, http://www.rogerebert.com/reviews/titus-2000.

Moura, Gabe. “The Three-Act Structure.” Elements of Cinema – A Student’s Guide to the Fundamentals of Filmmaking, 29 Nov. 2017, http://www.elementsofcinema.com/screenwriting/three-act-structure/.

Grasso, Joshua. “Creative Anachronism in Imaginative Fiction.” Medium, 19 Dec. 2018, medium.com/@joshuagrasso_58239/creative-anachronism-in-imaginative-fiction-7e661ba7001b.

Marcus, Leah S. “Chapter 7, Editing Shakespeare in a Postmodern Age.” A Concise Companion to Shakespeare and the Text, 1, Wiley-Blackwell, 2007, pp. 128-144.

Shakespeare, William. “Titus Andronicus.” Open Source Shakespeare, http://www.opensourceshakespeare.org/views/plays/play_view.php?WorkID=titus&Scope=entire&pleasewait=1&msg=pl.

“Titus (1999).” IMDb, 21 Jan. 2000, http://www.imdb.com/title/tt0120866/?ref_=ttrel_rel_tt.

Titus. Directed by J Taymor, Clear Blue Sky Productions Overseas FilmGroup Urania Pictures S.r.l. NDF International, 1999. Film.

“Titus.” TV Tropes, tvtropes.org/pmwiki/pmwiki.php/Film/Titus.

Death At the Bus Stop

Posted by Kristy Ambrose

It’s there at the same time every morning, just like I am. Of course, totally unbothered by the cold.

Dante described a layer of hell as a frozen wasteland, where the cold was used to torture instead of fire. The damned were frozen up to their necks, traitors to trusted friends and allies, and I agreed it was a suitable place for such wretched sinners.

My own sins were unknown to me. But I suppose the damned always say that.

I can’t ever see its face, so I don’t know if there’s really a skull or what underneath that hood. He turns this blank, unmarked void in my direction as I trudge to my assigned place.

“You’re late,” the voice is monotone, tired, but hopeful. Even the deity itself doesn’t know exactly when those yellow lights will shine through this white darkness. It raises a bony hand clutching an hourglass up to my face.

An angry schoolmarm trapped in the body of a mythological menace.

“You’re early,” I reply with my best sneer, but my bravado is hiding a real sense of fear. I pretend I’m not using my side-eye to peek down the street.

Looking for the lights. I couldn’t have missed them. Maybe they’re late, just like me.

The hourglass disappears, and it turns away, droning on. The voice he has today is gruff and fuzzy, like an old man grinding through the channels on a ham radio.

“Same drill as always,” it sounds bored. “Five minutes late, I take two of your fingers. Ten minutes, four more, along with your ears and nose.”

It is bored. So am I. Years of this. But it has to tell me, just the same. Divine protocol or something.

“Twenty, and you never have to go to school again.”

The statement ends with an uneven hiss that might pass for laughter in Hell.

“Burning in hell doesn’t sound so bad at the moment,” I stamp my feet, a combination of a tantrum at the unfairness of it all and the will to keep from dying.

The yellow light is weak, but cuts into the void. Two lights brighten on the street, and two others, red with authority, join them in banishing the creatures of the cold.

There wasn’t so much as a whisper. Death was gone. At least for now.

Better luck tomorrow, I thought, and was not entirely dishonest. It would be better to die, cross the river Styx, and be frozen in a pile of stinking mud than go home and tell my mother I had missed the bus.

I ascend into the school bus, all ten fingers intact.

The Emerald Circle

Posted by Kristy Ambrose

Full disclosure – I wrote this almost 20 years ago now, and even though cannabis is now legal in several US states and on a federal level in Canada and Germany, it’s more important than ever that the Drug War ends.

The current US administration is filled with alcoholics that are using the Drug War as a pretext to kill people of color. Those boats getting blown up in the Eastern Pacific aren’t too far away from my own doorstep.

How many people has the White Empire killed using fentanyl as an excuse? Meanwhile, the Sackler family walked free after agreeing to a meager settlement.

END THE DRUG WAR NOW.

The Emerald Circle

It’s been 79 years since the Marijuana Tax Act was passed in 1937. Recent decades have shown some progress and finally, the facade of Prohibition is starting to fall apart.

The Canadian legalization process took decades but was ultimately successful and recent rulings in Mexico have opened up the road to nationwide legalization. Success in the United States has mostly been at the state level. Efforts of anti-Prohibitionists to counter this alarmist and misguided social policy with facts, studies and logic are finally reaching the federal government.

As legalization progresses, what is the next step? Further education of the general public? Decades of misinformation have taken their toll. “Reefer Madness” continues to be a stumbling block to the commercial success of cannabis.

Proponents of cannabis legalization are heavily focused on the results of their efforts. The movement focuses almost exclusively on a result, the legalization of marijuana.

Instead of trying to break or damage the Prohibitionist ideology, the legalization movement should build another ideological system. This competing system will empower marginalized groups by demonstrating what they all have in common and appeal to even the most reefer-mad voter.

The Why, Not the What

Logically, the lies that prop up Prohibition should be successfully countered by the truth and hard facts.

Prohibitionists don’t care about the truth or the facts. They continue to ignore them. What exactly do they care about, and why?

Prohibition advocates are more focused on the efforts they make to achieve the result. This is why they are not affected by the logical assertion that “Prohibition simply doesn’t work.” The results of Prohibition are not as important as the efforts made towards achieving that end.

It is the effort that drives the Prohibitionists, not the result, and this effort relies heavily on a system of belief that will never be swayed by facts.

“It’s not WHAT they do. It’s WHY they do it,” Simon Sinek asserts in his TED Talk, How Great Leaders Inspire Action.

This lecture is more about marketing and product positioning than civil disobedience, but Sinek uses inspirational civil rights leaders like Martin Luther King Jr. to help illustrate his point. His “Golden Circle” is constructed based on what motivates people and why.

It’s the why that’s important, not the what.

Every lie the Prohibitionists tell themselves and the rest of us about pot aren’t really about pot at all. Every myth about cannabis for recreation or medicine that Prohibitionists use is connected to a bigger picture, and ideology driven by very basic human emotions, the greatest of which is fear.

When a Prohibitionist sees the green marijuana leaf, it is not a literal depiction of a plant to their eyes. It is a symbol their worst fears. Some common, non-specific fears are fairly obvious, like the fear of terrorism or poverty.

Other more intangible fears include the fear of competing ideologies. For example, environmentalism stresses a world that is not human-centric. Socialist policies stress the good of the group as opposed to the individual.

The leaders of the Prohibitionist movement insist that marijuana is the source of many, if not all, of these real or imagined threats. The anti-Prohibitionists have this backwards. Most of the dialogue of the anti-prohibitionist starts with the “what” – the legalization of marijuana, which is the ultimate goal.

But why are we doing it?

The Circle Template

We can view the Prohibitionist ideology of fear in a simplified form using Simon Sinek’s “Golden Circle” diagram as a template.

Why – to protect you from all the bad stuff in the world (crime, poverty, terrorism, sickness, sin),

How – by doing everything we can to eradicate this plant, which is the source of your horrors, and punish anyone who touches it,

What – marijuana prohibition.

As overblown as the “why” claim sounds, it succeeds by appealing to the most basic and childlike needs and desires of every human being alive. It simplifies complex problems and blames a single, outside entity for them, real or perceived.

The “why” encompasses the purpose, cause and beliefs of the Prohibitionists.

Because without marijuana Prohibition protecting us, terrorists and criminals would swarm over society in days, leaving us completely powerless. We just can’t take that chance!

Another fringe benefit of the fear factor is that it gives the Prohibitionists the impression that they are constantly being attacked by these malevolent and insidious forces, which justifies their aggression against their opponents as a form of self-defence. This is how Prohibitionists justify harassing otherwise harmless people who are clearly not criminals.

This also explains why a Prohibitionist can rationalize their own personal pot use. The effort to eradicate marijuana certainly won’t include them. They don’t include themselves in any of the groups typically associated with marijuana (liberals or “leftists”).

The Legalization Movement needs its own Golden Circle. We need to recognize and use our own powers rather than work within the framework the Prohibitionists have built.

Breaking Prohibition doesn’t mean only the legalization of cannabis. It will empower the entire human race. And that means everyone. Inclusion is important because Division is one of the Prohibitionists’ favorite weapons (they keep it right next to Fear in the Authoritarian toolbox).

Emerald Circles

The Emerald Circle is about inclusion, improving the quality of life of everyone, and freedom from fear, anger and exclusion. Historic context is also important, as the Prohibitionists bristle at the thought of a world that existed without them.

In a very broad sense, this is one all encompassing form the Emerald Circle can take.

Why – to improve the quality of life for every single human being on this earth,

How – reducing and even eliminating our dependence on fossil fuels by discovering and developing alternative fuel resources, eliminating corruption in police and government, saving millions in taxes and fees and delays in our court processes related to overcrowding and lack of funds, etc. (pretty much everything that farmers, doctors, economists and hippies been trying to say for the past 90 years),

What – LEGALIZE IT.

The Emerald Circle is just as supernatural in its claims as the Prohibitionist counterpart. However, every one of these things is possible with legalization even if in a tangential way.

It makes more sense to break down the Emerald Circle into specific categories and apply it to different ideologies. For example, for those concerned with factory farming or GMO seeds and crops the Emerald Circle would focus on a different aspect of Prohibition.

Why – improve food production, availability, affordability and quality,

How – lift the restrictions against hardy and versatile crops that farmers are currently not allowed to seed, grow or cultivate,

What – LEGALIZE IT.

The connections to the bigger picture here include industrialized hemp as well as any seed that has been genetically modified or restricted for farmers to use, like certain types of corn. The Legalization Movement stand firmly in solidarity with another group, one that opposes genetically modified crops and factory farming but has the same ideological goals.

The message is a positive one that focuses on inclusion, empowerment and appeals to those that are concerned about the quality of their food or, on a more extreme level, afraid of starvation. Groups like Monsanto use the fear of starvation and unemployment to coerce both farmers and consumers into accepting factory farming and genetically modified crops. Nor does Monsanto allow its customers to choose what they grow.

The message of the Emerald Circle is diametrically opposed to the one that Monsanto and their supporters use. It empowers instead of bullies. It encourages self-sufficiency as opposed to relying on corporations to curate our food supply.

Here’s another example that demonstrates the wider appeal of this philosophy.

Why – lessen the costs associated with health care while at the same time improving quality and delivery,

How – by allowing patients to use natural and holistic alternatives that are scientifically proven to be effective against a variety of ailments and have been quality produced and tested by experts,

What – LEGALIZE IT.

Concerns about the cost and delivery of health care are serious issues, so this appeals to anyone. This includes any and all patients (remember, inclusion is important) but can be applied to chronic patients that also need expensive prescriptions over long periods of time.

In this instance, we include anyone who is concerned about the costs in a general sense as well as the side-effects of prescription drugs that are distributed via the health care system and the ulterior motives of the companies that produce them. Government and insurance companies play on the fear of removing health care entirely when they insist that they must make cutbacks or increase premiums under the guise on improving or even saving the system from total destruction, depriving the frightened and vulnerable of a world entirely without health care.

The Emerald Circle combats this feeling of helplessness and empowers patients and doctors alike instead of threatening them.

One more example and perhaps the most poignant considering the driving forces in North American politics these days.

Why – eliminate our dependence on petroleum,

How – by researching and developing alternative forms of clean and renewable energy sources of plastic and other petroleum based products,

What – LEGALIZE IT.

This includes hemp, of course, but can apply to virtually any alternative fuel source. Hemp is an option for replacing petroleum either as a bio-diesel or an ethanol fuel.

This counters the alarmist claims of petroleum advocates who claim that without oil we would all have to go back to living in caves, appealing to the basic human fears of poverty or material loss. The general understanding is that petroleum is so important that we simply can’t live without it, even though we did so and thrived as a society and species for many thousands of years.

Just like the Prohibitionists who insist that making plants illegal is a normal practice and is common throughout human history when the contrary is true.

Fighting this false ideology that has been the Prohibitionist gravy train for almost a century by trying to challenge it with facts may seem like the obvious answer but it has proven to be futile. A competing ideology, one that uses the opposite tactics (inclusion where there is division, empowerment where there is helplessness) and appeals to positive human emotions instead of negative ones can succeed where raw data has failed.

The Emerald Circle is not a marketing ploy or a psychological trick. It is the natural evolution of normalizing cannabis. The Legalization Movement needs to remind humanity of the positive things they were capable of, and will be again, in a world without cannabis Prohibition.

References

Hemp Ethanol Saves the World: http://hemp-ethanol.blogspot.com/2008/01/economics-history-and-politics-of-hemp.html

“Mexico: February 22 Recreational Marijuana is Legal.” The Mazatlán Post. Last modified February 17, 2019. https://themazatlanpost.com/2019/02/16/mexico-february-22-recreational-marijuana-is-legal/.

Simon Sinek, “How Great Leaders Inspire Action.” http://www.ted.com/talks/simon_sinek_how_great_leaders_inspire_action.html

“The Emperor’s Wears No Clothes”, Jack Herer, AH HA Publishing, 2007.

US Legal, Inc. “Marijuana Tax Act Law and Legal Definition.” Legal Definitions Legal Terms Dictionary | USLegal, Inc. Accessed April 16, 2019. https://definitions.uslegal.com/m/marijuana-tax-act%20/.

Vulcan Biometrics – Part One

Posted by Kristy Ambrose

A Star Trek Enterprise Fanfic

Land acknowledgement: This book was written on the unceded territory of the Mixtec Nation in Oaxaca State, Mexico.

Copyright notice: This is a work of independent fan fiction and is in no way affiliated with or used by Paramount or its affiliates.

“Well, that’s why they say, hot like Vulcan!” Dr. McCoy, “Amok Time.” (Star Trek: The Original Series, S2E1 “Amok Time.”).

Chapter One – Shi’Kaar, Vulcan, Stardate 2167

His eyes might change, Trip said. Sometimes it happens with human children. They are born with blue eyes, but they change.

The months passed by and his eyes stayed blue. T’Pol decided it was easier and safer to hide him than to explain him.

Nobody in this era would have believed it even if she had tried to name Trip as the father, never mind the social and political implications. The former Chief Engineer of the Enterprise was supposed to be dead, and his present circumstances were a dangerous secret.

T’Pol was a controversial figure on Vulcan for working so closely with humans already. Rumors that she had given birth to one had deepened the rift.

Those hysterical, illogical, smelly things. The Vulcan High Command was wise to keep them out of space.

How could she have lowered herself?

And what kind of dangerous creature would it be?

Glasses or lenses would hide her son’s eyes, turning them the same lightless hue as any passing Vulcan.

Officially, Selek was the child of Koss, T’Pol’s former husband. Despite him being incredulous initially, since a Vulcan-Human hybrid was thought to be a biological impossibility, he agreed to play along. Just for the sake of scientific curiosity, of course.

Tinsha Monastery, Khomi Province, Vulcan – Star Date 2197

Selek could still hear the blood rushing in his ears and the echo of the gong. The thin, dry air was heavy with the smell of copper. His lungs contracted, shortening his breath. The pain of his wounds only seemed to enrage him further, as if his muscles could contract and burst from his own skin.

It is said the body is in torment, but the mind remains unclouded.

He remembered everything vividly. The memory of the duel was still fresh, and it was flooding his mind like the pool of blood open and growing on the warm stone.

His breath was short again, and he was choking, gasping to breathe, and failing. The sound was drowned out by a jarring memory of his own rage and the whistle of the tirpan as it swung through the air.

Selek felt the cold of an infirmary bed against his back and understood. T’Nedara was nearby.

The sea of dark green that had reached up to consume him thinned, and the bells and gongs faded. A coolness touched his forehead and spread to his eyes and mouth.

The rushing in his ears stopped and he heard a familiar voice.

The mind controls the body

Control The Mind

And the Body will follow

Selek exhaled heavily, and felt his joints loosen and his muscles unravel. He took a deep breath, and the air in his lungs seemed to draw him upward.

The prayer was based on Surak’s teachings and was repeated often in the temple. He pushed some air through his mouth and found he could speak again, and repeated the chant.

The mind controls the body

Control The Mind

And the Body will follow

Light came back into his eyes and his vision cleared. She was kneeling next to him, a bowl of watery green liquid and piles of cloth bandages were close at hand.

Her index and middle fingers were pressed against his forehead. It was a chant derived from the Way of Hakihr, a monastic tradition descended from the Kolinahru. This was an ancient Vulcan sect that turned its psychic energy inward as an interpretation of Surak’s teachings.

The chant had revived him.

“T’Nedara,” he spoke carefully, his breathing still painful.

“Selek,” She answered him calmly, but her hands were visibly trembling. He tried to sit up, but he moved too quickly and winced in pain.

It was difficult to hide her alarm.

“No, don’t move,” she said, trying to sound like the calm and logical expert in Biometrics that she was every day. She touched her fingers to his forehead again.

He closed his eyes and raised his hand to take hers. He said nothing, but he could feel her nerves humming at the same rate as his own. His eyes were blurred sweat and tears, but he was able to give her a questioning look.

“My blood burns with yours,” She said softly. “You have defeated your rival, as the Vulcan laws are written.”

Selek wanted to speak, but the air caught in his throat. She pressed her two fingers against his mouth, and not only to silence him. For a Vulcan, this was a moment of passion, a frenzied kiss in a rushed moment.

The light touch of her fingers and the air from her mouth brushing against his face calmed his nerves from the duel, yet drove him into another frenzy.

She undid the clasp of her robe. It slipped away from her body. They lay down together in the infirmary bed.

“I claim my Champion,” she held him close, and their burning blood was cooled.

The gong sounded. The trial of the Kal If Fe had ended.

Writing Resume

Posted by Kristy Ambrose

Contact Info And LinkedIn Profile

Educational Background

May 1997 – May 2000: The University of Victoria, Victoria, BC – B.A., English Literature and Italian
- My BA consists of a major in English Literature and a minor in Italian. Completion of this program included studying at a university in Perugia, Italy, for five months in 1999.

January 2013 – March 2013: Douglas College, David Lam Campus, Coquitlam, BC – TESL Certification
- This program reviews and improves on earlier ESL certificates by including linguistics and lesson planning along with conversational learning methods. It’s designed primarily for teachers of adults, but many of the skills taught here can be used in virtually any classroom.

September 2025 – June 2026: The Writer’s Studio: Creative Writing Certificate, virtual classes
- My personal cohort was Commercial Fiction. Each module focused on a specific part of the writing process, up to and including publication. Admission was decided by portfolio submissions and graduation is determined by demonstrating refined skills after the last term.

Professional Experience

Demand Studios, Writer and Editor

March 2009- May 2013

Produced short blog posts on a wide variety of topics that included travel, pet care, education, and more. Tasks included editing and research in addition to producing compelling and factual copy.

BrightHub, Writer and Editor

January 2012 – November 2013

Responsible for producing articles and blog posts specifically related to travel, pet care, and education, specifically ESL teaching. Pieces required strict and meticulous adherence to research and detail, especially regarding references.

Constant Content, Writer and Content Creator

January 2010 – 2015

A part of several writing teams that worked on various corporate projects, which involved product descriptions, travel advice, and other trending topics.

Tasks also included private jobs and composing individual, customized pieces for websites, instruction manuals, “top ten” lists, and transportation guides.

Valnet Inc., Writer and Content Creator

March 2019 – August 2025

Equal parts working alone and with various groups and teams to complete lists and guides about trending topics in the world of entertainment.

Subject matter is dominated by video games, but other popular categories of interest include movies and television shows.

Static Media, Writer, Photo Editor, and Researcher

September 2025 – June 2026

Creating travel-related content for a variety of destinations throughout Canada, the United States, and occasionally Mexico
Responsible for factual, meticulously sourced information regarding accommodations, travel times, attractions, and activities

Related Activities

Currently part of the “emerge 26” production team as a Copy Editor. Tasks include following a designated style guide and editing documents for grammar, content, and length. The book is expected to launch on October 7^th, 2026.
Completed “Writing Intensive: Edit Trek: The Next Iteration” (June 22^nd-26^th, 2026) an intensive 5-day online course with the Federation of British Columbia Writers.
Longlisted as part of the Pulp Literature Bumblebee Flash Fiction contest with the entry “Winter Morning.”

Character Analysis : Bigwig

Posted by Kristy Ambrose

Anyone who knows me in private life or has read any of my gamer fanfiction already knows how much I love the novel “Watership Down.”

The most adaptation from Netflix caught my eye waaay back in 2017, and it has since fallen down the memory hole.

I was unimpressed. I could live with the poor computer graphics if the characters I love weren’t so maligned in this interpretation. Hazel is defined by his problems with females, which is silly for a rabbit. It’s one of the few advantages to being a rabbit. Ask Donnie Darko, from one my favorite movies, partly because it references this book.

Bigwig, the great and gallant hero who fought off the fearsome Woundwort, is portrayed as, to put it bluntly, a fucking asshole.

There’s this crucial scene in the Netflix adaptation when Hazel and Bigwig first meet. Bigwig actually threatens him. This isn’t something Bigwig would do, this is something Toadflax would do. That’s why Hazel and Fiver have their encounter with Toadflax first, to emphasize that Bigwig, unlike other Owsla officers, has some redeeming qualities.

In the novel, Bigwig has a mocking tone, but it’s friendly and totally non-threatening.

I’m not sure how or exactly when the trend to make jerks into the heroes got started, but pandering to the worst human beings for popularity and money is a tale as old as time.

I’m reminded of other leading men in the media like Christian Grey, people like Varian Wrynn from World of Warcraft, and the new incarnation of the Beast from the recent live-action remake of “Beauty and the Beast.”

These are not good people. They are abusive jerks. The original characters had redeeming qualities and acted on them. Varian Wrynn is an interesting case, and I think a more sinister one. That deserves its own WoW essay about how they got away with all the cultural appropriation and laundering a villain into a hero because he happens to be a white guy.

That might be the topic of my next essay. The point of this one is that Thlayli-rah is a hero.

The Evolution of a Hero :

Bigwig from “Watership Down.”

By Kristy Ambrose

It might be a children’s story, an adventure book, or a chilling vision of a dystopian society. Richard Adams seems to have combined them all in “Watership Down.” The characters that we meet in the course of our journey across the English countryside are familiar literary figures. Many groups of adventurers have among them an archetype who starts as a rebel but evolves into a hero.

In “Watership Down,” this role is filled by the irrepressible Bigwig, a typical fighting man, or rabbit in this case.

The character’s introduction is important. It takes place during a crucial moment at the beginning of the novel.

The readers learn that the name Bigwig has two connotations. His fellow rabbits mean it literally to describe him using the distinctive tuft of hair on his head. The first translation from the Lapine word Thlayli is actually given as “Furhead.” (Adams, 6) This is an interesting call-back to insults like “hairbrained.” This term denotes a character of lesser intelligence, and we soon find out that although Bigwig is compulsive and rebellious, he isn’t stupid.

This might be why Adams adopts the name Bigwig as a translation instead. This is a slang term from English that means a person in charge. Other terms like “Boss” or “Big Cheese” might be used in this case, and neither has anything to do with intelligence.

Classical References

Bigwig is similar to other characters that are written in the same mold. The rabbits follow the same journey as many other human heroes from both ancient and modern times. The long journey of The Odyssey has been retold many times, and the destruction of the Sandleford Warren echoes the ruins of Troy in The Iliad.

Shakespeare’s Kent meets King Lear much like Bigwig meets Woundwort, as a mercenary in disguise.

Joseph Campbell himself compared Bigwig to Han Solo of Star Wars, arguing that both are pragmatic and materialistic, but essentially compassionate. (Campbell and Moyers, 129) The essential difference between the two is that Bigwig has more agency. He volunteers his skills and energy to the adventure with more enthusiasm at a much earlier time in the story, even if it means he bullies his way in as the easiest path to leadership.

The picture of Bigwig as a hero isn’t a happy accident. Richard Adams was inspired by Joseph Campbell’s work on the hero’s journey. (Bridgman, 108) By the time the rabbits assault Efrafa in the second part of Watership Down, Bigwig has learned to defer to Hazel based on brains instead of brawn. A mission like this would have been impossible for him to complete earlier in the novel, as he would have relied on sheer force.

Although strong and loyal, this heavyset rabbit does not volunteer his trust lightly. Despite his strength and prowess, his natural instinct to do the right thing for himself and those around him keeps him from becoming an elitist like the Thearah or a tyrant like Woundwort.

Adams describes Bigwig, or Thlayli in the rabbit language, as having a “warm and impulsive nature” that is defined by compassion and sympathy. (Adams, 189) It’s because of these core traits that he can evolve. He starts as little more than a practical and selfish buck, but by the time the story concludes, he’s an essential and renowned member of the community.

Bigwig rejects authority generally and acts impulsively when left on his own. This indicates that he isn’t afraid to act against the Thearah, but it also means Hazel will have to work that much harder to earn his respect. The leader of the lost band of rabbits sizes up Bigwig early in the journey.

Hazel realized wearily that Bigwig was probably going to be troublesome. He was certainly no coward, but he was likely to remain steady only as long as he could see his way clear and be sure of what to do. To him, perplexity was worse than danger; and when he was perplexed he usually grew angry. (Adams, 18)

Hazel compliments Bigwig’s character instead of clashing against it. Although he is dismissive of Hazel initially when he asks for an audience with the Thearah, Bigwig does remember his name and deduces that Hazel should speak to the Chief. He is not overbearing, nor is he rude, unlike the rough and angry Toadflax.

The Lapine Shakespeare

Bigwig is the Shakespearean idea of the model knight. He quotes Kent from King Lear when first speaking to General Woundwort, “I can run and fight and spoil a story telling it.” (Ibid, 186) This is a slight variation of the original quote from the play, “I can keep honest counsel, ride, run, mar a curious tale in telling it…” (Shakespeare, 1. 4. 564-565)

A mix of warrior, rebel, and sometimes the joker, Bigwig’s rebellious and compulsive nature is both beneficial and detrimental to the group as a whole.

Until the appearance of Bluebell, it is Thlayli who acts as the comic relief. We laugh at him when he “growls appreciatively” at a reference to El-hrairah’s sexual prowess, (Adams, 16). Like a proper Shakespearean hero he always seems to have a few creative insults to hurl. “Moonstruck field mouse” (Adams, 66) and “U embleer hrair” (Prince of Stench) (Ibid., 267) are only two stellar examples.

Bigwig’s attitude changes towards leadership from the beginning of the novel to the end. Initially, Bigwig values size and strength more than intellect, but he eventually comes to love and respect the much physically weaker Hazel.

This touches on one of the novel’s themes, that intellect is more powerful than strength. It culminates in a dramatic victory when Hazel crafts the ultimate trick to foil the strongest rabbit they’ve ever encountered. Bigwig’s role in this final battle is essential, and by the time it happens, he is ready to admit that strength is not the last true authority.

When Bigwig gets into trouble, it’s often because he ignores Hazel or Fiver’s advice. This attitude almost costs him his life in the Warren of the Snares, where he learns the peril of ignoring both the hard way.

Bigwig, a character that symbolizes physical strength, is the only rabbit from the Sandleford to get snared at Cowslip’s warren.

A snare is a device set and fastened by brains, not brawn, and it is the intellectual power of Blackberry and Fiver that frees him. Once again, this stresses the theme that might does not always make right, and intellect is more important than strength. As Bigwig himself confesses to Fiver later. “You’ve bitten through a bigger peg than the one I’m dragging.” (Adams, 70)

This is the first time that Bigwig defers to a physically weaker rabbit. Up until now, he did what he wanted regardless of what Fiver or Hazel thought was best. They were more like equals in the chain of command. After experiencing this vulnerability, Bigwig asks Fiver, one of the smallest and weakest rabbits in the group, to give them an order.

Several other rabbits will out-think him throughout the novel, and he supports their efforts.

Bigwig is set up in direct contrast to three other rabbits in positions of authority. The Thearah, the Chief Rabbit of the Sandleford Warren, Holly, who is of a higher rank in the Sandleford Owsla and more authoritarian, and Woundwort, a paranoid and sadistic tyrant.

Two of these are introduced in the initial chapters, while the final and most intimidating is saved for last. As a leader, Hazel could be compared to these characters in a separate essay, in particular, the brutal and iron-fisted General Woundwort.

Woundwort never understands how a rabbit as strong as Bigwig can defer to a weaker one for any reason. Thus, we have Woundwort’s fatal flaw, and this blind spot is his undoing. He is badly shaken when Bigwig confesses that he is not the Chief Rabbit of his warren.

Thlayli’s reply, when it came, was low and gasping, but perfectly clear.

“My Chief Rabbit has told me to defend this run, and until he says otherwise, I shall stay here.”

“His Chief Rabbit?” said Vervain, staring.

It had never occurred to Woundwort or any of his officers that Thlayli was not the Chief Rabbit of his warren. Yet what he said carried immediate conviction. He was speaking the truth. And if he was not the Chief Rabbit, then somewhere close by, there must be another, stronger rabbit who was. A stronger rabbit than Thlayli. Where was he? And what was he doing at this moment? (Adams, 269)

In this crucial moment, Bigwig permanently declares that he defers to the power of the intellect. He’s no longer the sassy rabbit who sneered at Hazel or called Fiver names, the careless rabbit who questioned crossing the river in Chapter 8, or disregarded Fiver’s advice in Chapter 17.

Woundwort, on the other hand, always assumed that he was the Chief Rabbit because of his size. The only conclusion he can draw with his myopic view is that there is another rabbit nearby, even bigger and stronger than Bigwig. Woundwort is a Shakespearean villain to match a Shakespearean hero.

Bigwig, The Hero

When news arrives of the incoming Efrafan assault, many rabbits argue that they should run away. Hazel is adamantly against this and cites two main reasons: Clover and Hyzenthlay.

Clover is currently nursing a litter of kittens, only hours old, and can’t move from her burrow. Hyzenthlay does not have any kittens yet, but she is “heavy with young.” (Adams, 245) Even if they run, he argues, Hyzenthlay and other does sharing her condition won’t make it very far. In the final scenes, the duty of protecting the new, fledgling warren falls to Bigwig.

This doesn’t just mean the greater macrocosm of the community. In a detail that gets overlooked, as Adams never explicitly states it, Bigwig and his companions have their own families to protect at this point. The next generation and their home, Watership Down, must be protected. (Adams, 245-246).

Any number of does could also be carrying kittens at this time, but it is interesting that Hazel points out Hyzenthlay, a rabbit close to Bigwig, to drive his point home. It’s never explicitly stated, but it’s fairly obvious that Bigwig is the bunny daddy, making the stakes higher for him.

Protecting the new home they forged symbolizes the culmination of the effort made during the hero’s journey. The defeat of Woundwort and the survival of the next generation represent the emergence from the Underworld. The symbolism of the underground in the daily life of rabbits is used by Adams numerous times throughout the novel. Despite the dangerous path, the quest must not be abandoned.

Like the classic hero, Bigwig does not emerge from his battle with Woundwort unscathed. He gets the best of his opponent, but he is “scarred from head to foot” (Adams, 267) emotionally as well as physically. The reader might recall the price that Blackavar had to pay when he was mutilated for trying to leave Efrara, or how El-ahrairah lost his ears and tail to the Black Rabbit.

As the story comes to a close, we learn that Bigwig is the Captain of the Watership Owsla, and happily trains young bucks who have never seen cats about how to fight cats. There is some echo here of how the children of peacetime can’t understand war, and how the younger generation might take their safety for granted.

At the same time, the innocence of the young bucks, who love him dearly, is touching. This is Bigwig’s gift to them from the Underworld, an existence of peace and idealism.

Not every hero can enjoy a happy ending. Rabbits have a different idea of the value of life than humans do, another important theme in the novel, and Bigwig understands that he is now more than he ever asked to be. The gallant captain lives happily ever after, so to speak, as a scarred veteran in a world of children who know nothing of war.

Works Cited

Adams, Richard E. Watership Down. Rex Collings, 1972.

“Archetypes.” Hillsborough Community College Home, http://www.hccfl.edu/media/724354/archetypesforliteraryanalysis.pdf.

Bridgman, Joan. “Richard Adams at Eighty”. The Contemporary Review (The Contemporary Review Company Limited) 2000.

Campbell, Joseph, and Bill D. Moyers. The Power of Myth, Harmony, 1988.

Shakespeare, William. “King Lear: Entire Play.” The Complete Works of William Shakespeare, shakespeare.mit.edu/lear/full.html.

Snider, Clifton. “Brief Outline of Jungian Psychology with some Archetypal Images, Themes, and Symbols.” California State University, Long Beach, web.csulb.edu/~csnider/jungian.outline.html.

The Flying Cat

Posted by Kristy Ambrose

A Guide to Feline Air Travel

Travel with pets has also become more common, and travel culture has evolved to reflect the trend. Taking the family dog seems to get a lot of press, but what about our feline friends? It’s actually quite easy to travel with a cat, even on a plane.

This short guide can help you travel safely and efficiently with your furry friend.

When Cats Fly

Sometimes taking your pet with you is worth alleviating the stress of paying for a kennel or finding a sitter. It’s not as complex or terrifying as it sounds. With just some simple advance planning, and you and your feline friend can travel together with confidence and comfort.

dogtainers_pet_transport_clipper_cat_cage_plastic_travel_crate_labelled.jpg — *The same make and model of a basic, hard-sided carrier. In 2002, cargo was often mandatory for live animals and a hard-backed carrying case was essential*. *Pets now travel in the cabin as long as they can fit.*

No matter which airline you choose, or where you’re going, finding a carrying case should be your very first priority. Make sure you have a suitable kennel for your pet to travel in. It must be comfortable enough for your pet to stay in for extended periods of time.

Some airlines will not allow you to fly your cat as cargo due to weather or space constraints but insist that your pet is in the cabin with you. This is a preferable option, as the cargo hold can be cold and cramped, and is usually reserved for larger pets like big dogs.

After taking these things into consideration, you are ready to book your flight.

“Plane” Ahead

Before you book your flight or flights, consider your feline friend. What is their general disposition? Are they young or old, quiet or active?

An energetic or noisy cat might be better flying as cargo but an older, calmer cat can stay with you in the cabin.

Can your cat stay in one spot for a long period of time, perhaps with only a small toy, water, and the occasional snack?

Virtually all airlines allow pets but not without restrictions. It’s generally easier to get a cat on a plane than a dog, as they are smaller and have fewer cultural stigmas.

Contrary to popular belief, airlines almost unanimously request that you not sedate your pet. Sometimes a calming medication can have the opposite effect if the animal is panicked or in an unfamiliar place.

Sedate your pet only if your veterinarian recommends that you do so. Many airports have pet-friendly areas that you and your pet can use to rest between flights. Some charter or “no frills” airlines still do not allow pets at all because of space and baggage issues.

The major carriers usually have all choices available. Your cat can travel in the cabin with you, in the luggage compartment if you go on the same on the same flight, or departing as cargo on another flight.

Certain carrying equipment and accessories will be mandatory in transit. You will be required to purchase them on the road if you don’t have them, which will be more expensive and cause delays.

Visit the Vet

Getting your cat’s health checked by a vet and officially certified are two of the biggest steps you and your cat have to take.

Aside from the documents for customs, the airline will require their own documentation that describes the cat’s vital statistics (weight, age, size, color) and confirms that it has a clean bill of health. Find these vital statistics by using the equipment at the veterinarian’s office instead of your scale at home. Measure the length from the tip of the tail to the tip of the nose, and the height from the floor to the top of the shoulder, and obtain written confirmation regarding your pet’s measurements from your vet.

Ask your vet about motion sickness medication for your pet even if they are a seasoned traveler. Try to choose something that won’t sedate them. Get as much documentation as possible regarding vaccinations, chronic conditions or surgeries.

Up-to-date rabies shots are required for any cross-border travel and may also be required by a motel or other kinds of transportation.

Most airlines will only require certification of a recent vet examination and confirmation of rabies shots as a health certification. This will most likely need to be accompanied by a similar certification from a government agency, such as the FDA (Food and Drug Administration) or the CFIA (Canadian Food Inspection Agency).

Island nations such as Japan, England and Australia are notoriously strict and will require at least a few weeks of quarantine regardless of your preparations.

Countries like South Korea, Canada and Mexico have minimal requirements of rabies shot and a clean bill of health. The US is also very accessible with the exception of Hawaii. Check with the embassy of the country that you wish to visit for the exact forms and regulations.

Follow these steps to the letter. Failing to do so might result in you and your pet being turned away, or even worse, your cat could be euthanized. Avoid this nightmare and be prepared!

Pangur Ban, always an enthusiastic traveler. He’s sitting in a soft-backed carrier that’s the required size for a trip with you in the cabin. The hard plastic carrier below can also fit under an airline seat.

Purry Landing

Make sure that you have the proper paperwork on hand if you are crossing an international border. You should have at least two copies of each.

Bring a supply of any medications or special food your pet needs. These might be difficult to find depending on where you’re going.

Rent a car with a pet-friendly company to avoid dealing with trains or public transit, which usually do not allow pets unless they are working animals. Uber or other rideshare programs also have these options.

Consider your arrival arrangements carefully. Determine if you will need a hotel and for how long. Budget carefully, as motels often require pet deposits, and pet-friendly rooms can be more expensive.

You will be required by the motel to provide a contact number to confirm your reservations (this will also be required by the airline, if applicable) and details regarding your furry friend, including its measurements and weight.

There are many reasons to take your cat with you when you travel.

Perhaps you are taking an extended vacation and your affectionate, sensitive feline companion can’t bear to be left alone. Maybe you’re taking an employment contract overseas that might last months or even years and you can’t bear to give your best friend away.

Fear not, as your feline friend is now welcome in airports, planes, and hotels as long as you stay informed and plan ahead.