The book received glowing reviews for its comprehensive approach to the world of slumber and promises something for every type of napper.
A new book on napping from the world’s most prolific snoozer has taken the sleep enthusiast community by storm.
“The Art of Napping: The History and Technique of Dozing Off” by Buddy the Cat bills itself as “the world’s most comprehensive guide to taking a siesta” and a “manual on how to commit yourself to a lifestyle of leisure and laziness.”
It includes an illustrated history of sleep science, from its superstition-mired origins to the highly specialized field of modern-day napology, following the rich sedentary traditions of various cultures.
“The chapter contrasting ancient Sumerian nap-walking with Syracusan Somnambulism is not only heavy with detail, it’ll put you to sleep almost immediately,” said Rusty LeFelino, chaircat of the Snooze Studies Department at the University of Catlanta.
“Nap on tatami mat under cherry blossoms” by Hirotaro Buddishida, 1646, is one of many historical depictions of shut-eye included in The Art of Napping.
Reviewers were equally effusive with their praise.
“Buddy the Cat dozes headfirst into the world of segmented slumber, documenting everything from Chicago-Style Snoozing to indigenous bedding techniques pioneered by the jaguars of the Pantanal,” reads a starred review in Publisher’s Weekly. “Whether you’re a weekend warrior who enjoys drooling on your couch during baseball games or a committed napper who swears by episodic DaVinci Sleep, there’s something for everyone in this beautifully bound volume.”
The New York-based feline spent more than a year researching and getting paws-on experience for the book. He visited the California headquarters of Google with its famous employee nap pods, spent a week sleeping under the stars with the pumas of the Pacific Northwest, and interviewed lucid dreamers to find out whether it’s possible to nap within a nap a la Inception.
“Buddy leaves no pillow unturned in his quest for the truth, with spectacularly stale prose that will have even the over-caffeinated yawning into the back of their paws,” a reviewer for Narcolepsy Daily wrote. “Get yourself a cozy blanket, curl up with Buddy and let the Z’s commence.”
Southern Siesta: The author spent several weeks in the Amazon napping with jaguars, jaguarundis and ocelots, an experience described in a yawn-inducing chapter of The Art of Napping.“The ability to nap anywhere at any time is the mark of a master snoozer,” Buddy writes in his new book. Credit: Wikimedia Commons
Lupita Nyong’o not only shares the screen with a feline co-star in the new film A Quiet Place: Day One, she’s also a devoted cat mom to a ginger tabby named Yoyo.
Although I haven’t seen most of Lupita Nyongo’s movies — I really liked her performance in Us and her voice work in Disney’s Jungle Book remake — I’m a big fan now that I know she’s a cat lover.
Nyong’o took to the red carpet for the premiere of her newest film, A Quiet Place: Day One in London on Wednesday, and her plus-one was a cat named Schnitzel, who also stars in the movie. Photos show Nyong’o posing along co-star Joseph Quinn, smiling as she cradles Schnitzel in her arms.
Lupita Nyong’o with her cat, Yoyo. In addition to posing with a cat on the red carpet premiere of her new film, Nyong’o proudly dotes on Yoyo and mentions him often. Credit: Lupita Nyong’o/Instagram
A Quiet Place is a 2018 film about a family that lives a completely silent life on a farm after the civilization has fallen to monstrous creatures that can’t see but are exceptionally sensitive to sound.
The film received nearly universal positive reviews for its use of sound — and the complete absence of it for long stretches — as a tension-building device, and a 2020 sequel continued the story.
Day One, which hits theaters on June 28, promises audiences a look at how the creatures appeared and civilization collapsed.
Schnitzel’s role isn’t entirely clear, but if it’s anything like 2022’s Prey, cats will fill their usual niche as predators, highlighting the difference between terrestrial and extraterrestrial hunters.
Caring for a cat in a world like A Quiet Place could be a double edged-sword: a super vocal cat like my Buddy wouldn’t last very long unless he quickly learned to keep a lid on his constant commentary, but cats are also incredibly sensitive to things that pass beneath the notice of us humans.
Thanks to their incredible hearing, exceptional sense of smell, the advantage of an extra olfactory organ and whiskers that pick up even the slightest stirring, felines are keenly aware of their surroundings.
As for Nyong’o, while Schnitzel is not her cat, she’s the proud cat mom of Yoyo, an orange tabby she fostered in late 2023. It only took her three days of fostering the little guy before she realized “I could not give him up,” she said last year shortly after the adoption was made official.
“I never understood people whose phones were full of photos and videos of their pets — now I am one of those people,” she wrote when she adopted the tabby. “It may look like I saved Yoyo, but really, Yoyo is saving me.”
Lupita Nyong’o with Yoyo. Credit: Lupita Nyong’o/Instagram
Matt Damon rescued a stray living on the periphery of a Costa Rican jungle.
Matt Damon stopped by the Late Show With Stephen Colbert this week, and somehow they got on the topic of Damon’s cat.
The Oppenheimer actor described how he and his wife gained the feline’s trust while staying at an AirBnB in Costa Rica. The cat, who was living on the edge of the nearby jungle and “fighting for his life every night,” gratefully accepted food from the Damons and grew to trust them over the month they spent at the rental.
“By the end we were like, ‘We have to take this cat. This guy’s gonna die. Now he’s relying on us.'”
It turns out the little brawler was done with living rough and enthusiastically took to the life of a pampered house cat.
“He moves into our house, and I’m thinking ‘I have a little yard out in LA, it’ll be great out there [for him],'” Damon told Colbert. “He never went outside ever again.”
Damon’s cat had a serious health scare, but the story has a happy ending and it’s better to hear Damon tell it, so turn up your speakers/headphones:
Yes, Damon’s cat may be “jacked,” and he may even be the Arnold Schwarzenegger of felines, but surely he doesn’t compare to the OG of ripped and meowscular cats.
Making his debut in 1979’s Alien, Jonesy is one of the most famous felines in cinema history.
There’s a popular meme among Alien fans that depicts Jonesy the Cat walking nonchalantly down one of the starship Nostromo’s corridors with his tail up, carrying the corpse of the recently-spawned alien in his mouth like he’s about to present a dead mouse as a gift to his humans.
The joke is self-evident: if the crew of the Nostromo had allowed Jonesy to take care of business from the get-go, the alien would have been disposed of before it had the chance to grow into the monstrosity that haunted the decks of the Nostromo and the nightmares of viewers.
“Who’s a good boy? Who just saved his crew from certain violent death at the claws of a ruthless alien predator? That’s right, you did!”
Of course then there’d be no movie. No ripples of shock in theaters across the US as audiences were confronted by something more nightmarish and utterly alien than popular culture had ever seen before. No indelible mark left on science fiction.
Despite the film’s retrofuturistic aesthetic, it’s difficult to believe Alien first hit theaters almost half a century ago.
That’s testament to director Ridley Scott working at the height of his powers, the carpenters, artists and set dressers who created the starship Nostromo’s claustrophobic interior, the design of the derelict starship where the alien was found, and the bizarre creature itself.
The alien ship and creature designs were the work of Swiss surrealist H.R. Giger, who was little-known at the time but floored Scott and writer Dan O’Bannon with his hyper-detailed paintings of grotesque biomechanical scenes.
Signourney Weaver and one of the cats who played Jonesy in the first film.
Kane explores the infamous egg chamber in the derelict alien ship.
Fan art of Jonesy
A close-up shot of the retrofuturistic tech used in the series, a design decision that departed from the gleaming visions of the future common at the time.
A set photo showing the first film’s crew on the iconic space jockey set.
Giger’s work, specifically his 1976 painting Necronom IV, was the basis for the titular alien’s appearance. The alien, called a xenomorph in the film series, is vaguely androform while also animalistic. It is bipedal but with digitgrade feet and can crawl or run on all fours when the situation calls for it. It hides in vents, shafts and other dark spaces, coiling a prehensile tail that ends in a blade-like tip.
But it’s the creature’s head that is most nightmarish. It’s vaguely comma-shaped, eyeless and covered in a hard, armored carapace that ends just above a mouth full of sinister teeth like obsidian arrowheads. There’s perpetually slime-covered flesh that squelches when the creature moves but there are also veins or tendons or something fully exposed without skin, apparently made of metal and bone. Maybe those ducts feed nutrients and circulate blood to the brain. Maybe they help drain excess heat from the creature’s brain cavity.
Regardless, it’s a biomechanical nightmare that the Nostromo’s science officer, Ash, admiringly calls “the perfect organism” whose “structural perfection is matched only by its hostility.”
The alien, Ash declares, is “a survivor, unclouded by conscience, remorse, or delusions of morality.”
The alien, also referred to as a xenomorph, “that thing,” a “dragon,” “the perfect organism” and various other names by characters in the series. Credit: 20th Century Studios
Part of what makes Jonesey so beloved is the fact that, together with the xenomorph and Ripley, he completes the triumvirate of survivors. We see Jonesy scurry into the protection of tiny confined spaces to escape the alien, hissing at it in the dark. We see him dart into the bowels of the ship after sensing the stalking creature, adding another blip to the crew’s trackers. Finally we see him settling into a cryosleep pod with Ripley, like so many other cats with their humans, when the threat has passed.
Jonesy — affectionately referred to as “you little shithead” by Ripley in the second film — appears in the franchise’s two most famous films, his own comic book series titled Jonesy: Nine Lives on the Nostromo, a 2014 novel (Alien: Out of the Shadows), and in hundreds of references in pop culture over the last half century, from appearances in video games (Halo, World of Warcraft, Fortnite) to references and homages in movies and television shows.
A page from Jonesy: Nine Lives On The Nostromo, which tells the story of Alien from the cat’s perspective. These panels depict Jonesy watching Ash and Dallas examining Kane in the ship’s medical lab.
He’s like the anti-xenomorph. Cats are predators, after all, and Jonesy might be the xenomorph to the ship’s rodents just like every ship’s cat in thousands of years of human naval endeavors. But to the crew members Jonesy’s a source of comfort, a warm, furry friend to cuddle with. Unlike the xenomorph he’s got no biological programming urging him to impregnate other species with copies of himself in one of the most horrific gestation processes imaginable.
Xenos are like predators on steroids, gorging themselves on their victims to fuel unnaturally swift cell reproduction and growth. As a result, over the decades some have speculated that the alien simply ignored the cat, deeming its paltry caloric value unworthy of the effort to kill.
The idea that Jonesy was too small to interest the alien is proved a fallacy in later franchise canon when we see the aftermath of a xenomorph consuming a dog. It’s indiscriminate in its quest for energy, feasting on adult humans and animals alike until two or three days pass and it’s a 12-foot-tall, serpentine nightmare the color of the void of interstellar space.
Just imagine sitting in a theater in 1979. Your idea of science fiction is sleek jet-age spacecraft, Star Trek and Stanley Kubrick’s clinical orbital habitats from 2001: A Space Odyssey. You’re expecting astronauts, heroes, maybe a metal robot or an alien who looks human except for some funky eyebrows, green skin or distinct forehead ridges.
Instead you get a crew of seven weary deep space ore haulers inhabiting a worn, scuffed corporate transport ship, complaining about their bonuses and aching for home, family and the familiar tug of gravity.
But home will have to wait. The ship has logged an unusual signal of artificial origin broadcasting from a small planet in an unexplored star system. The crew has no choice but to investigate. It’s written into their contracts, which stipulate the crew will forfeit their wages if they disregard the signal.
So they land, suit up, move out and find a derelict starship. An incomprehensibly massive vessel so strange in detail and proportion that it could only have been built by an alien mind, with unknowable motivations and psychology.
The egg chamber of the derelict alien ship, designed by Giger.
Inside, hallways that look like ribcages lead to vast chambers with utterly bizarre, inscrutable machinery that seems to consist of biological material — skin, bone, joints, organs — fused with metal. In one of them the corpse of an alien, presumably a pilot, is integrated into a complex array. It’s at least twice the size of a large human man. Its elephantine head is thrown back in the agony of its last moment, when something exploded outward from its body, leaving a mangled ribcage, torn papery skin and desiccated organs.
And beneath that, a shaft leading to another horror — a chamber that seems to stretch for kilometers in either direction, where leathery eggs are cradled in biomachinery and bathed in a bioluminescent cerulean mist.
The decision to enter that chamber sets off one of the most shocking scenes in cinema history, leads to the birth of pop culture’s most terrifying monster, and sent millions of theater-goers home with nightmares in the spring and summer of 1979.
It’s almost too much to handle. But take heart! The unlikely female protagonist makes it to the end, and so does the cat. What more can you ask for?
Jonesy grooming himself on the flight deck of the starship Nostromo. Credit: 20th Century Studios
Cats are unequaled when it comes to knocking objects over, giving them a natural talent for bowling.
DES MOINES — With his brow furrowed in concentration, the US team captain took a moment at the top of the lane to analyze the geometry of the task before him.
Satisfied that he’d correctly sized things up, he lunged forward and sent the ball barreling down the polished hardwood where it connected with a pin on the right, clipping it with just enough force to snap it toward its twin on the other side.
As both pins reverberated with a familiar clunk and the score registered a spare, teammates and spectators alike broke out into a raucous cheer.
It was business as usual for the US National Bowling Team except for one small detail: the bowler who’d just collected another spare was a domestic cat named Buddy.
Asked to summarize his feline teammate’s game, bowler Jeffrey Lebowski didn’t hesitate.
“One word,” he said. “Lights out. Actually that’s uh, that’s two words, but you get my drift, man.”
For Lebowski and his fellow bowlers, championship ambitions became reality with the meteoric rise of Buddy the Cat, who dominated the lower leagues before joining the national squad and quickly earning its captaincy.
“I’ve been knocking things over since I was a kitten,” Buddy said matter-of-factly. “Swiping objects isn’t just a hobby. For me, it’s a passion.”
Indeed, the silver tabby estimates he’s slapped tens of thousands of items off of tables, chairs, desks and counters at home over the years. He says he’s knocked his human’s smartphone to the floor more times than he can count, along with TV remotes, keys, writing instruments and beverages.
Buddy the Cat at the regional qualifiers in Dallas, Texas, in August of 2023.
He credits the latter especially with providing him with the foundation necessary to excel on the lanes.
“If you think about it, a water bottle isn’t much different than a bowling pin,” Buddy explained. “They have a similar form factor and center of gravity, and they both make a satisfying slap as they hit the floor.”
But making a career of his passion never occurred to the New York-born feline until he dozed off on the couch one day and woke up to a bowling broadcast on ESPN6.
He was instantly smitten.
“I couldn’t believe such a sport existed,” Buddy recalled. “I said to my human: ‘All this time you knew there was a competitive sport that involves my favorite thing to do besides napping and eating, and you just neglected to mention it to me?’ I mean, it doesn’t even involve any running or physical exertion whatsoever! I knew it was the sport for me.”
Jeffrey Lebowski with Buddy the Cat.
Buddy’s new teammates were skeptical at first, but when he filled in for teammate Walter Sobchak and bowled a perfect 300, they were sold.
“I told those %@#*s down at the league office that I don’t roll on Shabbos, but they scheduled us for a Friday night game anyway,” Sobchak said. “I told the league office ‘You’re entering a world of pain if we lose because I can’t roll,’ but Buddy saved our bacon. Shomer Shabbos!”
Buddy says he’s focused on leading the US team to its first championship in decades, but credits the experience for broadening his horizons. He said he’s particularly interested in getting involved in boxing “since boxes are another passion of mine.”
“Boxing sounds amazing, and I’m partial to all kinds of boxes, not just cardboard,” he said. “But first we have a world championship to win.”
Pain In The Bud 