It seems to me that any design that tries to interpret the future is usually the design that most often becomes the design that embodies the failed past. Flash Gordon is a great example. Retro-futurism, if you will. It shows what past generations envisioned for the future, and delightfully how wrong or misguided they ended up being. To me, that is what the 59 Cadillac represents – an end of a generation. This was the end of the line for the WWII era and the start of the new. This was all mid-century modern taking over. It did it earlier in architecture, and cars and fashion made the same changes at about the same time. Eisenhower gave way to Kennedy, Mamie gave way to Jackie, and the 59 Caddy gave way to the 61 Lincoln. Sadly, even this great design language faded, and we only give lip service to its revival. You see little in the way of “retro” versions of the cars from the 60s, but you do see these cars retaining their cache as an icon of a lost time and place. I guess that pink is the most popular color of these cars as we only look back at them wearing rose colored glasses.
In Hebrew writings, early readers probably saw the passage as a mere narrative to explain humanity's herptophobias, but early in the Christian tradition, New Testament thinkers sought to reconcile the Old Testament and the New Testament. Accordingly, the author of Romans 16:20 interpreted the "seed of the woman" as being the offspring of the Virgin Mary (Christ). Several Church fathers such as Justin Martyr and Irenaeus elaborated upon the passage, treating the "bruising of thy heel" as the act of crucifixion, and so forth. The idea of the protevangelium becomes part of Milton's Paradise Lost, in which the fallen angel Lucifer literally transforms into a serpent to strike at Christ's creation, but the Archangel Michael explains to Adam how God, through mysterious providence, will allow the offspring of Eve in the form of Christ to crush the serpent eventually. See Book XII, lines 380 et passim of Milton's Paradise Lost.
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However, the names that Gene calls Finny, Gene’s resentment at feeling forced to engage in activities of Finny’s devising, and Genes responses when he thinks Finny is getting in trouble reveal his growing discontent.