If you came here, then you must like literature. With that in mind, I hope you enjoy your stay and find it at least somewhat informative.
Literature Online
Literature and storytelling references that can be found online
- The Auchinleck Manuscript
- One of the earliest manuscripts written in the Middle-English language, this script predates Chaucer's works by many years and is a collective manuscript of tales, lists, etc. and is not only a nice source for literature lovers, but historians as well.
- Project Gutenberg
- Probably the biggest collection of free online literature one can find.
- Monster Intern
- A Creative Company owned by yours truly and a close friend, Mark Holmes. Content includes "the psychomantium", containing original works by yours truly, as well as a philosophy section, and a philanthropist section devoted to links to charities, forums, other works... site currently under production.
- My Humble Abode
- My blog on blogger.com, with links, rants, and all kinds of casual 'stuff.'
- The Automatist Storytelling (1996)
- A master's thesis from MIT (by Michael Murtaugh) concerning the implications new media and method places on the art of storytelling. An interesting, although sometimes highly technical, piece.
New Word of the Day
- implacable: Dictionary.com Word of the Day
- implacable: incapable of being pacified.
Best Books Ever
New York Times News
Keeping up to date with the zeitgeist (as any storyteller should)
- Saying Outlook Has Worsened, Bernanke Hints at Cut
- In an address that was at once sobering but hopeful, the Fed chief hinted strongly that the Fed woul...
- Europe Seeks Unified Policy on Bank Crisis
- Finance ministers from the European Union gathered to seek common ground to buttress the bank system...
- Fed Announces Plan to Buy Short-Term Debt
- The Fed's radical new plan is an effort to stimulate the credit markets, which have all but dried...
The Vexation of Metaphor
A thought on Structure
The metaphor is, as pointed out in critical theory, an extended simile, but with a marked difference. While the simile expresses a comparison between two points, one the object and the other the subject (the X is like a Y), the metaphor keeps both the subject and the object ambiguous-- that is, neither is modified (the X is the Y, the Y is the X).
This is why the metaphor is so popular in poetry. It allows images to coalesce rather than mere juxtaposition. It allows mundane objects to become magical by being injected with not only association but IDENTIFICATION with the object of comparison.
Why is this identification significant? Poetry is the identification of the unidentifyable, and this is the beauty of the metaphor. It is the identification of image to image, in the same way that animation is the blending of one image into another to create the illusion of true motion.
So what does poetry "truly" create (if animation creates the illusion of motion)? I would have to say that this is the true transcendental, not in the mundane sense ("I transcend my workplace") but in the mythic, in the apocalyptic ("I transcend flesh"). This is probably why the ancient Greeks favored poetry-- it is told that even their law documents were written in some form of poetry.
So what does this all mean? Basically, the metaphor is an interesting and dynamic beast, one that can be used to give meaning to the unspeakable, have at once meaning and shallow aesthetics simultaneously. Thus, the metaphor is one of the most versatile tools in the storyteller's toolbox.
Is the use of the metaphor always clear? Of course not, and this is the beauty of the metaphor. It behaves, to the audience, transparently, and cannot be seen. The reader is sometimes aware, and sometimes oblivious to the fact that meaning, truth itself, has been manipulated for the sake of the story.
The most obvious use of this is in superheroes, associating, for instance, a red cape. The red cape of Superman is a metaphor, but for what it exactly IS a metaphor is unclear. It could be justice, freedom, fairness... and the point of the metaphor is not to be explicit (explicitness is the realm of the simile). Thus, the metaphor is a tool that gives power to both writer and reader.
One tool of many... more to come soon.
This is why the metaphor is so popular in poetry. It allows images to coalesce rather than mere juxtaposition. It allows mundane objects to become magical by being injected with not only association but IDENTIFICATION with the object of comparison.
Why is this identification significant? Poetry is the identification of the unidentifyable, and this is the beauty of the metaphor. It is the identification of image to image, in the same way that animation is the blending of one image into another to create the illusion of true motion.
So what does poetry "truly" create (if animation creates the illusion of motion)? I would have to say that this is the true transcendental, not in the mundane sense ("I transcend my workplace") but in the mythic, in the apocalyptic ("I transcend flesh"). This is probably why the ancient Greeks favored poetry-- it is told that even their law documents were written in some form of poetry.
So what does this all mean? Basically, the metaphor is an interesting and dynamic beast, one that can be used to give meaning to the unspeakable, have at once meaning and shallow aesthetics simultaneously. Thus, the metaphor is one of the most versatile tools in the storyteller's toolbox.
Is the use of the metaphor always clear? Of course not, and this is the beauty of the metaphor. It behaves, to the audience, transparently, and cannot be seen. The reader is sometimes aware, and sometimes oblivious to the fact that meaning, truth itself, has been manipulated for the sake of the story.
The most obvious use of this is in superheroes, associating, for instance, a red cape. The red cape of Superman is a metaphor, but for what it exactly IS a metaphor is unclear. It could be justice, freedom, fairness... and the point of the metaphor is not to be explicit (explicitness is the realm of the simile). Thus, the metaphor is a tool that gives power to both writer and reader.
One tool of many... more to come soon.
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John Oliver's Literature Rodeo: Apocalypse Edition
The Daily Show's John Oliver sounds off on, um, apocalyptic literature. Featuring Rob Kutner's "Apocalypse How" and sponsored by JBooks.com. Eschatology and comedy: together at last. Editor: Alfred DeGrand DP: Nathan Milford Written & Directed by Rob Kutner Music by Fletcher Moore Animation by Nick Cogan Special thanks to Nigel Savage
Runtime: 3:41 | 17535 views | 15 Comments
The Anniversary
by Shannon Stever
It was a day like any other, for everyone else. But for John, it was an absolutely gorgeous day. He woke up from his slumber refreshed and vibrant, ready to face the day with the largest of smiles.
As he was driving off to the mall, he listened to the radio. "A high chance of rain coming in today, so ready the umbrellas because the downpour should be significant". He chuckled as he drove.
"Ah, refreshing rain," he said to himself as he found a parking spot.
The teller gave him a look that he barely registered, but it was an obvious one. If he was going to get service, he would have to approach her. But he was caught up in the moment and simply looked at all the lovely jewelry. After a few seconds, a shrill voice came from behind him.
"Can I help you?"
He looked up at the source of the angry voice and found a woman who did not appreciate his slightly lacklustre appearance. But it did not matter, because it was his anniversary!
"I'd like to buy this," he said, pointing to a highly priced item. The shrill woman shirked, took it out and showed it to him, giving him a quick drill of its properties and expensive price tag.
"So will that be credit card today?" she asked, unimpressed.
"Cash," he said simply as he slammed the appropriate bills on the counter. Before her jaw finished dropping, he took the item and went back to his car.
Indeed, it had begun raining. But it did not bother him. He carried the picnic basket to the sepulchre, and deeply sniffed in the fresh, wet air.
"Rose," he said simply, and lurching out from the tomb was a woman, rotting and lurching, with a ripped and rotten red dress. She smiled at him in a look that could have been hunger.
"It is our anniversary," he told his wife. "I brought you something." He placed the necklace on her neck, swooning as he danced with her to the music in his heart. She might have smiled, or part of her jaw might have dislocated.
They had a picnic, and kissed. Part of her lips fell off, but it did nothing to spoil the mood. Rain nor mud, nor death itself could spoil this day.
Yet, as he sat beside her, watching the sun begin to fall, he knew that it was not to be for very long. He slept beside her, holding her tight, but as he slept she crept back into her tomb, to sleep fully.
He woke up the next morning, dark and sombre. He sighed as he walked up to the sepulchre, threw a fresh batch of flowers in front of it, and then marched to his car.
As he was driving off to the mall, he listened to the radio. "A high chance of rain coming in today, so ready the umbrellas because the downpour should be significant". He chuckled as he drove.
"Ah, refreshing rain," he said to himself as he found a parking spot.
The teller gave him a look that he barely registered, but it was an obvious one. If he was going to get service, he would have to approach her. But he was caught up in the moment and simply looked at all the lovely jewelry. After a few seconds, a shrill voice came from behind him.
"Can I help you?"
He looked up at the source of the angry voice and found a woman who did not appreciate his slightly lacklustre appearance. But it did not matter, because it was his anniversary!
"I'd like to buy this," he said, pointing to a highly priced item. The shrill woman shirked, took it out and showed it to him, giving him a quick drill of its properties and expensive price tag.
"So will that be credit card today?" she asked, unimpressed.
"Cash," he said simply as he slammed the appropriate bills on the counter. Before her jaw finished dropping, he took the item and went back to his car.
Indeed, it had begun raining. But it did not bother him. He carried the picnic basket to the sepulchre, and deeply sniffed in the fresh, wet air.
"Rose," he said simply, and lurching out from the tomb was a woman, rotting and lurching, with a ripped and rotten red dress. She smiled at him in a look that could have been hunger.
"It is our anniversary," he told his wife. "I brought you something." He placed the necklace on her neck, swooning as he danced with her to the music in his heart. She might have smiled, or part of her jaw might have dislocated.
They had a picnic, and kissed. Part of her lips fell off, but it did nothing to spoil the mood. Rain nor mud, nor death itself could spoil this day.
Yet, as he sat beside her, watching the sun begin to fall, he knew that it was not to be for very long. He slept beside her, holding her tight, but as he slept she crept back into her tomb, to sleep fully.
He woke up the next morning, dark and sombre. He sighed as he walked up to the sepulchre, threw a fresh batch of flowers in front of it, and then marched to his car.
What do you think?
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Fiction - 999
by Various
Horror is, as Sarrantonio admits in his introduction to this anthology, a strange breed that has always been met with mixed affections from the academic world. At once 'ghetto'-- horror delights in attending to our most base desires and fantasies in order to 'get us where it hurts'-- and academic (Poe, Hawthorne...), the world of horror is only recently garnishing some academic backbone, now that courses in gothic literature and such are being offered in many universities.
Still, there is an academic elitism that seems to wish horror would 'just stay on the streets, where it belongs'. King will always be slightly less appreciated in the universities than someone like Atwood or (to use more canonical terms) Bronte, or Eliott.
Still, there is no denying the depth of social commentary (the backbone of storytelling) that horror manages. In the opening story of 999, we see "Amerikans" roaming around Russia, zombies taking over the streets. The reference, while not terribly subtle, is a powerful image that resonates as the reader follows the fantastical world of a zombie-infested Russia.
"Des Saucisses, sans dout", a very short story in the middle of the anthology, is a surprisingly chilling tale of a wicked fantasy inacted, and resonates with the humor and human understanding (at our base level, mind you) that is a staple of horror.
Those who appreciated the darker side of things, or the more horrific, will enjoy the tales collected herein. A highly recommended book for horror enthusiasts and people who hope to one day finally be unashamed to have a bookshelf of modern horror.
It is one thing to have Poe and Hawthorne on your shelf, quite another to have King or even H. P. Lovecraft. This is partly a function of the horrible movies that destroy both writers' potential genius, and partly a function of a Politically Correct society afraid of admitting their enjoyment in the blood-spilled arena of horror.
Political correctness is not found within this book, but important and fantastical storytelling, delightful and macabre in its genius, oozes off the page.
Something wicked this way comes indeed...
Still, there is an academic elitism that seems to wish horror would 'just stay on the streets, where it belongs'. King will always be slightly less appreciated in the universities than someone like Atwood or (to use more canonical terms) Bronte, or Eliott.
Still, there is no denying the depth of social commentary (the backbone of storytelling) that horror manages. In the opening story of 999, we see "Amerikans" roaming around Russia, zombies taking over the streets. The reference, while not terribly subtle, is a powerful image that resonates as the reader follows the fantastical world of a zombie-infested Russia.
"Des Saucisses, sans dout", a very short story in the middle of the anthology, is a surprisingly chilling tale of a wicked fantasy inacted, and resonates with the humor and human understanding (at our base level, mind you) that is a staple of horror.
Those who appreciated the darker side of things, or the more horrific, will enjoy the tales collected herein. A highly recommended book for horror enthusiasts and people who hope to one day finally be unashamed to have a bookshelf of modern horror.
It is one thing to have Poe and Hawthorne on your shelf, quite another to have King or even H. P. Lovecraft. This is partly a function of the horrible movies that destroy both writers' potential genius, and partly a function of a Politically Correct society afraid of admitting their enjoyment in the blood-spilled arena of horror.
Political correctness is not found within this book, but important and fantastical storytelling, delightful and macabre in its genius, oozes off the page.
Something wicked this way comes indeed...
Fiction - 999
by Various
One of the best and "meatiest" anthologies of horror fiction in a long while, if not the best and biggest ever.
999: New Stories of Horror and Suspense
Amazon Price: (as of 10/07/2008)
Modern Canonical Literature - Master of Petersburg
by J. M. Coetzee
"... reading is being the arm and being the axe and being the skull; reading is giving yourself up, not holding yourself at a distance and jeering." (47)
These words, concerning a short story in which a man is killed with an axe, reveal not only the character of Dostoevsky, but the wishes and dreams of writers themselves. Here is Coetzee at his most open-- something which any reader of J. M. Coetzee knows rarely occurs without a tangle of ambiguity and happens with a startling protection of self-beliefs. Regardless of Coetzee's own beliefs, he is presenting, in Dostoevsky's mouth, an inarguable metaphorical truth: being a reader of any novel is being the axe and the skull. And being the author is giving the stories of both.
Coetzee's novel, Master of Petersburg, is a stunning rendition of the controversies a writer has with himself and his readership, and rarely has the responsibility of the storyteller, or of the artist in general, been layed out so openly.
The characters are believable in their historic backgrounds. Though historical fact is a bit bent for the sake of the story-- such as the details of Dostoevsky's 'son's' death-- the 'heart' of the issues Coetzee brings up could not be used more openly and honestly.
And, to make matters more serious, the details of the death of Pavel's death closely mirror that of the death of Coetzee's own son. In this way, not only are the issues of politics inherent in the novel rich and sensitive, but so is the familiarity of pain and suffering, and the pathos of the book is at once overwhelming and impressively moving.
Coetzee understands why he tells the stories he does: because he needs to. And rarely has a writer moved around with such adept and sensitive pathos, such soul-searching and understanding. Coetzee explores human relationships, relationships between art and the society that accepts it (or rejects it), responsibilities of familial relationships... in short, the tapestry of relationships in the novel is a rich and detailed one that is not to be missed.
To anyone interested in the storytelling arts, Dostoevsky, or in human pathos, I highly recommend this novel.
These words, concerning a short story in which a man is killed with an axe, reveal not only the character of Dostoevsky, but the wishes and dreams of writers themselves. Here is Coetzee at his most open-- something which any reader of J. M. Coetzee knows rarely occurs without a tangle of ambiguity and happens with a startling protection of self-beliefs. Regardless of Coetzee's own beliefs, he is presenting, in Dostoevsky's mouth, an inarguable metaphorical truth: being a reader of any novel is being the axe and the skull. And being the author is giving the stories of both.
Coetzee's novel, Master of Petersburg, is a stunning rendition of the controversies a writer has with himself and his readership, and rarely has the responsibility of the storyteller, or of the artist in general, been layed out so openly.
The characters are believable in their historic backgrounds. Though historical fact is a bit bent for the sake of the story-- such as the details of Dostoevsky's 'son's' death-- the 'heart' of the issues Coetzee brings up could not be used more openly and honestly.
And, to make matters more serious, the details of the death of Pavel's death closely mirror that of the death of Coetzee's own son. In this way, not only are the issues of politics inherent in the novel rich and sensitive, but so is the familiarity of pain and suffering, and the pathos of the book is at once overwhelming and impressively moving.
Coetzee understands why he tells the stories he does: because he needs to. And rarely has a writer moved around with such adept and sensitive pathos, such soul-searching and understanding. Coetzee explores human relationships, relationships between art and the society that accepts it (or rejects it), responsibilities of familial relationships... in short, the tapestry of relationships in the novel is a rich and detailed one that is not to be missed.
To anyone interested in the storytelling arts, Dostoevsky, or in human pathos, I highly recommend this novel.
The Master of Petersburg
by J. M. Coetzee
A rare look into the art of storytelling, from the perspective of Dostoevsky
The Master of Petersburg: A Novel
Amazon Price: $10.20 (as of 10/07/2008)
Reference - Encyclopedia of Urban Legends
by Jan Harold Brunvand
Have you ever wondered if that story you heard about the avon flasher was true or an urban legend? Have you ever wondered where the story of crocodiles in the sewer system originated? Than this is the book for you!
The Encyclopedia of Urban Legends offers a concise and easily searched index of legends ranging from the pet rat, to The Slasher Under the Car, and everything in between. It traces the history of the tale as far back as anyone could expect someone to trace such things-- and, though the history and etymology might be suspect, one must be impressed with the research done on a topic that, more than likely, does not have a wide selection of reference books available. Except now... and it is this one!
If anyone should prove curious enough, each tale also ends with a list of references, to further brush up on the lore and find books that reference the particular urban legend, if applicable.
Sometimes Jan Brunvand manages to find legends that have existed solely in the collective oral tradition, and as such, their pertinence to storytelling is made manifest. These are proofs that the oral tradition of storytelling is not dead, but has taken on a decidedly tabloid-style folktale manifestation which, at least in my humble opinion, should not be overlooked.
As the X-files proved, there is precedence for storytelling utilizing tabloid-type stories. And, with this book as a reference for the greatest and most treasured of each of these tales, the storyteller might be at least that much more armed for his or her endeavours.
Highly recommended.
The Encyclopedia of Urban Legends offers a concise and easily searched index of legends ranging from the pet rat, to The Slasher Under the Car, and everything in between. It traces the history of the tale as far back as anyone could expect someone to trace such things-- and, though the history and etymology might be suspect, one must be impressed with the research done on a topic that, more than likely, does not have a wide selection of reference books available. Except now... and it is this one!
If anyone should prove curious enough, each tale also ends with a list of references, to further brush up on the lore and find books that reference the particular urban legend, if applicable.
Sometimes Jan Brunvand manages to find legends that have existed solely in the collective oral tradition, and as such, their pertinence to storytelling is made manifest. These are proofs that the oral tradition of storytelling is not dead, but has taken on a decidedly tabloid-style folktale manifestation which, at least in my humble opinion, should not be overlooked.
As the X-files proved, there is precedence for storytelling utilizing tabloid-type stories. And, with this book as a reference for the greatest and most treasured of each of these tales, the storyteller might be at least that much more armed for his or her endeavours.
Highly recommended.
Reference - Encyclopedia of Urban Legends
by Jan Harold Brunvand
A wonderful reference for storytellers or those interested in the etymology of urban stories
Encyclopedia of Urban Legends
Amazon Price: $13.57 (as of 10/07/2008)
Short-Story - The Reprise
by Shannon Stever
His arms moved with blinding speed, and for the audience, the colors of his arms were blury with the movement, a pink mass stretching out from his shoulders.
He was enraptured. The audience was approving, though as a drummer, he was not the direct limelight. Still, he knew that without his beats, without his pounding, tribal underlay, the experience would not be the same for those involved.
As his arms moved and his legs pounded, his head bobbing to the melody around him, he closed his eyes and began to daydream.
He was surrounded by demons... their snarling smiles and sadistic visages attempted to intimidate him, but all they did was satisfy him in their display of power. And as one of them approached...
"ENCORE!"
The audience roared with approval. Joshua snapped out of his revery as he finished the ending loop to the song.
He looked around at his band-mates to seek their decision. They looked at him, smiling. And he knew that the modified version of the song, the one they had previously held back, was going to be played tonight.
They had worked long and hard on the reprise, trying to make it special. Though the original was their 'hit', they scorned keeping their work static. And so they had enlisted the help of one of Joshua's more idiosyncratic of friends...
As a director, Matthew was intense. That was the only word that the others could use to describe him. He came in with a gaze, a cold hard gaze that was almost tyrannic. He leaned against an amp, watched them play once, and then frowned.
He wanted to see each of them individually. And so, he went through each of the band, one by one, and whispered into their ear as they played. The words seemed to be incoherent, but each member found that, as they played with the whispers, their works became darker, more powerful, the beats more... 'arcane' was the only word they could all agree upon.
And tonight, the crowd was thirsty. Joshua was the first to begin, opening with an ominous beat on the lower toms. As the drums began to vibrate, the rest of the band came in, and the crowd was growing more and more silent at each bar.
Joshua thought he saw something move past him as his arms began to spread around his set. He thought he saw. The more he played, the more he was certain that the band was not alone on the stage.
Hearts began to pump, blood began moving faster. And unseen shadows began to move... this was their reprise, but not the band's.
He was enraptured. The audience was approving, though as a drummer, he was not the direct limelight. Still, he knew that without his beats, without his pounding, tribal underlay, the experience would not be the same for those involved.
As his arms moved and his legs pounded, his head bobbing to the melody around him, he closed his eyes and began to daydream.
He was surrounded by demons... their snarling smiles and sadistic visages attempted to intimidate him, but all they did was satisfy him in their display of power. And as one of them approached...
"ENCORE!"
The audience roared with approval. Joshua snapped out of his revery as he finished the ending loop to the song.
He looked around at his band-mates to seek their decision. They looked at him, smiling. And he knew that the modified version of the song, the one they had previously held back, was going to be played tonight.
They had worked long and hard on the reprise, trying to make it special. Though the original was their 'hit', they scorned keeping their work static. And so they had enlisted the help of one of Joshua's more idiosyncratic of friends...
As a director, Matthew was intense. That was the only word that the others could use to describe him. He came in with a gaze, a cold hard gaze that was almost tyrannic. He leaned against an amp, watched them play once, and then frowned.
He wanted to see each of them individually. And so, he went through each of the band, one by one, and whispered into their ear as they played. The words seemed to be incoherent, but each member found that, as they played with the whispers, their works became darker, more powerful, the beats more... 'arcane' was the only word they could all agree upon.
And tonight, the crowd was thirsty. Joshua was the first to begin, opening with an ominous beat on the lower toms. As the drums began to vibrate, the rest of the band came in, and the crowd was growing more and more silent at each bar.
Joshua thought he saw something move past him as his arms began to spread around his set. He thought he saw. The more he played, the more he was certain that the band was not alone on the stage.
Hearts began to pump, blood began moving faster. And unseen shadows began to move... this was their reprise, but not the band's.
So, what do you think?
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Business - Intellectual Capital
by Thomas A. Stewart
Intellectual Capital is one of those books that does not necessarily tell you anything you could have thought of yourself. The thing is that, the best books tell you what you already know.
And intellectual capital is filled with such information. There is a growing sense that the greatest resource in today's society is information. There is an extreme focus on education, and ongoing pressure from young adults in our generation to pursue post-secondary education.
And yet, often, post-secondary education gives little information on how to actually utilize the information gained. This is how, in a lot of cases, post-secondary graduates are working flipping burgers and other such low-labor occupations.
One of the major points emphasized throughout Intellectual Capital is the importance of having a plan on WHAT to do with knowledge. The book is not simply detailing how capital has turned into a more intellectual and intangible asset-- as opposed to more structural assets-- but also stresses the importance of managing intellectual, knowledge-based assets.
The metaphors throughout the book are impressively clear and well versed. Thomas Stewart is not a business-writer writing business-language, but a storyteller writing about business, and the book is an impressively entertaining read even for those not rooted in business 'lingo'.
A highly recommended read for entrepeneurs, business persons, or even those looking for a good read on an interesting development in modern society.
And intellectual capital is filled with such information. There is a growing sense that the greatest resource in today's society is information. There is an extreme focus on education, and ongoing pressure from young adults in our generation to pursue post-secondary education.
And yet, often, post-secondary education gives little information on how to actually utilize the information gained. This is how, in a lot of cases, post-secondary graduates are working flipping burgers and other such low-labor occupations.
One of the major points emphasized throughout Intellectual Capital is the importance of having a plan on WHAT to do with knowledge. The book is not simply detailing how capital has turned into a more intellectual and intangible asset-- as opposed to more structural assets-- but also stresses the importance of managing intellectual, knowledge-based assets.
The metaphors throughout the book are impressively clear and well versed. Thomas Stewart is not a business-writer writing business-language, but a storyteller writing about business, and the book is an impressively entertaining read even for those not rooted in business 'lingo'.
A highly recommended read for entrepeneurs, business persons, or even those looking for a good read on an interesting development in modern society.
Business - Intellectual Capital
by Thomas A. Stewart
An interesting and perspective-changing look at business in the information age.
Intellectual Capital: The New Wealth of Organizations
Amazon Price: $12.21 (as of 10/07/2008)
History/Philosophy - Evil in Modern Thought
An Alternative History of Philosophy by Susan Neiman
The concept of evil is a rather old concept, dating back as far as records can be kept, depending on how one interprets cave-markings. But the concept of evil is one under great argument in modern philosophy, due to the thin line between what one might consider 'evil' and something that is merely a bad situation. The concept of evil, if abused, can be an excuse or explanation for bad behavior ("the devil made me do it"), but Susan Neiman is well aware of this possibility and is very careful to mark her definitions.
Like other books on the subject of evil, Neiman marks her definition of the term in a way that reduces the ability to abuse it. She defines evil in terms of degree-- that is, where 'good' demarcates something beneficial to a person or society, evil is something extremely malicious to a person or society. This definition is important because it does not discuss or attempt to define the 'blame' for the action, merely the result of it. Something can be 'evil', but the source of said evil is still left to be found.
Neiman goes beyond definition, though. She moves quickly through the history of the use of this definition, from the perspective of nature as 'evil' (see: earthquakes, natural disasters), god and the devil, Marquis de Sade (the attempt at 'pure evil'), and a variety of other points of interest with the subject throughout history. She traces the etymology and use of the term through early philosophical thought, to its uses in relatively modern thought. In this way, those interested in the subject can understand the manner in which the term is used, the implications of having said definitions, and the implications of where the blame specifically is passed.
Neiman traces the blame through from god (as the creator of all things-- thus the creator of evil), to nature ('evil' as natural disaster), to other humans ('evil' as a natural extension of the human condition), to other sources, such as Freud's analysis and how it differs from his contemporaries and those that came before and after.
A thorough and deep research on the subject, as well as a dextrous and meticulous mind, marks this as a text that, should the reader be interested in the subject, can be an enlightening if not overly-ambitious read.
Like other books on the subject of evil, Neiman marks her definition of the term in a way that reduces the ability to abuse it. She defines evil in terms of degree-- that is, where 'good' demarcates something beneficial to a person or society, evil is something extremely malicious to a person or society. This definition is important because it does not discuss or attempt to define the 'blame' for the action, merely the result of it. Something can be 'evil', but the source of said evil is still left to be found.
Neiman goes beyond definition, though. She moves quickly through the history of the use of this definition, from the perspective of nature as 'evil' (see: earthquakes, natural disasters), god and the devil, Marquis de Sade (the attempt at 'pure evil'), and a variety of other points of interest with the subject throughout history. She traces the etymology and use of the term through early philosophical thought, to its uses in relatively modern thought. In this way, those interested in the subject can understand the manner in which the term is used, the implications of having said definitions, and the implications of where the blame specifically is passed.
Neiman traces the blame through from god (as the creator of all things-- thus the creator of evil), to nature ('evil' as natural disaster), to other humans ('evil' as a natural extension of the human condition), to other sources, such as Freud's analysis and how it differs from his contemporaries and those that came before and after.
A thorough and deep research on the subject, as well as a dextrous and meticulous mind, marks this as a text that, should the reader be interested in the subject, can be an enlightening if not overly-ambitious read.
History/Philosophy - Evil in Modern Thought
An Alternative History of Philosophy by Susan Neiman
An updated perspective on a very old concept
Evil in Modern Thought: An Alternative History of Philosophy
Amazon Price: $16.47 (as of 10/07/2008)
Philosophy/Science - The Blind Watchmaker
by Richard Dawkins
Dawkins is one of those rare writers that really feels passionate about their subject. There is no apathy or lack of control in his writing-- he is a disciplined scientist looking at a subject that interests him deeply, with the gusto and energy of a new student looking at things in as many different and new ways as possible.
Richard Dawkins manages to incorporate Darwinian theory into a lucid account based on metaphors and similes from the computer science world (which, let's be honest, is the language of modern students-- techno-lingo). With this, he sets us up with a detailed account of a computer program that shows evolutionary process by randomizing certain elements, but keeping the elements that randomly 'work' to the creature's advantage. He does this in a surprisingly simple though off-the-cuff manner: he codes the program, makes the program create random shapes, and wheels his computer to his yard. There, he takes information on animal attacks-- such as what creature a bird attempted to eat-- and uses the data to 'kill' off certain species.
Amazingly, the randomized creatures that survive look eerily like common insects...
This is just one of Dawkins' arguments toward evolutionary theory. He also goes into detail about the arguments against evolution, most notably those that argue 'how can intelligence be developed randomly, like a blind watchmaker attempting to fix a watch?' After reading just a few pages, it becomes clear that Dawkins is not only prepared to argue how this is possible, but also spend a great deal of time refuting any possible argument against evolutionary theory.
His arguments are rational and objective, yet passionate and honest. This is a rare and seemingly contradictory combination in a philosopher or scientist, and yet he manages to walk the line between passion and objectivity with delicacy, and his updated descriptions of Darwinian evolutionary theory is, in my mind, worthy enough to be a mandatory read for high school students.
If you want to show your support to evolution and safe-guard it from being banned in schools, you should definitely buy this book. If you are interested in evolutionary theory, you should buy this book. If you are interested in biology, philosophy, you should buy this book.
It is one of few books I would have to recommend on anyone's bookshelf. The cold and passionate wit of Dawkins is a rare breed in modern society, and one that should be encouraged.
Richard Dawkins manages to incorporate Darwinian theory into a lucid account based on metaphors and similes from the computer science world (which, let's be honest, is the language of modern students-- techno-lingo). With this, he sets us up with a detailed account of a computer program that shows evolutionary process by randomizing certain elements, but keeping the elements that randomly 'work' to the creature's advantage. He does this in a surprisingly simple though off-the-cuff manner: he codes the program, makes the program create random shapes, and wheels his computer to his yard. There, he takes information on animal attacks-- such as what creature a bird attempted to eat-- and uses the data to 'kill' off certain species.
Amazingly, the randomized creatures that survive look eerily like common insects...
This is just one of Dawkins' arguments toward evolutionary theory. He also goes into detail about the arguments against evolution, most notably those that argue 'how can intelligence be developed randomly, like a blind watchmaker attempting to fix a watch?' After reading just a few pages, it becomes clear that Dawkins is not only prepared to argue how this is possible, but also spend a great deal of time refuting any possible argument against evolutionary theory.
His arguments are rational and objective, yet passionate and honest. This is a rare and seemingly contradictory combination in a philosopher or scientist, and yet he manages to walk the line between passion and objectivity with delicacy, and his updated descriptions of Darwinian evolutionary theory is, in my mind, worthy enough to be a mandatory read for high school students.
If you want to show your support to evolution and safe-guard it from being banned in schools, you should definitely buy this book. If you are interested in evolutionary theory, you should buy this book. If you are interested in biology, philosophy, you should buy this book.
It is one of few books I would have to recommend on anyone's bookshelf. The cold and passionate wit of Dawkins is a rare breed in modern society, and one that should be encouraged.
The Blind Watchmaker
by Richard Dawkins
Updating evolutionary theory has never been so entertaining!
The Blind Watchmaker: Why the Evidence of Evolution Reveals a Universe Without Design
Amazon Price: $13.72 (as of 10/07/2008)
Philosophy: The Structure of Scientific Revolutions
by Thomas S. Kuhn
The world of science is a world often taken for granted. The words "empirical science" and "correct" have often been used, at least in modern parlance, interchangeably.
That is, until people like Thomas Kuhn come along, and help us rethink the true origins of what has become akin to a new religion (i.e., science).
Kuhn goes through the structure of how science progresses, and he theorizes that it is not necessarily a progress specifically of scientific "truth", but more a path towards greater storytelling. He describes the paradigm in a way that has made the term "paradigm shift" not only a neologism, but a quickly recognized and understood one.
Anyone who is interested in the sciences, or who is already studying within them, would benefit from looking at the philosophical foundations of the discipline they study. Kuhn goes into great depth and, with many convincing arguments, an incredibly sophisticated set of syllogisms to argue that scientific progress has not been "the right conquering the wrong", but merely those with more quickly and easily understood paradigms teaching others who accept, adapt, and utilize said paradigms.
He uses the example of the microscope. When a student first gazes into a microscope, (s)he is not sure what (s)he is looking at. However, after being told what to look for, suddenly things begin to appear. In effect, the teacher has told the student what they should be seeing, rather than allowing them to truly see for themselves. "You should see a cluster of a certain shape", says the teacher, and suddenly, even though the student still does not know what they are looking at, the paradigm of a cell is formed.
While my descriptions are somewhat wanting, Kuhn's arguments are not. He argues with wit, humor, and a definite expertise. While he is not the only anti-rationalist, his theories are the most thorough and well planned.
Although there is a debate as to whether or not he is truly an anti-rationalist... but that is a topic outside the scope of this review.
A wonderful read, and one for those interested in philosophy, science, or the intersection between those two points.
That is, until people like Thomas Kuhn come along, and help us rethink the true origins of what has become akin to a new religion (i.e., science).
Kuhn goes through the structure of how science progresses, and he theorizes that it is not necessarily a progress specifically of scientific "truth", but more a path towards greater storytelling. He describes the paradigm in a way that has made the term "paradigm shift" not only a neologism, but a quickly recognized and understood one.
Anyone who is interested in the sciences, or who is already studying within them, would benefit from looking at the philosophical foundations of the discipline they study. Kuhn goes into great depth and, with many convincing arguments, an incredibly sophisticated set of syllogisms to argue that scientific progress has not been "the right conquering the wrong", but merely those with more quickly and easily understood paradigms teaching others who accept, adapt, and utilize said paradigms.
He uses the example of the microscope. When a student first gazes into a microscope, (s)he is not sure what (s)he is looking at. However, after being told what to look for, suddenly things begin to appear. In effect, the teacher has told the student what they should be seeing, rather than allowing them to truly see for themselves. "You should see a cluster of a certain shape", says the teacher, and suddenly, even though the student still does not know what they are looking at, the paradigm of a cell is formed.
While my descriptions are somewhat wanting, Kuhn's arguments are not. He argues with wit, humor, and a definite expertise. While he is not the only anti-rationalist, his theories are the most thorough and well planned.
Although there is a debate as to whether or not he is truly an anti-rationalist... but that is a topic outside the scope of this review.
A wonderful read, and one for those interested in philosophy, science, or the intersection between those two points.
The Structure of Scientific Revolutions
by Thomas Kuhn
A wonderful history of ideas in the world of science
The Structure of Scientific Revolutions
Amazon Price: $10.40 (as of 10/07/2008)
Literary Theory: The Need for Words: Voice and the Text
by Patsy Rodenburg (forward by Antony Sher)
The best theorists are those that point out something simple in your life that you SHOULD have noticed. John Berger does this for the role of sexuality in art, Judith Butler does this for the role of politics in gender construction, and Patsy Rodenburg does it for voice in The Need for Words.
The book takes as its central note the decline of oral literacy; that is, Rodenburg notes that, while literacy in general is not declining, the role of physical speech is moving downward.
She argues persuasively, and as a "tiny voice" myself, I relate to what she has to say concerning most people's fears of speaking in public. Furthermore, I also see the decline in acceptable art that is somewhat linked to this handicap.
Rodenburg takes us by the hand through school, society, and other sources in which literacy on the page is placed in higher regard than literacy of speech. She theorizes how it became this way, and though her history lesson is a bit biased and, at times, completely theoretical, it does point out the discrepancy between theoretical literacy (words on the page) and practical literacy (literacy in practice... that is, speech). In an age in which it is increasingly difficult to find a voice, this message is all too clear.
Rodenburg proves very helpful in teaching the reader how to become unabashed about their vocal chords, using training related to the theatre arts and public performance in general. Her analysis of texts is adequate, though a little lacklustre compared to other players in the literary critique circles, but she truly does shine in giving the reader a sense of the importance of speech not only in the arts, but in day to day life.
After all, if your speech-habits say what you want them to say, it will be that much easier to communicate in general.
A highly recommended read for anyone interested in theatre, the arts, or public speaking, as well as anyone simply interested in the topic of speech and voice in art. It will be a wonderful incite into how you SHOULD have used your speech to communicate more effectively and more artistically.
The book takes as its central note the decline of oral literacy; that is, Rodenburg notes that, while literacy in general is not declining, the role of physical speech is moving downward.
She argues persuasively, and as a "tiny voice" myself, I relate to what she has to say concerning most people's fears of speaking in public. Furthermore, I also see the decline in acceptable art that is somewhat linked to this handicap.
Rodenburg takes us by the hand through school, society, and other sources in which literacy on the page is placed in higher regard than literacy of speech. She theorizes how it became this way, and though her history lesson is a bit biased and, at times, completely theoretical, it does point out the discrepancy between theoretical literacy (words on the page) and practical literacy (literacy in practice... that is, speech). In an age in which it is increasingly difficult to find a voice, this message is all too clear.
Rodenburg proves very helpful in teaching the reader how to become unabashed about their vocal chords, using training related to the theatre arts and public performance in general. Her analysis of texts is adequate, though a little lacklustre compared to other players in the literary critique circles, but she truly does shine in giving the reader a sense of the importance of speech not only in the arts, but in day to day life.
After all, if your speech-habits say what you want them to say, it will be that much easier to communicate in general.
A highly recommended read for anyone interested in theatre, the arts, or public speaking, as well as anyone simply interested in the topic of speech and voice in art. It will be a wonderful incite into how you SHOULD have used your speech to communicate more effectively and more artistically.
The Need for Words: Voice and the Text
by Patsy Rodenburg
While her literary theory proves merely adequate, Rodenburg has her finger on the pulse of literacy in speech in modern society.
The Need for Words: Voice and the Text
Amazon Price: (as of 10/07/2008)
Gender Studies: Ways of Seeing
by John Berger
The role of sexuality in art is one that is usually over-written as not necessary, so long as you can call the piece in mind 'art'. If it is, for instance, in a 'girlie' magazine, then the role the media plays in objectifying women can be discussed, but if it is art, then there is a seemingly sacred placement of sexuality that does not and, indeed, cannot be reprimanded.
That is, until John Berger. With persuasive wit and impressive research, Berger points out the myriad of ways in which nudity in art comments on the treatment of male and female sexuality in society. He points out the role of female nudes in keeping female sexuality as objectified (citing interviews with many artists in the field of the nude), while comparing it with the role of female sexuality in what he derogatorily calls 'girlie' magazines.
Interestingly, the two are not as separate as one might expect.
While this is a very cursory summary of the theories propounded by Berger, it is one of his most persuasive of arguments. He also goes on to theorize on such things as female vanity, and how it is (ab)used by artists, such as the nude painting called "a woman's vanity" or some such, in which Berger points out, "you call her 'vain' and then delight in viewing her."
After reading Berger, one cannot look at the world of painting with such a neutral eye. Just as all other forms of art comment on and manipulate public beliefs and ideologies, so too does painting operate politically, and Berger brings the role of sexual politics to the forefront in a field that is often used as an apolitically 'sacred' zone.
That is, until John Berger. With persuasive wit and impressive research, Berger points out the myriad of ways in which nudity in art comments on the treatment of male and female sexuality in society. He points out the role of female nudes in keeping female sexuality as objectified (citing interviews with many artists in the field of the nude), while comparing it with the role of female sexuality in what he derogatorily calls 'girlie' magazines.
Interestingly, the two are not as separate as one might expect.
While this is a very cursory summary of the theories propounded by Berger, it is one of his most persuasive of arguments. He also goes on to theorize on such things as female vanity, and how it is (ab)used by artists, such as the nude painting called "a woman's vanity" or some such, in which Berger points out, "you call her 'vain' and then delight in viewing her."
After reading Berger, one cannot look at the world of painting with such a neutral eye. Just as all other forms of art comment on and manipulate public beliefs and ideologies, so too does painting operate politically, and Berger brings the role of sexual politics to the forefront in a field that is often used as an apolitically 'sacred' zone.
Ways of Seeing
by John Berger
A surprisingly modern view on the role of female sexuality in art.
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Sorry, there are no results available from Amazon.Gender Studies: Gender Trouble
by Judith Butler
I must say, it is strange for me to recommend a book that is at once elitist and esoteric. Judith Butler spares no expense at her elitist language, dropping references to philosophy and critical theory like nobody's business. However, in Gender Trouble, these references, from Julia Kristeva to the more obscure, are not insignificant, nor should one be frightened away by their semantic sophistication.
Gender Trouble is one of those rare texts that shows you the world in a different light. Indeed, the focus of the text is just that: understanding perspectives that have been neglected in our society. From the parts of society given little credence, such as transvestites, transexuals, homosexuals, as well as women in general, Butler attempts to give as much perspective as possible, exposing how sexuality (which she feels to be a production of society, rather than a natural by-product of character) can not only be created, but can also be a unique and different creation based on the variety of humanity.
While her theories get a tad bit complicated by her esoteric manner of exposition, given a little work, the piece is an extravagantly open-minded exposé that gives acknowledgment to the forgotten of society, and her infinite ability to do research on the myriad of unexpected (for lack of a better term) underdogs of society makes this book a necessary read for anyone who wishes to gain perspective on the many different faces of the human condition.
Also, once the idiosyncracies of language are overcome, Butler can be surprisingly concise in her language... though loquacious and verbose.
Gender Trouble is one of those rare texts that shows you the world in a different light. Indeed, the focus of the text is just that: understanding perspectives that have been neglected in our society. From the parts of society given little credence, such as transvestites, transexuals, homosexuals, as well as women in general, Butler attempts to give as much perspective as possible, exposing how sexuality (which she feels to be a production of society, rather than a natural by-product of character) can not only be created, but can also be a unique and different creation based on the variety of humanity.
While her theories get a tad bit complicated by her esoteric manner of exposition, given a little work, the piece is an extravagantly open-minded exposé that gives acknowledgment to the forgotten of society, and her infinite ability to do research on the myriad of unexpected (for lack of a better term) underdogs of society makes this book a necessary read for anyone who wishes to gain perspective on the many different faces of the human condition.
Also, once the idiosyncracies of language are overcome, Butler can be surprisingly concise in her language... though loquacious and verbose.
Gender Trouble
by Judith Butler
A work on the various possibilities of sexuality and gender, as well as a theory as to their origin as a production (rather than a function) of society.
Gender Trouble: Feminism and the Subversion of Identity
Amazon Price: (as of 10/07/2008)
Canonical Fiction: The Idiot
by Fyodor Dostoevsky
It is rare that a novel of such profound character occurs, even in the realm of the canon. While some writers are an obvious recommendation merely by name (again, I am thinking of the canon), one writer which I cannot suffer to see under-read is the wonderful Dostoevsky, and his novel "The Idiot" is a profound examination, without judgment nor without complacency, of the small quirks which can make a man both wonderful, delightful, and, at the same time, monstrous.
Those familiar with Dostoevsky's works perhaps will not be surprised that he comes with such high recommendation. But, while his name is, like Einstein, known even to those who do not know his works, what one must know about Dostoevsky is that he is, in my view, the undisputed king of perspective.
The Idiot is not a tale of simple black and white villainy and heroism. The 'hero' of the novel is a clumsy, socially awkward epileptic with perhaps the most sympathetic view, and not because he is completely virtuous. The 'holy fool' (as the title in its original language can also be translated, as opposed to The Idiot) of the title is almost criminally awkward in social situations, and his meek nature is not to his advantage nor to the advantage of those around him. In countless times throughout the novel, it is his tragic flaw.
Yet, with characters much more sinister and murderous than the awkward one mentioned, Dostoevsky writes each with almost equal sympathy. Perhaps it was his time in prison, but Dostoevsky rarely rights a character who is meant to be hated by the reader.
This results in a chilling ending, one in which no judgments can be passed and, ironically, it is this that is the ultimate horror of the novel. For in a world without judgment, everything is justified... theft, greed, lust, and ultimately, murder.
It is the dark side of sympathy, and painted by a writer who was well aware of how having the perspective of all could disfigure ethics to be utterly disjointed and impractical. It is amazing how Dostoevsky keeps each character's seperate ethical existence in mind as he writes. Vagabonds and gentleman are both painted with loving care and faithfulness to the separate worlds they inhabit.
The highest of recommendations!
Those familiar with Dostoevsky's works perhaps will not be surprised that he comes with such high recommendation. But, while his name is, like Einstein, known even to those who do not know his works, what one must know about Dostoevsky is that he is, in my view, the undisputed king of perspective.
The Idiot is not a tale of simple black and white villainy and heroism. The 'hero' of the novel is a clumsy, socially awkward epileptic with perhaps the most sympathetic view, and not because he is completely virtuous. The 'holy fool' (as the title in its original language can also be translated, as opposed to The Idiot) of the title is almost criminally awkward in social situations, and his meek nature is not to his advantage nor to the advantage of those around him. In countless times throughout the novel, it is his tragic flaw.
Yet, with characters much more sinister and murderous than the awkward one mentioned, Dostoevsky writes each with almost equal sympathy. Perhaps it was his time in prison, but Dostoevsky rarely rights a character who is meant to be hated by the reader.
This results in a chilling ending, one in which no judgments can be passed and, ironically, it is this that is the ultimate horror of the novel. For in a world without judgment, everything is justified... theft, greed, lust, and ultimately, murder.
It is the dark side of sympathy, and painted by a writer who was well aware of how having the perspective of all could disfigure ethics to be utterly disjointed and impractical. It is amazing how Dostoevsky keeps each character's seperate ethical existence in mind as he writes. Vagabonds and gentleman are both painted with loving care and faithfulness to the separate worlds they inhabit.
The highest of recommendations!
The Idiot
by Fyodor Dostoevsky
An amazing look into the various psychologies of the mundane, giving rise to passion, love, cruelty, lust, and ultimately murder.
The Idiot
Amazon Price: $11.16 (as of 10/07/2008)
Fiction: American Gods by Neil Gaiman
A Review
Rarely has a book come along with the sort of fantastic power that Neil Gaiman wields easily. The book, surprisingly controversial for a book receiving no controversy, details the war of the 'old gods', forgotten gods of America, and one man that gets caught up in their battle.
Epic in scope, and fast-paced, this book fails only in its ending. After much anticipation, many pages of build-up, the book merely branches off and the ending feels tacked on.
That said, however, the ending suits the tale, if one examines the context with which it is used. Still, it would have been nice had it ended differently...
The text is amazingly researched. One would spend ample time researching each of the references in this book, and I would be hardpressed to find someone who can find them all (save, perhaps, Gaiman and his compatriots). The gods are painted in exquisite detail, enough to be interesting, and not too much as to be encyclopedic in tone. Gaiman also does a wonderful job imagining how the old gods would fit in a modern world, and he even includes some interestingly modern gods, such as the internet and television.
The tale slows about halfway through, in which the main character is tucked away in a small town. Although the slow pace suits the tale, and although I still enjoyed these parts having grown up in a small town (which, I might add, Gaiman captures quite photographically), this part might detract the pace for some readers.
All in all, a great read, I would highly recommend Gaiman's work to someone looking for a good read.
Epic in scope, and fast-paced, this book fails only in its ending. After much anticipation, many pages of build-up, the book merely branches off and the ending feels tacked on.
That said, however, the ending suits the tale, if one examines the context with which it is used. Still, it would have been nice had it ended differently...
The text is amazingly researched. One would spend ample time researching each of the references in this book, and I would be hardpressed to find someone who can find them all (save, perhaps, Gaiman and his compatriots). The gods are painted in exquisite detail, enough to be interesting, and not too much as to be encyclopedic in tone. Gaiman also does a wonderful job imagining how the old gods would fit in a modern world, and he even includes some interestingly modern gods, such as the internet and television.
The tale slows about halfway through, in which the main character is tucked away in a small town. Although the slow pace suits the tale, and although I still enjoyed these parts having grown up in a small town (which, I might add, Gaiman captures quite photographically), this part might detract the pace for some readers.
All in all, a great read, I would highly recommend Gaiman's work to someone looking for a good read.
American Gods
American Gods: A Novel
Another highly enjoyable read from Neil Gaiman
Amazon Price: $17.79 (as of 10/07/2008)
