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When I was a boy, Turkey was mysterious and exotic place to me. They were not Christians there; they ate strange food; and wore strange clothes. There was something called a ‘bazaar’ where white women were kidnapped and sold into white slavery. Bob Hope and Bing Crosby, or was it Errol Flynn, got into all sorts of trouble there with blood thirsty men with curved swords. There was a song on the radio that reminded me over and over again that ‘It’s Istanbul not Constantinople Now’, sung by The Four Lads, possibly the first ‘boy band’.
Recently I've been re-reading Point Counter Point by Aldus Huxley.
Many commentators call it his masterpiece. Modern Library lists it as number 44 on its list of the 100 best 20th century novels in English yet there it ranks well below Brave New World (that's 5th), also by Aldus Huxley.
The book was an experimental novel and consists of a series of conversations, some internal to a character, the character's thoughts, in which a proposition is put and then a counterargument is presented, reflecting a musical contrapuntal motif.
Among his opposed characters are nihilists, communists, rationalists, social butterflies, transcendentalists, and the leader of the British Freemen (fascists cum Brexiteers, as we would now describe them).
Taken as a whole, it's an extended debate on 'the meaning of life'. And at one point, in my young-adult life, Point Counter Point was very influential.
With the invention of the first practical steam engines at the turn of the seventeenth century, and mechanical energy’s increasing utility to replace the physical labour of humans and animals, human civilisation took a new turn.
Now when a contemporary human catches public transport to work; drives the car to socialise with friends or family; washes and dries their clothes or the dishes; cooks their food; mows their lawn; uses a power tool; phones a friend or associate; or makes almost anything; they use power once provided by slaves, servants or animals.