Search This Blog
Sunday, 26 August 2018
It’s much easier to read a book about something you already know something about; harder when you are ignorant and so have to simultaneously read and store new information all the time. Knowing nothing about Thrace (Bulgarian, Greek, Turkish) I thought I would find this book hard, but most of the time it is very readable and at times moving. I struggled a bit with the constantly changing cast of characters.
In the most general terms it is a book about how people find it hard to get on with their neighbours, and quite often are forced to reject them even against their wishes, and how borders end up not just fortified with leylandii but barbed wire and machine gun posts. It’s also a book about how easy it is to turn young men into killers.
In this context a wonderful chapter about a hopelessly ecumenical Greek orthodox priest (a cadre not noted for ecumenism) is both beautifully written and deeply moving:
“ ‘Thrace without borders. Just as it should be,’ Father Alexander said when I first visited them at home, dropping in without notice. I hoped they didn’t mind, I said.
‘Mind?’ Alexander said and bit into a cheese pastry. ‘We only like guests who drop in without notice’” (page 154)
I can see how it merited its shortlistings and prize. I was a bit surprised to find a number of repetitions which are not stylistic but failed copy and pasting – something which an editor should have picked up.
The following (improved) version was posted on 19 July 2020 and replaces the original 2018 piece:
I had a partner who teased me whenever I informed her that I’d worked something out in my own head. She had a sharp ear for pleonasm and so I made attempts to avoid being teased.
Recently, I discovered that the journal Radical Philosophy has been revived. The old one started in 1972 and ran to two hundred issues before running out of steam. This morning in the shower - and nearly fifty years after contributing to the first issue of the original Radical Philosophy  - I had the thought (in my own head), Isn’t the expression radical philosophy a pleonasm?
All philosophy tries to get to the root/s of things, to get beyond the repetition of conventional thoughts, the reliance on unchallenged assumptions, the polite acquiescence in received wisdom. That does not entail that philosophical conclusions must end up being sceptical in character. You may dig down to the roots and discover they are very strong and hold up the tree very well. Your task then becomes that of re-familiarising others, of getting them to look afresh at what has become so familiar that it is too much taken for granted. Take a look, give that root a big kick, and you will find it hurts you more than it hurts the root.
But to confine philosophy to just sceptical and non-sceptical versions is too limiting, anyway. Raymond Geuss titles a recent book Changing The Subject (2017) and broadly speaking argues that philosophers repeatedly change the state of the question. Marx was very explicit about the change he wanted to make: Philosophers have hitherto only interpreted the world in various ways; the point is to change it. 
It’s a commonplace in the philosophy of science at least since Thomas Kuhn’s work (1950s – 1960s) that when a scientific revolution occurs, it’s not just a theory which changes. It is the questions asked, the bits of the world which seem in need of study, the definition of the subject itself. Geuss is casting the history of philosophy as possessed by a similar dynamic. But for both science and philosophy, it does not exclude the claim that they aim at truth.
There is art and literature which might be described as philosophical and which also tries to dig down to the roots, either to refresh our understanding of our world or suggest we might be better off shifting ourselves into a different one. William Wordsworth seeks to refresh, to re-imagine our familiar world, to give the charm of novelty to things of everyday as Coleridge puts it in Biographia Literaria.
In contrast, there are those who use literary and theatrical techniques of estrangement or alienation to upset our habitual responses, hoping to lead us into questioning the normal, into imagining a world different from this wearying reality of ours. In the recent past the names of Viktor Shklovsky and Bertolt Brecht  are closely linked to such an approach, but the techniques are not new. They are deployed in a long procession of older works in which the morals and manners of other cultures are held up as mirrors to our own.
Of course, art and literature and philosophy too are often enough produced as comfort food, offering no challenge and packaged like candy. On that, my philosopher’s advice is to refuse substitutes and only curl up on the sofa with real ideas and fairtrade chocolate. 
 “Sanity, Madness and the Problem of Knowledge”, Radical Philosophy, 1, January 1972, pp. 22-23.
 . The Eleventh Thesis on Feuerbach, dating from 1845.
 Thomas Kuhn, The Structure of Scientific Revolutions (1962).
 “English Formalism and Russian Formalism”, in my Materials and Medium: An Aesthetics (2016), pp. 71-80.
 Here Dr Pateman enters into competition with Dr Peterson who in 12 Rules for Life (2018) recommends a masculine diet of Heidegger and fry-up breakfasts. Cousin Medicine publicly despairs of us both but kindly whispers, Peterson’s diet is much worse.
Saturday, 4 August 2018
It's official. I'm an Author. This morning I googled my name (in scare quotes) and there on the right side of the page is a recent photograph of me, my name, and the word "Author" - all selected by Google without human intervention, as far as I am aware.
It remains only for the Author to tempt some people into reading his Books, which languish unsold everywhere from Amazon to Waterstones. Time to do your bit to support the Judgment of Google!
On my desktop there are a dozen or more folders containing a few hundred Word docs which claim to be essays, chapters, very short stories, vignettes, aphorisms, plus many more beginnings of the same. I am convinced that since they all come from the same brain, I ought to be able to arrange enough of them into something which could Pass as a book. So far, I have yet to convince anyone else, and not really myself either.
Olga Tokarczuk’s Flights has given me fresh hope. Her publishers, in original Polish and in this English translation, have allowed her over four hundred pages of compilation – and they are very readable! Her bits and pieces can be loosely arranged under such superordinate themes as “Travel” (which is converted to the title Flights) and “Anatomy” and surely if I scratch around a bit I can find a couple of overarching themes for my stuff.
Most of us nowadays read books (if at all) in fits and starts, and Tokarczuk’s book slots perfectly into our habits. I have been reading a couple of sections – they all have helpful bold titles to break up the text – and then turn, as one does, to check emails and the latest bits and pieces which make up the day’s World News. It has all felt quite seamless. This is the way to go, I tell myself. Now you have a weapon to beat sceptical editors!
Tokarczuk has the cast of mind of an obsessive and like many obsesssives, she has accumulated a splendid cabinet of curious bits of knowledge: “The shortest war in history was waged between Zanzibar and England in 1896, lasting thirty-eight minutes” (page 109). I loved that and immediately linked to the kind of Wittgensteinian puzzle which undergraduates used to ponder and may still ponder (though “pondering” does not really capture youthful minds): Can you be in love with someone for thirty eight minutes? Does the concept of being in love apply only in relation to something which is a bit more enduring than that?
You could say that Tokarczuk’s book is “about death” because it contains a lot of dead bodies, usually preserved in formaldehyde or subject to other techniques of preservation (the author catalogues many with considerable panache). You could say it is “about love and loss” because there are the beginnings of quite long short stories spliced into the book which fit that category. You could say that it is “about being a middle-aged woman” because there are wistful asides on the subject, scattered through the pages, just as there are scattered remarks about Catholicism and Communism. You could say that it is about human lives without a centre, the fact disguised by endless displacements (flights).
Or you could just say that it makes an interesting and unusual book to pick up and put down, on a train journey, on a flight. But the absence of a main plot line is probably disconcerting for the reader who likes to be drawn along for two or three hours without a break and wants to feel that they are travelling to some destination.