The epilogue focuses on Charles Blanc's 1867 Grammaire des arts du dessin, a normative theory of the visual arts. The author takes the traditional view that drawing unites all art forms and is superior to colour, but the way he establishes this point is very much a product of his time as many of his arguments are biologically grounded. He argues for the supremacy of drawing by associating it with the allegedly natural hierarchy between the genders, and for the supremacy of white skin by linking it to drawing. What is more, discussing the then newly theorised principles of optical mixture he connects the non-mixing of colours in divisionist painterly practices with the segregation of humans of different colours and makes a biologist plea for political segregationism. Arguing that the superiority of humans is expressed in the nakedness and monochromy of their skin, Blanc divides between skin and the colourful materiality of flesh which he confines to the inner body. Summarising the argument of the book, the epilogue concludes that early modern notions of flesh tones do not draw such a line between skin and flesh, and open up the possibility of seeing any body as being fluid and multicoloured.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.