Essays

EssaysEssays by David Hume
My rating: 4 of 5 stars

David Hume was one of those late bloomers. His mum thought him daft until he started to become famous because of his writing. In reading this collection, you can see how plodding he is in his thinking. Perhaps he seemed daft because of how he questioned. While this collection is just a loose set of essays, you can detect in him a critical ruthlessness in examining what the basis for anything is. Hume seems to have found, even before Foucault, a human assumption that what works for us should also serve as justification for our behavior and reasoning… that is to say, how things appear based on what we want determines the conventions of what we assume to be factual in the world. That is, we see not only what we want to see, but we also see what we look for. In particular his examination of civil liberties, his examination of political parties… finds at its root the particular interests of each of the players. From that interest, Hume is able to draw a line to developing the conceptual boundaries of where each actor resides, and how those boundaries always-already serve the interests of that actor in a self-justification that isn’t seemingly gradual but rather, spontaneous.

What Hume lacks in these essays is a coherent system of analysis. Perhaps he is able to draw that up later on, but I am reminded very heavily of how Foucault examines discourse diachronically in order to show how our current divisions were created through the discourse via power or its corollary, resistance. Hume doesn’t seem to have this same kind of genealogical examination of discourse at his disposal, but he does involve in a diachronic tracing of trends and party lines as they evolve into groups that spontaneously self-justify just as they separate from each other in fierce opposition.

One of the reasons Hume might have taken so long to bloom is that he was too busy learning and confronting the assumptions that others have of the world. If you question too much and don’t understand what’s going on, I suppose you would appear daft to anyone else. Most likely, to come onto his own in his analysis, Hume needed to defer answering what he was looking at, until he finally came to the understanding that there is no universal. If he believed in a kind of universal ground to base everything from, he certainly didn’t rely on it in any of these essays.

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Nature’s Law: The Secret of the Universe

Nature's Law: The Secret of the Universe (Elliott Wave)Nature’s Law: The Secret of the Universe by Ralph Nelson Elliott
My rating: 2 of 5 stars

How to see this? No doubt it’s interesting that people have noted this golden ratio throughout the ages, and it’s interesting to see it parroted in nature. But without understanding why it happens or how it happens, all Elliott can really say is how to measure it.

In fact, apparently, even finding it in the stock market requires some attention, lots of chart and lots of time to decide what ratio to use in order to ‘uncover’ the hidden features involved. Questions as to what the proper time scale is, or what the correct amounts (inflation adjusted or not) obscure the finding.

Should we understand that this structure is absolute, then we are beholden to find it no matter what. What I wonder is, if the stock market is to be considered mostly random (that is to say too complex to be analysed) should we still be able to trace this sequence out of random numbers, if we fiddle with out metrical tool enough? That we can change the scope of how we see until we find what we are looking for… Without determining an outer bounds for establishing objectivity, this seems like a senseless exercise to simply find a pattern which is both inexplicable and undecipherable. After all, we may know when it goes up, or when it will go down (it’s always a matter of time) but for serious investors, there is always the lost opportunity cost of waiting indefinitely for price adjustments which we know to be coming, given all of time.

Elliott was definitely enthusiastic but that didn’t translate into something I could hang onto in reading this.

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The Way of All Flesh

The Way of All FleshThe Way of All Flesh by Samuel Butler
My rating: 3 of 5 stars

Butler may not have adhered to any school of thought but I found in this a strange quasi-mixture of both existentialist and naturalist thinking. The damnest thing that Butler has done is to trace lineal history, as some kind of psychoanalytic background, in order to create a mesh that would explain the particularity of the main character Ernest’s upbringing.

In fact, the climax of the work, if there is indeed one, comes in pretty late when Ernest is forced into prison and nearly dies because he is forced to face the complex contradictory impulses of those around him. Ernest learns that he has to lead his life rather than relying on the life-narrative of others who would seek to justify him as being this way or that. That is to say, for Butler, coming onto his own is synonymous with being self defining.

Butler fiddles with some vague notions of evolutionarism, to explain lineage, in this case, a kind of genealogy of discourse, but really, for Butler, Ernest is able to come onto his own as an enlightened figure when he steps out of the discourse of church and state; to see political domination as the goal of the very power structure claiming to be enlightened. This seems to be enough for Butler to claim that Ernest has a kind of null point of view now; one that allows him both to see through the BS of his family and the BS of the institutions and culture that surround him in Victorian England.

What’s really kind of stupid about this is that of course Butler has it in for store that Ernest should become wealthy and independent. Without this kind of independence he could never come onto his own. He could never truly stand validated to write books that are reviled by critics but acclaimed by a public… that Truth is always visible to the masses even if individuals cannot see it; that social validation through publication must also equate with economic validation (the freedom to travel and be truly an international citizen, unbeholden to any kind of culture or wage-slavery)… the ending is too easy. A real critique of Ernest’s new ideas would be for him to have to live in a kind of hellish double-vision, seeing the fraud of his Victorian Era but still needing to make a living in it. Butler avoids this complicated ending though, because he wants to establish Ernest as seeing the way out (of his personal and cultural history) but not ever challenging Ernest to really live up to a particular content.

Because, it may be too hard to say, that for Butler just getting by was important enough… validation, once it was thrown out, was no longer needed by Ernest. He could then be rich without ever getting tied up in the validation game that others enslaved him with, all his life. So

Having, then, once introduced an element of inconsistency into his system, he was far too consistent not to be inconsistent consistently, and he lapsed ere long into an amiable indifferentism which to outward appearance different but little from the indifferentism from which Mr. Hawke had arosed him

This brings us to the font of nihilism; that ghost of existentialism which lay us bare to one another. In this, perhaps survival was enough, depending on however you wanted it. Perhaps this was too easy an ending; but then Butler didn’t seem to want to set out an answer to the query; he just wanted to point out the critique of there ever being a standard answer to the question in the first place.

Over all, this is a very materialist book, but one in which we can get no answer from, other than, gee, how nice is is to be rich and not care about anything…and in that sense, Butler can be seen to be far more conservative than he already is as he sees political domination to be a separate issue from economic privilege.

After all, it’s very easy to criticize everything if you can be independent of it all.

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Rethinking Humanitarian Intervention: A Fresh Legal Approach Based on Fundamental Ethical Principles in International Law and World Religions

Rethinking Humanitarian Intervention: A Fresh Legal Approach Based on Fundamental Ethical Principles in International Law and World ReligionsRethinking Humanitarian Intervention: A Fresh Legal Approach Based on Fundamental Ethical Principles in International Law and World Religions by Brian D. Lepard
My rating: 3 of 5 stars

Pretty much all wars are made in the name of peace. Either side fighting the war, generally claim they are entering the conflict with the intention of settling issues which cannot be settled in any other way.

For this reason, determining when military intervention can occur (for humanitarian reasons) is key to determining what is an act made in the name of peace and what is not.

Part of the form this determination should take, is the same form that multiculturalism and democracy have found to be the most practical…in other words, determination should be as “objective” as possible, meaning that it has to be beholden to a process. And the way processes are objective is that they are the same for everyone. Thus, for Lepard, the U.N. must adopt a formalized, unambiguous process for deciding when peacekeeping measures (in the form of military intervention, perhaps) should happen! And all nations must adhere to this.

In a way, Lepard wants to define when peace with military action is still peaceful, in order to do so for purely humanitarian reasons. He backs this up with several of the world’s most prominent religions (though Confucianism may or may not be a religion). In the process of doing so, Lepard wishes to highlight the idealized shape that most of humankind recognizes as being necessary for good living, for proper and stable society, for how people ought to get along. In essence, this other view, is often a 3rd point of view of human reasons, in the same way that Kant used religion to seal how humans, who struggle with good and evil, should live together in a state. Religion in this sense, gives us a pre-formed image of being human so that we can all be on the same page as far as boundaries are concerned. And believe me, pretty much all human interaction has to do with defining and re-defining boundaries.

Read sideways Lepard would want us to adhere to the U.N. in the guise of a religious institution… not in the sense of worship, but in the sense of allowing it have the final word on what kind of people we are to be. That’s certainly not his intention though, but at the onset, he does want the U.N. to reflect the better part of humanity’s values as individuals rather than what world leaders would want for the rest of us.

All in all, I found his book to be a bit boring as it was highly repetitive. His language is formalistic, academic and thus not the most existing thing around. Nonetheless, I found his thoughts interesting. Given that much of the U.N.’s many articles are ambiguous or at times, lacking procedure, much of his text ends up reading as a series of “he said, she said” kind of back and forth between nations trying to save face and nations pushing for certain agendas. His thought that the permanent members vetos should be reduced in authority is well taken, as much of the other nations seem to be keenly interested in introducing verbiage that limits that power.

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Cotillion

CotillionCotillion by Georgette Heyer
My rating: 3 of 5 stars

What started out as complex as it seemed: a marriage proposal among family ended as quickly as it ought to have seemed. That is to say, the problems of the main characters resolve themselves through feeling — not through any sense of scheming — because this book seems to be nothing more than scheming.

Part of the scheming has to do with what the characters are. They aren’t simply their personal appearance their personality — although they do seem to be as well — but rather their form is their class, their social standing and how they embody that class. So scheming here, with the many subplots of who likes who and who is to be with who, makes it so that these characters, embedded in the complex social tapestry of Victorian England, must continually navigate and negotiate boundaries as to who is who and what is what and how one is to fit in and do what one does.

In the end, all of these schemes take place, within the overarching scheme of marriage, many other lesser marriages, and trying to resolve the plot of the subcharacters to get them to marry. In the process of negotiating successfully other subplots, the main characters find themselves apt and able to dashingly profess their love and acceptance upon the adequacy of the couple as a team, as how they fit in together. One imagines if things went awry and their exciting plots didn’t work out, the feeling may be deferred again, so as to not express itself as the positive love they would otherwise see fit to be the case.

So what seemed to me to be the bulk of these subplots is really the excuse needed to for the other characters to see the good will they have towards others, the genuine personableness. And while that may be confusing from an aesthetic standpoint, it wouldn’t do for the characters to be selfish, for them to only think of themselves.

I’ve not read other Heyer books but this one, seemed highly refined in how it carries out its ambitions… the characters are lively, entertaining, well drawn out, even if they don’t learn anything themselves (only to “learn” about each other) and that’s about it. In this way, though the women act the passion and the men are what they can do for the women. Freddy proves apt and able to anticipate and understand Kitty. He gets her out of fixes, saves her from her harebrained but good-willed schemes… whereas Jack is the dashing figure full of appearance — in that way, much more in the position of a woman, being passion and display but low on fixing things for others. Centered as it is, the novel appears feminist because the chosen man is prosopopeic to Kitty, he speaks her out by completing the inaction in as much as she speaks for him the content of what he misses in his own life — desire and passion — as he is such a dandy and all about appearance rather than doing. In their fitting together, they are then, of course, shown to us demonstrably to each other, through the subplots to be a desirable couple.

I don’t know much about this genre at all, but the appearance of knowing one another well, and the quickness to which these plots carried out in their action rather than in their dialogue makes me feel as if this book went though the motion rather than in exposing for us the revelation. After all, Kitty did much of what she did on her own; and only told Freddy of it later, which he accepted all too quickly. I suppose after this I should read some Austen — take her work as a model — to see that the range of what they mean to each other needs also valleys and disagreements, fights as well as, so they should miss one another. Because part of what makes a love novel so exhilarating is also how the characters learn they cannot do without as much as they can with.

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The Daughter of Time

The Daughter of TimeThe Daughter of Time by Josephine Tey
My rating: 4 of 5 stars

From the point of view of the present (or the book’s present) we have a contingent view (was Richard III a murderer of his own nephews)… and this view is one we use to go back and determine the past. That is, this view is used to anchor the discourse of how to organize the past… all other events become secondary to this present view, one that apparently was not upheld in the past, or at least, not in the same way.

Confusing at first, I didn’t realize that this was part of a series of books in which we the reader are to already know Inspector Grant. All the same, a light read, one in which the “actuality” of the character’s emotions tell us how we should read the revealed history of Richard III as it appears to us in fragments. As Tey shows us, it is this process of revealing and this process of indeterminate motives that history and mystery both collapse together along the same narrative chain. Her grasp of this chain is what makes this an excellent exercise in craft.

Not particularly trilling in an intellectual sense, but easy to read because of her excellence.

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A Thousand Acres

A Thousand AcresA Thousand Acres by Jane Smiley
My rating: 5 of 5 stars

Apart from the conceit that this is a re-writing of King Lear, (because that begs us to consider this book as not being its own work), I found that Jane Smiley is an excellent author.

What seemed slow in the beginning, was really only such because we had to understand what was at stake.

Each instance of re-entering the story, of which the breaks in the narrative gave us (in terms of chapters or books) gave Smiley a chance to exploit the break in narrative to re-enter the plot in a different way. By establishing these different directions from which to view the narration (as of yet), she explored various strands in the family, in the landscape, in the town history. With each break, we sink deeper into Ginny (our narrator) to come to a different, and sometimes seemingly contradictory, angle from which to consider what was to be one continual complex totality.

Smiley is a brilliant author, although there are a few readers, if you read other comments, who did not get her work. Who wanted her to hinge on something bigger. Perhaps Iowa farmers are too cliche; oh of course they are simple townfolk, so what? Of course they are corrupt, (incestual, selfish, greedy), so what? Of course they are tied to the land; we don’t see the point of these endless descriptions.

The ending though is a good particular clue. What Smiley does, and what most stories that “speak to us” do, is that they get to the “universal humanity” by outlining traits expressed by at times, very contingent contingencies. By grounding the distinctiveness of the scene with the landscape, Smiley pulls us in, as Balzac might, with a wide angle that narrows onto very specific very particular figures against what seems like an endless parade of earth. We see their growth from the beginning to end, their attitudes and their inexplicable character differences as being both substantive and singular. Their contradiction is that they are the same, but they are also different… we can’t understand why they are different when they grew from the same stock. We can’t understand why the Father did what he did, or why one sister did this or another sister did that. We can only grasp that they did it, and look at the various artifacts Smiley narrates to us as evidence or a fingerprint that they did.

As Smiley examines each of the characters of that young adult generation of farmers, we see their individuality shine, fade and mutate into different character traits, expressed through Ginny. What lesser writers are unable to do is to explicate how their narrators can be so particular (limited in their worldview) and yet expose for us readers a richness that they seem unaware of, and Smiley at times, does suffer a little from this. Nonetheless, each character becomes only as deep as Ginny is able to connect with them, and their fading away, such as Jess or Ty, really only bespeaks of their (un)stable presence for her. In everyday life, we understand people via how we connect with them. Those aspects with which we do not connect are centers we have no access to. Literally.

So, as the book goes on, the characters and complexity of the plot rises until the action must come to a crash. Like trains on a track must go as they are defined to go, as trains are made to go forward and the track goes straight until it must turn… the complexity of the characters provides an unfolding of the plot which then unfolds the characters themselves. When faced with their reality of what they want for each other, the characters come to an apex, and must scatter. Because nothing can stay the same forever, their realizations tear their family apart as what they want for themselves is overcoded by what they want for each other.

In the very end, Smiley implodes the characters as a series of Ginny’s own admirations, aspects of different attributes. She knows herself through the people around her, just like she doesn’t know herself by the diners (and therefore she doesn’t know herself when she is in the diner). Smiley exploits this connection at the end, highlighting through the disconnect of each character, aspects of Ginny as she dismantles Ginny by dismantling the family. Self knowledge for our brave narrator is knowledge of how she is connected, and what she is as she destroys each aspect of those connections, removes, them, examines them, and sees in herself how she is very much like the Father she opposes, that she cannot run from, what she and her sister can only have, despite losing everything else; that the last part of themselves is beyond the understanding of others, that last singularity of will that even in the darkness of eradicating everything she is, she comes to grasp as the inexpressible hypostasis of being best only expressed by the horrific inexplicable action that goes against the grain of everything nice and acceptable about a respectable, dignified man, a pillar of the community in a small town of farmers. By wrapping the last inexplicable point of abjection, Smiley lets us come back around to totalize the entire episode.

This is a rare high point in any novel. Arguably, Smiley does it in her own way (of course that is her own genius), but she does it nonetheless, as a highlight of what is the same even after everything else is lost, ripped apart, and disintegrated. This is a novel of being.

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Simulacra and Simulation

Simulacra and SimulationSimulacra and Simulation by Jean Baudrillard
My rating: 5 of 5 stars

This is not an easy book to read, in part because Baudrillard starts off with his ideas in full development and then talks around them, to explain them. He will start off with an example, develop the idea within the example, and then end by wrapping the example around itself, rather than ending on continual applications of the idea. In any case, he doesn’t do the historicity thing by telling you the past, where the idea may have come from, and then develop the series of thoughts that outline the form of the idea. Instead, Baudrillard plops you in the middle and makes you flounder. And unlike other thinkers, he doesn’t quote too many philosophers; in fact, nearly none at all. Instead of giving you guide posts along the way, he’d rather you sink or swim. Get it or not.

Baudrillard’s basic idea is that we don’t live in reality—that is, in the common sense use of the word, there is no thing-in-itself. He doesn’t even talk that way, as though the thing-in-itself is unnecessary. Following Quentin Meillasoux, Baudrillard is an absolute correlationist: the relationship we have with language is what also determinates any outside of language. Thus, for Baudrillard, we live in a world of simulacra. That’s easy so far. But there’s a catch. For Baudrillard, reality has already been exceeded because the processes that we buy into. These processes are unthinking, mechanical means that produce the simulacra which we then take for the actual thing. The easy examples of postmodern malls in America come to mind, or Disneyland.

Disneyland is presented as imaginary in order to make us believe that the rest is real, whereas all of Los Angeles and the America that surrounds it are no longer real, but belong to the hyperreal order and to the order of simulation (12 – 13).

But such simulations only act to hide the fact that we can’t get back to reality because we’ve lost it. So this explains why Baudrillard drops us into the mix. He can’t explain why this happened. Once we’ve gotten sucked into hyperreality we’re here. It’s a traumatic event. The sheer force of hyperreality obscures any possibility of a central signifier. There is no metaphysics of presence; in fact he doesn’t even mention such a concept because it’s not important. Instead, he talks of what remains when the model has exhausted itself. “When a system has absorbed everything, when one has added everything up, when nothings remains, the entire sum turns to the remainder and becomes the remainder (144, original italics).” One of the key sections, philosophy-wise, in this book has to do with the remainder, which is another way of talking about emptiness as a thing. The remainder is the excessive real, “in a strict sense, it cannot be defined except as the remainder of the remainder (143)”—that is, left over after processes have stopped. You might say hey, wait, isn’t everything real? And yes, that’s how language is, but the model for what is real and what is hyperreal have become the same. For instance, in talking of diplomas, their ubiquity and the ease at which they can be acquired— for whoever goes through the process gets one—signifies nothing but their meaninglessness. What makes diplomas meaningless is that it’s not about knowledge; it’s about process. Diplomas connect in a system of simulacra that only point to other simulacra. Similar to Derrida, with Baudrillard, we end with a passed reference that is always missed. What’s left over is the reality we deal with, the remainder that we must recycle back into a process for it to be what we think it is, which is a problem we have today with things that are “meta,” that the meaning of a thing today is often exactly what it is, a simulation, a context that determines our locus, not what it should be for us. For example, if we go to say, Paris, that trip will be like “a family trip,” with all the clichés and potholes of a family trip, which might as well be a sitcom simulating a family trip. The process of going through replaces the reality of a family trip, so that really, you’re just “doing” the “family trip.” You can’t otherwise because we are trapped in hyperreality. This is like how fake internet money in a game treated like real money in an economy becomes real money. The caveat is that real money then is just as fake as fake money because it’s just another simulation due to a formal process. Baudrillard notes that, like the Borges story, the territory itself decays when the map of the territory replaces the territory by being the territory itself. The simulacra of simulation, the pattern itself, the hyperreality has taken over reality by replacing reality. In hyperreality, the map meant to represent reality becomes a simulacra of reality itself so that we don’t get real, we get the map qua real qua map.

The fact that he is able to note the lack of a lack, as Zizek would say: the anti-philosophy at the heart of philosophy, so to speak, places Baudrillard with all the other philosophical greats of our time. He notices the void that persists throughout simulation: that which organizes simulacra and leaves only sense making in its wake.

Meaning, truth, the real cannot appear except locally, in a restricted horizon, they are partial objects, partial effects of the mirror and of equivalence. All doubling, all generalization, all passage to the limit, all holographic extension (the fancy of exhaustively taking account of this universe) makes them surface in their mockery (108 – 109).

Thus, the curve of meaning making is in fact what is created through the distortion of the absent remainder, leaving us only sensible sense, the trace that makes sense. In other words, when speaking of truth, or ideology, Baudrillard is able to show us how adding the unnameable nothing (the social totality, the remainder) back into the mix gets us the totality that we cannot exceed. The simulation always over-codes totality by naming its void, leaving us always within the wake of its own logic. Baudrillard writes: “As the social in its progression eliminates all residue, it itself becomes residue. In designating residual categories as ‘Society,’ the social designates itself as a remainder. (144, original italics).” This is another way of saying that in trying to split a totality like the social, we name parts of it also things, so as to make a thing out of its parts. But the social as a totality, as a bare named signifier, persists because the social always remains as a residue to mark the situation we are in. With the naming of any void, the absent remainder, we can never get away from conditions like being in society, whatever ideology or other kinds of hyperreality. Hyperreality is the kind of situation presupposes the very topography that we are trying to define, to get away from! If anything, what is confusing about Baudrillard is that he does not allow us any access, imaginary or real, to what we are talking about. What he calls simulation is also the very naming of a given set of the conditions that allow us to talk about anything at all, simply because such terms act as null reference points to its own generic logic.

I am split on liking the reviews (through Goodreads and Amazon) where people obviously didn’t get it, and thus didn’t like it, and disliking such reviews by hurt readers who rebelled at feeling stupid, or having their time wasted (and it’s hard to tell the difference when you’re not sure what you are reading about). To be honest, I’ve read this book three times over the past 10 years, and each time I’ve come away with a fuller picture. This is one of the hardest books I’ve ever read, and that includes any of Zizek or Deleuze’s works.

Overall, I appreciate this difficulty because in making you work for it, the concept will stick with you. You’ll make the concept your own, and you’ll remember it better. It can inspire you, help you along. If the entire concept everything was handed to you, you’d lose the influence. In this sense, by stretching in a new way, you end up in the ‘pataphysical, where the meaning stands on its own. Is this a site of resistance to the ubiquitous hyperreality? With ‘pataphysics, you get something that can stand in for itself on its own by itself, in this case, each particular re-reading. Although, it is arguable that while there is the process of reading, if you read the good stuff, each time it will be different. This difference however, is really a pre-fabricated genre soaked simularca because it is different. We assume, in Baudrillardian terms, that what we are reading relies on a kind of perhaps, “naïve faith in a pact of the similitude of things to themselves.” We assume that what we are talking about is the same as what we are talking about, and this is where our conception, or model or map, gets in the very way of what we are so desirous to speak of.

The real, the real object is supposed to be equal to itself, it is supposed to resemble itself like a face in a mirror—and this virtual similitude is in effect the only definition of real—and any attempt, including the holographic one, that rests on it, will inevitably miss its object, because it does not take its shadow into account (precisely the reason why it does not resemble itself)—this hidden face where the object crumbles, its secret. The holographic attempt literally jumps over its shadow, and plunges into transparency, to lose itself there (109, original italics).

And in this way, you can say that each time you process Baudrillard’s Simulacra and Simulation you’ve actually miss-encountered it. Whatever process of reading you have, you inevitably create a conception of it, and in that conception, blur the totality of everything else around it, to make room for this conception. So in a twist of Baudrillardian logic, perhaps we read Simulacra and Simulation in order to claim everything is a simulation. In finding simulacra everywhere around us—we dig extra deep in order to hide the fact that we already don’t really live in reality, that our very response in naming and determining differences around us for orientation—to get at reality creates the very condition we want to escape from.

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Anti-Nietzsche

Anti-NietzscheAnti-Nietzsche by Malcolm Bull
My rating: 4 of 5 stars

Part of the problem with going against Nietzsche is that he says too much; and is hard to pin down. His books are all over the place, and he leaves you with aphorisms that are as philosophical as they are suggestively poetic.

In this vein, Bull does a pretty good job, even if it is a bit disorganized, at teasing out bits of Nietzsche. Bull’s approach is unique. He goes against Nietzsche to see if there’s something practical in Nietzsche. And I think that this untraditional approach works well, even if you have to read between a lines a little to see it.

Bull says very clearly that Nietzsche’s insight is that values are due to social difference. That hierarchy and social organization give rise to values; the two are the same, but at different levels. The main contention here, is that radical egalitarianism would destroy values. The loss of values leads to nihilism. While egalitarianism and nihilism are not the same thing, “nihilism exceeds egalitarianism” and after equality has been done so that there can no longer be any difference to equalize, we would only be left with nihilism… where everyone could only “listen to Muzak and eat potatoes”. The question Bull leaves us rhetorically, is “what value could there be of a society where no one could distinguish themselves” likewise, how could we improve ourselves if there we don’t have values to know what better is?

The main thesis, and it’s buried in there, is that Nietzsche foresees nihilism approaching… and seeks to stop it with the quest for a Superman. Nietzsche wishes to save us from a life of a diluted, weak society in which we are all forced to be equal to its weakest members. To highlight the importance of this idea, Bull goes to the opposite lengths, to “read like a loser” and become animal: “subhuman”. If we want to see the value of Nietzsche’s project we have to experience the absence of such a project… we have to fall into the depths of nothingness itself, to be weak ourselves and beg others for compassion and sympathy. We have to induce society to think only of us and baby us for our well being… We have to be as animals, to not have a clearing in the world, only further darkening.

What perhaps, makes Bull difficult, perhaps for some readers, is that he pulls many readers of nihilism and thinkers of the state to task, using their thoughts to give structure to Nietzsche’s aphorisms. Bull impressively quotes Nietzsche often, supporting them with the philosophical vocabulary of others to make his argument. He runs circles around some concepts to show their limits, show how others apply them and to show ultimately how Nietzsche is right to approach nihilism the way he does. And in this exciting quest, Bull convinces me of what he sees in Nietzsche.

I find it curious that other reviewers thought Bull confusing and yet praised him as his book as being well-written… I find that there in such reviews, there is a familiarity with many authors but no coherency to be found… an argument against a book as being “well-written”.

Nonetheless, I do agree in part, that Bull throws too many people at us, sort of at surprise… and then scrambles to reformulate his argument. The chapters are also split into too many sections. The issue I have with sections is that authors do this sometimes, because it’s easier to write in smaller blocks… without having to resort to well formed transitions between them. Perhaps Bull writes all his books this way, but I think it’s the fault of the editor for not having encouraged Bull to devote himself to a sustained argument. The first chapter however, is marvelous. The last chapter did end without really clearly articulating the book as conclusions are wont to.

Still, I give him 4 stars for an exciting book that is well worth the reading, even if towards the end he starts to lose focus… but never comes to the conclusion about what kind of society we are to be left with, leaving us at the mercy of the Great Beast, with mediocrity.

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Disneywar

DisneywarDisneywar by James B. Stewart
My rating: 5 of 5 stars

The scope of this book seems pretty modest: it covers the reign of one Michael Eisner, who from his introduction as CEO took Disney as a static company and revitalized it as a meta-conglomerate it is today. Whats interesting about this nearly 600 page book is that how it chronicles the 20 years he worked as CEO… mostly as a series of conversations he had with others. The main interest in this book has to do with the internal politics and policies that the high level managers of Disney implemented… mainly that while Eisner was highly successful in his earlier years, in his later years he kind of lost touch with creative innovation and took to securing his own stardom and success at the expense of the talent he sought to bring into Disney.

If you know the history of some of the worst tyrants, who started off good, you can see this trend, when power blinds one to their short-comings. The last 1/3 of the book is intensely interesting as Eisner seeks to maintain control of the board of directors, the very people who he needs to answer to, rather than letting them keep him in check.

If you want a short analysis here it is: the main flaw in Shakesphearean tragedy is hubris; extensive pride. Any civilization or individual letting their ego run wild will have excessive pride. How this is flaw is easy: one coasts on past success and lets that speak for their present action. One over extends or hyper-focuses on specific problems at the expense of maintaining a balanced ecology. This is what happened. In Eisner’s profit chasing and empire making, he made many profoundly bad choices, which where really only bad in hindsight. Towards the end of his tenure as CEO he focused on securing his position against all others who might contend with him… creating an environment of spying, hostility and backstabbing.

I won’t go over much of the book’s narrative line in detail, but this book, while I thought it might be boring, turned out to be the exact opposite. I can’t really think too much of what more I’d like to have seen, in its construction. I think Stewart did an excellent job… the book seems pretty thorough, considering much of the “plot” is dialogue and conversation which may or may not have been recorded. It’s actually a very fascinating human drama.

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