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Philosophical Papers, Volume 2: Mathematics, Science and Epistemology

Philosophical Papers, Volume 2: Mathematics, Science and EpistemologyPhilosophical Papers, Volume 2: Mathematics, Science and Epistemology by Imre Lakatos
My rating: 5 of 5 stars

Lakatos stands at the edge of a vast tradition, and in his conservative way, decries those who would draw demarcation lines along those of community or traditional ideas of how discovery, math and science should be drawn as they always were. In seeking truth that is independent of human observation or valuation, Lakatos would fall along the same issue that Zizek would bring to many others — the lack of a transcendence. This much is so; Lakatos is as much a former Hegelian as much as it is a decrier of non-useful knowledges (like vulgar Marxists). What I admire most about Lakatos is that he isn’t afraid to approach the former basis of the formulation of math and science — in philosophy, and tackle the Cartesian synthesis as a modality of providing the basis for its own verification. This ties together the many aspects of Lakatos’ careful research work, his scholarly devotion to what others have said, and how they said it, and how they were (un)able to understand and respond to one another.

In other to be able to understand where Lakatos comes from we need to be able to understand that (ir)rationally he would have to disavow himself of those who he was most like in order to be distinguished from them, essentializing them by a singular disavow he found distasteful (or superfluous, thus discarding them as being superfluous). In this manner, his rejection of Marxism appears to be because of the implicit use of their historiographical techniques in order to highlight the logical difference their ideology makes, a technique he often uses to highlight competing and often contemporaneous schools of science. By revealing the shifting of sense making demonstrated by the cuts of history, we will always be able to detect minor unaccountable differences in understanding that question any possible aesthetic validity to the foundation that the use of human reason can be independent of superstition and wholly reliant on the strictest of causation.

Lakatos notes this is the unanswerable question of Hume: Can there be causation that is not mere induction? This is a question whose answer is to show its own impossibility, that human laws seem wholly immanent on itself rather than on principles that are consistent and surjective to the universe itself.

In fact, this lack of assurance is the very project Lakatos wishes to show, marking him as a philosopher of science, an inability to know what real in the naive classical sense is (should we encounter it). Many of his longer essays are devoted to this subject matter — the instability of the acceptedness of a theory despite or even because of its foibles and its refutations as understood from various points from its inception.

One of Lakato’s favorite mentions is that new theories are always immediately refuted before they are accepted. In other words, there is a lag between when a theory is too new to be validated or even understood before it is accepted as unequivocally true. There is a lack of resolution in this issue because we have no real way of measuring what was accepted only what at least a few individuals were saying at various times. So the question becomes even more precarious because what we know of a theory and what we know of a theory differ from each other depending on context. The unaccountableness of this change is where Lakatos organizes his conception of truth and epistemology in response to other’s certainties. In fact, where he is alike with Popper and structuralists, is that Lakatos is formulate an immanent critique of various logics, such as Newtonian, or mathematics, or Quine or Tarski or Toulmin in order to lead us to grasping what is excessive in their ideologies, as the overriding weight/basis for a judgement on verisimilitude. This requires a more rhetorical formalistic reading on Lakato’s part, in order to understand a curve in reason as being local to itself rather than to the material at hand; given the possibility at various points of inflection to determine opposite alternate possibilities. This is perhaps his greatest lesson from (and disagreement with) Karl Popper — that falsification of science can happen alone at a plateau detached from any concordance with induction. (Lakatos wanted at least weak induction, Popper thought that induction was not necessary).

If we were to believe that progress was in fact measurable, it would be the in theory detectable since there would be a steady retreat of the amount of uncertainty of the nature of nature as time progressed. We might expect that with the retreat of uncertainty we would find more concordance — but this has been shown to be untrue as the very nature of the universe is still to be questioned, as to what we can expect of it or how we should understand the nature of time or space itself (not to mention quantum mechanics and so on). In a way, Lakatos should have written a book, as his ideas criss-cross in a variety of manners, showing an immanence of understanding and relevance that this nest of ideas’ connectedness is nearly sustaining (Although no one essay really encapsulates the entire range).

What we see here, is the most nihilistic of philosophers, one whose field is technology itself — knowledge which is useful, and we get that not even from the point of view of knowledge can knowledge maintain consistency with itself. Lakatos gets that science is impacted from the outside, as all knowledege is, and because of this, insists that science be accountable to society even though science itself is amoral.

In a strange way, Lakatos nearly refutes himself, as his search for validity on the order of its own logic (and impossibility) becomes negative as he understands the aesthetics of the search to be about more than some academic scholarly immanence. Rather, our understandings become an allegory of itself, tainted with the atmosphere of its origins. In this strange way, we might understand this as a formalism of knowledge, if that expression is Hegelian or otherwise centered on its own difference. Lakatos can never find his own answers to his own questions by looking within just like he can never fully justify the lemmas of hard research programmes that came to be completely acceptable and then suddenly out of favor. Marred with this in-transience between different fields, Lakatos may be ranked with many post-structuralists as being trapped outside or inside a tradition, for if they speak from the outside it is because they, in the mystifications of Lacan, are “Cogito ergo sum,” ubi cogito, ibi sum. I am not, there where I am the plaything of my thought: I think of what I am where I do not think to think. In this same way Fichte was right to point to Antoss as the cogito’s inability to think where it is, but by pointing it out, Zizek demonstrates that Fichte too was not where he could think to think, meaning Antoss was but petit object a. In this same manner, Lakatos finds himself settled in “the third way” in the interstice of what can be nameable, in the (in)articulated depths of Wittgenstein’s language games where its successful performance is autonomous, detached and wholly invaluable/invalidable because they are strict reference points to absolutely itself.

Lakatos then, if we were to fling him from his comfort-zone, would be speaking of various inarticulable truths that appeared as marked events throughout history. Each zone is distinguishable only by itself, and wholly uncapturable by each other. We see zones of interference and resistance, characterized by contingency itself, when it reaches the highest levels of verification only by being repetitious enough to become a thing, a difference unto itself.

We end up with territories of language genres, a truth that perhaps Lakatos wouldn’t have wanted to acknowledge as being the strong version of science’s fallibility, that its champions, its expert-elite should get the acknowledgement they want, for their being individuals rather than for some autonomous process that could be drawn in the sand when in fact, that rockstar elitism can only insist on a community’s shared immanent ideology, a pack of thieves among any other pack of thieves, a distribution system that sustains itself, only this time with the indebtedness of verisimilitude. Lakatos was rather that we were impersonal, cut throat and yet responsible to more than just science when we be a philosopher and a defender of science from its own communal excesses.

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The Impossible

The ImpossibleThe Impossible by Georges Bataille
My rating: 3 of 5 stars

By playing with desires, and people are nodal points, (letters and genders, but not names or identities), Bataille explores areas of desire and loss, sculpting a body of agony. This agony always finds release however, when desire is locked away and pulled apart from itself so as to be inarticulate. He manages to find a way to twist it a bit further, so that each node knows another by dominance, servitude and love. These middling complexities are glimpses of the intimacy each knew another by, so that their absence was in itself a union. It is impossible that we live, as organisms, as differences in consciousness and configuration can recognize each other and become adapted to one another’s presence that without them, we are nothing but less than ourselves. This is also not to say how their relationships can affect us too, so that our sense of self is our sense of another — a very specific other.

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Anxious Pleasures: A Novel after Kafka

Anxious Pleasures: A Novel after KafkaAnxious Pleasures: A Novel after Kafka by Lance Olsen
My rating: 4 of 5 stars

I am not quite a fan of kafka, because he takes such a load to read, still, Olsen builds a baroque text that espouses a core of a family drama, that breaks itself apart into different narratives. I suppose each voice should be an “anxious pleasure” and that seems too inbred as most of the voices are of the love and exploration of young girls in a familial setting. Yet perhaps this is only the nest that Olsen is able to best hang together, as each story fragment bespeaks of a forgotten whisper of Kafka. Kafka’s interior pose, for Olsen, becomes the expressed structure, not the literal plot, but half-thought, interluded feelings of anxious rhapsody that meditate on themselves and release to intersect and push each other as an aggregate onwards. Each tendril expresses together as one plot hinged on half spoken feelings, although of course, there is the understood learning, the reading of text by Margaret, another kind of interior monologue of Kafka as so many theorists like to draw out of him, through their wild filters and their linguistic tropes that structure their immanent truths. Of course this one text read by a girl would center on one who reads this text, enchanted by new narratives and theological theories that would read on each other as much as their metaphors read on one another truths the kind that theory likes kafka for speaking about.

They come together as Kafka’s metamorphosis, a sacrifice of all the hard working boys for the burgeoning sexuality of a young girl, as their parents bask in her sunshine. So shall Olsen parrot this gesture as a tribute to kafka, and as an opportunity to weave new feelings from us, from the edges of our awareness, with the right inspecificity (he speaks of almost no names) and therefore the right specifcity. Truly a marvel, a working about nothing, saying nothing and therefore being about everything and saying it all.

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Dark Force Rising

Dark Force Rising (Star Wars: The Thrawn Trilogy, #2)Dark Force Rising by Timothy Zahn
My rating: 4 of 5 stars

Zahn is able to present to us a grand tour of the Star Wars Universe. What seemed skeletal in the first volume now seems much more than introductory as we are able to see his reversals in plot as objects left by one group of characters is found and used in another. We see a “classical” bad guy, Grand Admiral anticipate each others moves, and read one another with such focus as to be nearly psychic. One of the great joys of such political and military intrigue is the sheer consideration of characters who are able to apprehend each other clearly enough to demonstrate a separate vested ruthless self interest. Zahn is able to present to us characters almost robotic in how rationally they assess one another. Their understanding of systems and the amount of agency involved is fantastic. Such as when Mara James and Luke go sneaking into a Star Destroyer in order to rescue someone. (As a testament to how incredible Zahn’s walk through the universe is, Zahn’s character Mara James apparently is now one of the favorite of the Star Wars cannon not expressed in Lucas’s movies…at least not yet).

Of course, in many ways this book suffers from many of the structural defects of volume 2 books of a trilogy. Here, we have neither the exposition nor the finale, but a development. And what better way is there to develop characters by presenting them in novel and contrary light? Of course with limited characters, such as ten or twelve, it is imperative that Zahn be able to show their relation to each other. As each tone of a character alights another, we get an increasingly dazzling display of surjective development in which their appraisal of one another becomes the topography of the book itself. In other words, we have plenty of mix’um ups in the process of merely getting the plot from this point of a small success in the beginning to the start of the final conflict, in which the true identities of all is told.

Zahn follows this process quite well, and manages to keep the story interesting as the characters we are most interested in (Leia and herself, Chewie and the aliens, Luke and Mara, Lando and Han) are able to reflectively dive deeper into showing us not only who they are but also the nature of the force, and trying to do what is right at all times. The bravery of these heros crawling in the myst of intergalactic machinery and Zahn’s grasp on right and wrong (as showing C’boath’s slide into the dark side) as well as the political mechanizations of people in power truly matches the epic setting of Star Wars which captivated so many like myself at such a young age.

In a way, what makes this book 4 stars is that the build up of the conflict is so little, that only when you are almost done do you realize what the conflict-resolution that is supposed to the end of this volume. Karade is made out to be a sympathetic character and will begin to see that perhaps his ban with the New Republic can only be the “logical” move he makes even as a disinterested smuggler. In a way, this book is as much about the coming of the New Republic and the development of the characters we so love through the eyes of Karade and Mara James, as the underbelly of those who would survive, as the most fitting judges of what is truly good and what is truly evil. Here the policies and care of the “good guys” speak out for themselves against established possibilities of tyranny, villiany and mis-application of justice.

The ending of the third volume is all but certain now, still, the beautifully austere mechanizations of the author do not bore, but only push harder what is at stake in human relations. Despite being sci-fi and fantasy-escapism, Zahn has still managed to touch upon the very heart of what it means, in this universe, to be human by talking about humans who strive for care, value and justice in a fictional universe, all the while fitting the form of a second (but very interesting) volume of a trilogy.

Zahn has not disappointed in this middle volume!

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Reasons to Live

Reasons to LiveReasons to Live by Amy Hempel
My rating: 4 of 5 stars

Hempel is able to draw out various minutiae. In her centering of each story around the presence or absence of this minutiae, we can find the root of this story as in principle, the driving force behind the actions of the characters. While at times, the characters may encounter the minutiae as periphery to a different activity not in the story, each story works as a collection constructed of the minutiae which in repetition becomes its own difference. Literally, the story takes on a life of its own, a certain plateau, a consistency of that minutiae that then becomes, as a collection, “reasons to live”.

Despite the easy language, at times I found it difficult to get a grasp on certain stories. For me, I would be able to read at most 3 or so stories before I had to put this down and do something else. Otherwise the abstract relevancy started to get lost. I think other readers may be able to appreciate Hempels attention to detail, at times, humorous, witty or provocative. She definitely is able to draw a thin line, weaving each story together as its own “reason”, bringing to characters as a unique slice of “living” as we know them and ourselves in different and new ways.

Truly this is a great example of how short stories can inhabit new spaces, in ways that epics or novels cannot. Each of this is, I felt, at times, a burst of meditation. It brings to light a fact; we can find in anything we do, a particularity to how we construct a situation. We can find ourselves different in how we know ourselves and how we subsist depending on what our attention covers. Interesting to show these meditations in these little funny stories.

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The Savage Detectives

The Savage DetectivesThe Savage Detectives by Roberto Bolaño
My rating: 4 of 5 stars

It took me a while to get into this book. Admittedly it’s thick, and while the headers have names, dates and places, the sheer number of outlying characters threatens to dissolve attempts to make a cohesive narrative anything but conclusive. What Roberto Bolano has done is to show how there is no unifying trend in a group identity. That something as erudite and ideal as poetry can create a group is but a sheer coincidence among youths. As time progresses the boundaries of what makes a group dissolve, leaving but a faint trace of what had existed.

This novel is bookended by a character whose entry into the group, the viseral realists, breaks the group apart. He falls in with a prostitute who runs from her pimp. Their fleeing is supported by the leaders of this poetry group, whose absence eventually unravels the group. We see this as the group no longer has contact with one another. We hear of people faintly by hearsay. Eventually a young academic even writes about the group, including a trace of influence. In that sense, the fantastic nature of the subplots, the vignettes is where Bolano is able to give us choice pickings as the larger edifice melts into time. We catch up to the modern era but swiftly, as a coincidence destroys what may have, some day, in another world, amounted to a mainstream group. We don’t even know what happened to break up the two leaders although it becomes clear that their lives become in an instant, inexplicably altered.

In this way, we can read this as a coming of age story of individuals, but also as a coming of age story of nations entering into the globalized market. The heaving of capitalist trends always rearranges people socially, so that they do other things, odd tasks, specific to their own abilities and ambitions. Ultimately we are shuffled like so many decks of cards as the different decades come and go, different fashions changes and different values highlight out collective experience. In our older age we may return to our ideals of when young, having exhausted our sense of market sensibilities, and found greater joy despite the monotony of change. So we then end, individuals of so many potentials, being effaced on the shores of history, some of us, never to achieve our potential, many of us to be minor players who contributed to movements but only as vanishing mediators. Bolano writes about life, and perhaps this un-covering is the savage detective work as what he examines is both viseral and real.

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One

ONEONE by Blake Butler
My rating: 3 of 5 stars

There’s not much one can go here. This book is an assemblage by three writers, one for the “inside” one for the “outside” and one to arrange its parts. Like much writing via concept, the major tension is inherent within the presentation of the language. Eventually the two sides disappear and through the figure of the narrator (narration) we get the formation of a unity, a strange assemblage (as one reviewer put it) that defies the normative structure we place on narrative. There is by its very conception, a defiance of structure and yet as readers we wish to cram the content of this piece into that structure, in order to make sense of it. This is another way of saying, as Deleuze brought up, that the mind is a cage on the body. Only in this case, understanding is cage that the narration ends up against, struggling to coexist with the cage and yet trying (not) to be in it all the more. Congruent with other fiction aspects of American writing, we get the figure of the house, in which an immanent logic of familial cognizance underlies the bizarre presentation. In this One the very boundaries of the text are arbitrary in nature. In art we may attempt for spiritual awakening through inexplicable experience — this text is an attempt at that — though I find it more to be an exercise in writing tedium than an inspired masterpiece.

The major issue I have with this text is that it is “too easy” that the writing placed out here is somewhat mediocre only because there’s nothing to it. I would rather have something crafted that pushes the envelope than something that can be hurriedly put together. In a sense, James Joyce had already come upon this level of abstraction — although he did it in a way that is more labor intensive. And considering that he had already done so before, to enter that distant abstraction — this text is more of a statement of who the writers are and what they are doing than it is either thought provocative or interesting.

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Blindness

Seeing (Blindness, #2)Seeing by José Saramago
My rating: 4 of 5 stars

This is a different kind of book than its predecessor, Blindness. While both books are fairly different, the unifying feature between the two of them has to do with the absence or presence of governance. In Blindness which I have not reviewed, everyone goes blind inexplicably except for one woman, who witnesses the decay of civilization. In Seeing people do not lose their sight, except that the democratic process becomes stilted as most of the ballots that come in are blank. The response of the government is somewhat understandable, it is afraid people do not follow its ideology anymore, and declares a state of emergency. In the process of trying to justify its actions, it digs up the one woman who did not lose her sight so recently ago, and seeks to make a scapegoat of her. The ensuring politics that occurs with the policy and the national government give expression to the major tension in this book.

My main issue with this book is that over half of it has no appropriate tension. The government merely flounders. And yet, in doing so, we see that the titles of these two books could be reversed and in a sense, it ought to be. In the first book, the nameless woman bears witness to the absence of sight, in which all major activity breaks down. Without economic exchange people have no reason to maintain the ties of “normal” society and so it falls apart. In this second book, while people still see, without the absence of government, there is no problem — people live on, they “see” appropriately that their governments panic is excessive to the situation. The government adds nothing and takes nothing away by withdrawing form the city and “punishing” its population.

Saramago’s position is clear, populace is the rule, not some hierarchical edifice that only seeks to further its own existence and continuance. Of which, government is, it seems. Generally the economic take care of itself, although its arguable whether or not the presence of government matters this much one way or another.

I did find the general structure of the book to be cumbersome, having struggled to read it because there seemed to be no real issue for the first half of the book. I’m not sure what Saramago could have done about this; the context is unusual and really important to this work.

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The Death and Life of Great American Cities

The Death and Life of Great American CitiesThe Death and Life of Great American Cities by Jane Jacobs
My rating: 4 of 5 stars

What Jane Jacobs is really responding to, and criticizing is the spreading of the capital through what John K Galbraith calls the technostructure. Since capitalism’s main drive is technology, as technology reduces cost, affords greater material agency through large capital investments, this is no small subject, although it is a somewhat hidden angle. The megalopolises that exist today are really only possible because of major advances through technology, major investments in infrastructure and major innovations through technological advancement. For this reason, it makes sense that the planners of cities will also invest in the aesthetic of knowledge the technostructure affords us: expression of good design.

Design is really only the highlighting of a particular axis of an independent logical relationship. That is to say, if there are three mutually exclusive choices, their presentation in design as three separate but equatable types is good design. Good design allows us to equalize non-differentials by allowing their containment within logically more important groupings. If we are looking at a series of individuals, it makes sense to present information about these individuals in such a way that highlights through equitable features of however the information is being presented so that these individuals can be arranged to be easily sortable. So that we can make decisions about these individuals. It would make less sense to cram the information together in logically independent relations that have very little to do with our ability to make decisions.

In this sense, much urban design as criticized by Jacobs holds along the axis of decision making for individuals, or at least from the planning perspective, to equate logically independent relationships that have little to do with the ability for common urbanites to make decisions about their environment. For Jacobs, which may be dated these days, urban designers thus, have little understanding of the walkable experiences of urbanities for community building, community strengthening. In short, their knowledge is based more on aesthetically “cold” principles from a bigger view. There’s a good quote from this book: That a region “is an area safely larger than the last one to whose problems we found no solution” In other words, such bureaucracies are too abstract to understand small problems, thus their knowledge and their creation of models is based on these “cold” aesthetically split models that do not demonstrate interactions that stand outside of their modeling. They “average” out too much data, and end up with an impoverished but clear picture that is unsustainable as it is not supported by an exterior topology their model cannot account for.

Galbraith uses the term techostructure in order to denote the melding of planned economies with technologies. This means that administrators and managers need to be able to organize their information according to technologies and functional uses. While regional governments will lag behind the development of new technologies, their division along previous lines of technological influence, their division according to technological functionality will deny the collected effects of their management. Such administrative bodies deny confluence. Early on in the book, Jacob goes to argue that it is in the intermix of diversity, technologies, and mixed uses (where an area is used one way by a population for a time, and then later on, has a different use at a different time) that creates a strong community, enriches its citizens and promotes good economic and social growth.

One of the geniuses of Immanuel Kant and Karl Marx was their recognition that value and phenomenon are created synthetically. This is to say that all topographies are determined by their exterior. As Jacobs notes, communities are generally held around a few key socialites who are able to navigate the interstices of different circles of interest that are geographically aligned by otherwise do not mix. These key individuals carry with them an excess of value since they provide the nexus to which communities and built around and attain cohesion of vision, value and identity. These individuals, like key spaces, be it a park, a mall or otherwise, are not the product of a singular focus, but a mix of logically related cues that deploy individuals together, forcing them to interact, create friendships and build trust.

In a technostructure kind of language we can claim that the very thing any technologically influenced management structure — that relies on the creation and management of specific “expert knowledge” — must necessarily miss the very object they are attempting to manage as a whole. There is department of community, or department of individuals — there is no management of human interaction (socially or economically) as these are the very values that a techostructure wishes to maintain. Rather, this element is destroyed by a technostructure as it is split between departments that have conflicting authority to manage their immanent spheres. The result of this, is understood as chaos as each sphere of influence manages its immanence but in the process of doing so impacts (through the excess of its immanence) other spheres as this influence organizes parts of society that impact other spheres of influence. This excess of planning can only be understood as chaos in reference to the rigorous “planning” of each sphere… what is unplanned is the outside impact.

While Jacobs does not talk about society and cities too much at this abstract a level — her book is more examples of various principles along separate dimension (each chapter is a meditation on each logically independent feature, such as streets, parks, sidewalks, age of buildings, and so on) I think her book would have been more cohesive if it were able to address the issue from a large standpoint of aesthetic philosophical division, as a concept like technostructure would afford. Nonetheless, while dated in some examples, and in use of language, Jacob’s book remains a good marker for the consideration of the interstices that make up society, that any logically independent axis is in fact not truly independent in how that value is created even if we organize it along lines of presentation that appear to be wholly independent. Cities die and grow by chaos, even as this chaos is technologically created through capitalism, forming new social alignments all the while, it is poor understood by existing bodies that use dated models. One wonders how this would have played out should Jacobs had written this in the present age of the internet.

So the 4 stars is really only because she lacks a unifying feature of the book explicitly, even though it is beautifully thought out, and written with rigorous passion. This book is somewhat dated and will be even more so in the near present.

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The Godfather

The GodfatherThe Godfather by Mario Puzo
My rating: 5 of 5 stars

It’s amazing to me that this work is Mario Puzo’s “sell out work” as it is Coppola’s. It’s arguable that neither writer nor director ever topped this story.

What you get here is a re-centering of family values for the purposes of resource accumulation. Don Corleone’s ability to position himself at the nexus of exchange (promising use-value for one side and then for the other) in the form of favors is exactly the kind of personalized economic exchange that our consumer oriented economy wants. Do you have a problem? Here’s the fix. Only instead of often doing this with money, Corleone does this with personal clout. His ability to manage people, to appear as uncontingent (without display of emotion, without giving away what he is thinking) extends from the lowliest common baker to the highest politicians in Washington. This is the frightening circle that he draws, absolute loyalty to him, in the guise of personal friendship. In fact, Michael experiences this when he goes into the old world, where Puzo explains the rise of the costa nostra as a society within society, where the mafia unifies its social regime in the underbelly of the “legit” government, which oppressed its people far too much. This doubling of governance occurs when the legit government needs to appear clean, and in this sense, the mafia is part of the social arrangement of the legit government, because the legit government can only do so much to forestall social unrest while keeping its hands clean. You see this happening with policemen who take grifts and small time bribes. You see with Puzo that attraction of violent men like Negri and McCluskey and Luca have to this underbelly world, where they are able to interact with a strange code of ethics, one that is enforced with violence and deep appraisals of character.

It’s significant as well that the Corleone family understands the need to blend in and become legit like the Americas, that Michael by defying his father was in fact following orders, to be more American. He understood though, that the time was not yet, and thus joined his father in this world. His wife Kay’s separation and then reconciliation too, bespeaks of this unofficial alliance between legitimacy and violence. In this sense, the ideology of American society runs throughout this book, as understood by both its detractors and its fans. Immigrants here want the goodness of American society, but they bring with it, so you can read, a violence and un-Americanness that needs to be contained, to be kept, because Americans are wary of immigrants, so immigrants must fend for themselves and adhere to a kind of quasi-justice that is a mixture of cleanness and decent folk and the violent enjoyment of the Other. Incidentally, this fundamental separation, this duality of ideology is what makes The Godfather completely racist even as Puzo is able to spell out an alternate economy, an economic exchange that binds the underbelly of American society into a thing that can be marketed bought and sold.

Although there are stereotypes all over this book, Puzo surprises me with his depth of understanding, his attention to characterization and his monolithic vision of life at the top of a mafia regime. Definitely worth the read, if you are interested in exploring this kind of alternate social arrangement.

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