Showing posts with label books. Show all posts
Showing posts with label books. Show all posts

Tuesday, August 18, 2026

Mario Vargas Llosa, The Odyssey, A Confederacy of Dunces, and Irvine Welsh Walk Into A Bar

One thing lacking during prison was information.  I did not read Llosa, “A Confederacy of Dunces”, or Irvine Welsh until then and without much context. I keep my eye out for articles that will fill in the context for me.

 The Odyssey piece is here because it is so big this summer.

 I hope this helps your education, too.

Mario Vargas Llosa by Gerald Martin review – the Peruvian leftist who fell in love with Margaret Thatcher  (The Guardian)

Gabriel García Márquez is the book’s foil: the magician to Vargas Llosa’s realist, the man who stayed with the leftist tribe while his lesser rival abandoned it. Martin, now the biographer of both, is uniquely placed to reconstruct the most famous right hook in literary history. In 1976, Vargas Llosa floored García Márquez with a punch after allegedly accusing him of overstepping the mark by comforting Patricia during the collapse of their marriage.

The punch marked more than a personal rupture. It sealed an ideological one. García Márquez later remarked that there were only “two soups on the menu”: capitalism and socialism. Vargas Llosa turned up his nose at one and spent the rest of his life gorging himself on the other.

China understands The Odyssey better than we do | The Spectator

The party is afraid not of Plato but of Uighurs, whom it has smeared as terrorists and agitators. What the party actually wants from the ancient Greeks is a pedigree. In November 2024, Chinese President Xi Jinping sent a letter to the first World Conference of Classics in Beijing, urging scholars to “embrace the responsibility of advancing classical studies.” A Chinese School of Classical Studies now operates in Athens. A Chinese translation series of western classics, which includes Plato, Aristotle and Rousseau, has sold tens of millions of copies across a thousand titles over four decades.

The West is putting the same inheritance on trial. In December 2024 the British government moved to end the £4 million Latin Excellence Programme. The program had carried Latin into 40 non-selective state schools, where more than a third of pupils were eligible for free school meals. Education Secretary Gavin Williamson had launched it to stop Latin being reserved for “the privileged few.”

The pressure comes from more than one direction. In January 2026, Texas A&M University ordered a philosophy professor to remove readings from Plato’s Symposium from an introductory ethics course or be reassigned, under a new university policy against teaching “race and gender ideology.”
On the academic left, the pressure is harder to describe. The Princeton classicist Dan-el Padilla Peralta has written that classics was “a cheat code for mastering whiteness.” In that reading, the ancient work must answer our quarrels before it is allowed to tell us anything of its own.

On August 14, The Odyssey opens across most of China’s nearly 800 IMAX screens. More than 250,000 people had registered to see it before tickets went on sale. They probably won’t ask whether Homer needs forgiving. That was always our question, not his.

You might want to think about this one. I am. All the cultural malarkey imposed on us by neurotic, insecure boys like Elon Musk and his online cohorts does not address the poem. All that interests them is their obsessions and terrors for which they want to make use of Homer and his descendants.

How ‘A Confederacy of Dunces’ Skewers the Lit Bro Before He Even Existed (Literary Yard) helped me understand a novel that I thought had not aged well and whose protagonist irritated me to no end.

If you finish that novel thinking “Ignatius gets it”, well brother, you don’t get it. And that’s the most Ignatius thing about you.

The dunces were never in a confederacy against Ignatius. He was a confederacy of one, at war with reality. And you will never win that war, no matter how many times you quote Boethius.

Trust me on this one.

I am. Perhaps my understanding was affected by being in prison, reading the novel in isolation, without any knowledge of lit bros.

‘Am I 68? 69?’ Irvine Welsh on growing old, getting clean, bashing out his new novel – and flirting with guns (The Guardian) because I read The Sex Lives of Siamese Twins while in prison and had seen the movie Trainspotting.

Can Nothing Save Us? is published this month, but it has a long back story. Welsh originally thought he was collecting material for an HBO pilot on the superstar DJ – this was in 2014 – with his friend Calvin Harris. (Welsh also DJs and co-owns a record label.) From the DJ boxes of Vegas, he’d look out at “this ugly scene where middle-aged sleazy guys grind up against young women who’ve been comped for the clubs” – but the project stalled and Welsh realised he had the makings of something different: “A novel about modern America.”

He gave the draft to his editor and some writer friends. “And they all said the same thing. ‘This is shit!’”

Welsh re-read it. “Fuck, they’re right,” he thought.

Rejection must be unfamiliar to a multimillion-selling novelist. But Welsh did manage to sell the screen rights, and while he watched the writers’ room work through his pages, he became “a voyeur of my own material” and understood how to fix his novel.

 sch 8/8

Sunday, August 16, 2026

Movies and Theater, Muncie & Anderson; Books Worth Noting; Kit Marlowe Dies, Again

Ball State's Emens Theater calendar: Upcoming Events at Emens Auditorium.

 Anderson's Paramount Theater is showing movies again! A wondrous place to see movies. I wish more of the films rose to the ocassion.

Movies, movies, movies! Anderson's Paramount Theatre offers slate of free famous films (heraldbulletin.com)

I have a beein in my bonnet about Hollywood remaking movies - instead of recycling well-done material into second-rate reboots, why not plunder older IP? 

Other than Warren Williams, Barbara Stanwyck & Joan Blondell being dead?
 

 Books: The Curse of Queen Kelly (Film Comment)

 Bruce Dern ruined Robert Redford's The Great Gatsby for when I read someone saying Bern should have played Gatsby. Yes, that would've been so much more interesting.

‘I turned down Gandhi because I’m terrified of snakes’: the amazing movie memories of Bruce Dern  (The Guardian) 

I have a fondness for Llosa & Irvine Welsh & Téa Obreh & Kit Marlowe: 

I Give You My Silence by Mario Vargas Llosa review – Nobel laureate’s final novel is a love letter to Peru (The Guardian)

When I Give You My Silence was published in Spanish in 2023 its author, the Peruvian Nobel laureate Mario Vargas Llosa, rightly predicted that it would be his final novel. He died last year at the age of 89. I Give You My Silence may have been completed with the spectre of death approaching, but there is nothing morbid about this book, which is an eccentric love letter to Vargas Llosa’s native country and, in particular, its music.

Can Nothing Save Us? by Irvine Welsh review – US family saga is a late-career triumph  (The Guardian)

Irvine Welsh’s 16th novel Can Nothing Save Us? comes as something of a surprise. An epic American family saga, it explores a collective emotional malaise at the heart of a great power in decline. This is a bold and ambitious work, in which Welsh deftly shifts point of view with confidence and conviction: his ability to jump generations and to capture the voices and feelings of his disparate cast of characters is at times quite astonishing.  

A History of the Novel in Britain by Philip Hensher review – a masterpiece of criticism (The Guardian)

In his opening paragraph, Philip Hensher declares that a novel not only “tells a good story” but is a good story in itself. We could extend that neat formula to include this book, which is not only a masterful account of fiction since 1719, when Daniel Defoe set Robinson Crusoe down on his desert island, but is itself a wonderful read. There is nothing dreary here; no sense of being back in the seminar room taking notes. Instead it is 600 pages of deep pleasure, an excuse to revisit old literary loves and be reminded of ones that have slipped from view.

***

Hensher never falls into crankiness, but he is unafraid to point out home truths. Such as the fact that so much of the pleased-with-itself “experimentalism” of the 1960 to 1980 period was merely a retread of things that had been done better before. Tickled by the clever wheeze of having central characters with no name? Fanny Burney was already doing that in 1814. Keen on using fragmentary collage to signal modernity? That blustery old fogey Evelyn Waugh got there first with Vile Bodies (1930). As for self-reflexivity, that device by which the novelist comments on the process of writing a novel, you should go back to Fielding.

Téa Obreht on Writing a Layered, Intertextual Tale of the American West (Literary Hub) - a delightful writer.

From Marquis de Sade to Grand Theft Auto, a Brief History of Depravity (Literary Hub). I have understood the French fascination with Sade. It seems to fall in line with their admiration of Jerry Lewis. The essay is in good company, Camus started with Sade in The Rebel. I think he was  faker, living in his head, but that might be the point of the essay. He let out all the demons.


Interview with Stephen Greenblatt on the Death of Christopher Marlowe in 1593:


 

 sch

   

Saturday, August 15, 2026

Worshipping Artistic Greatness

[Moving stuff back from my abandoned WordPress blog.] 

Much has been lately about cancel culture and writers not being morally up to snuff. I wrote about this on my old blog several times. Until I read What Went Wrong When Susan Sontag Met Thomas Mann? (The New Yorker), did it occur to me the problem may be more in the worshipper than the worshipped. I do not think I ever worshipped an artist. As much as I admire Kurt Vonnegut, I would not worship him. It is not so hard for me to like The Rolling Stones without worshipping them; if Altamont does explain why, then Dirty Work should. Why should I expect an artist to be a better person than me? No, the real question should be if the work is better than the person, better than what I could do myself?

This is the paragraph that crystallized the idea for this post:

It is not impossible to imagine what Mann might have said if the dilemma of Sontag’s shame had been presented to him. He had long been brooding over the problem of the charismatic artist, over the hidden dangers of aesthetic cults. The topic floats through Sontag’s then favorite novel, “The Magic Mountain,” and it engulfs “Doctor Faustus,” the tale of a genius and a nation gone mad. Mann might have argued that there is not only a moral but also an artistic virtue in being outwardly boring and banal. It is a hedge against mania. The worship of greatness leads, at best, to disillusionment and, at worst, to the insanity unleashed by the Wagnerian Hitler. Every pilgrimage is suspect: Mann scorned the Wagner shrine in Bayreuth on those grounds. “Only for very young people,” he wrote, “are admiration and adoration the same thing.” 

As much as The Magic Mountain awes me, my feelings towards Thomas Mann are more mundane: how did you come to write such a novel?

sch 4/9 

 

 

Thursday, August 13, 2026

Does It Matter That Prestige Lit Is Dead?

[Moving stuff back from my abandoned WordPress blog.] 

 I have tried my hand at many things related to writing. I like science fiction, and I love detective stories. I wanted to try my hand at flash fiction because I thought it might help me write better short stories. Most of what I write is experiments with genre, even if I am more inclined to write what is, to my mind, literary fiction. But I am not interested in prestige fiction. I think prestige cuts off fiction from readers. That also lets me rationalize that my talents do not rise to a level necessary for prestigiousness.

What prompts these statements from me is Dennis Wilson Wise's review essay Prestige Fiction Is Dead (Los Angeles Review of Books).

In the final analysis, anyone still committed to the novel’s specialness—probably most folks reading this article—is bound to consider Novel Competition thoroughly depressing. But Brier is a historian, not a prophet. He has no answers, no grand solutions, for the novel’s lost pride of place. The prestige competition is over, he says; there’s just “less to be gained by denying it now.” And that rings true. Although winning a Pulitzer Prize or a National Book Award can still make one’s literary career, we no longer expect our literary lions to become public intellectuals. Once upon a time, authors like Gore Vidal, Kurt Vonnegut, and Susan Sontag were recognizable faces on the television circuit. Nowadays, it’s hard to imagine any novelist finding that same prominence.

That paragraph made me wonder if we are not settling into the same patterns in literature as we are in politics: pre-WWII divisions have returned. I knew Truman Capote and Norman Mailer from television long before I read their work. But how much did the public know about Booth Tarkington, Sinclair Lewis, J.P. Marquand, F. Scott Fitzgerald, Pearl S. Buck, or Eugene O'Neill during their heyday? Consider my list contains three winners of the Nobel Prize for Literature, a long-running best-selling author, and four winners of the Pulitzer Prize. The only writer who did not win any awards for his writing was F. Scott Fitzgerald. Who is read today by the general reader? Fitzgerald. Prestige is the eye of the beholder; literary fame is ephermal.

But from my list, who is not a good writer? I would suggest none. They may be stuck in their time (Tarkington and Marquant and Lewis seem most likely to suffer from this fault), but they wrote to the best of their talents. I found The Good Earth a surprise for not being boring. I think Fitzgerald probably did not rise to the challenges of his talents, but they are better talents than I have, and what would America be without The Great Gatsby? If I recognize humanity in their work, then I think it is worth reading.

That means to me that we write not to make a television appearance or be lauded in The New York Review of Books. It means we write as best we can to connect with humanity.

Sam Kahn's What Has Gone Wrong With Fiction in Our Era? A Laundry List (Castalia) includes much that makes what I have written foolish, certainly off the main stream. But then I am far from the main stream of American publishing. Nor do I have an MFA. I am a writer with nothing to lose and, at my age, little to gain.

I feel more in line with Damien Cowger of New Ohio Review Recommends…

And there I end today's sermon.

sch 3/12 

 

Wednesday, August 12, 2026

Why You Should Read William Kennedy to Save America

 [Moving stuff back from my abandoned WordPress blog.]

I did not get around to reading William Kennedy until I was past fifty. Even though I had a copy of Ironweed lying around for decades, even though I read Legs. My mistake.

When I was younger, 45 years ago, I had my mind fixed on William Faulkner and emulating his Yoknapatawpha County in Indiana. I gave up. It was a concern about whether my talent could make money. There was also trying to emulate a little too closely Faulkner's themes.

I was a coward and an idiot. If you want to write, do so. Find ways to keep body and soul together; use your imagination. I was not devoted enough; I was a dilettante.

And read more widely. William Kennedy is a better example of applying local history to the North. (Joyce Carol Oates' When We Were the Mulvaneys is another example.) All we have to do is to look and see what there is. I admit I had to leave Indiana to see what its story was.

The Los Angeles Review of Books published Heaven of Hell: Colum McCann examines the craft and legacy of William Kennedy’s ‘Albany Trilogy.’ McCann gives what I think is a good overview of Kennedy. even though I have not read all the novels reviewed. It does recall for me those I have read.

But to heaven and hell, simultaneously, with time. Let’s begin instead with place, which has, in Kennedy’s work, an absolute beginning, and an absolute end, and a maelstrom of melodic middles. Joyce had his Dublin. Márquez had his Macondo. Faulkner had his Yoknapatawpha County. Good bedfellows, all. The dust out of which Kennedy builds his world—and indeed his whole notion of time—is, of course, Albany.

Sooner or later, we will all find ourselves on the corner of State and Pearl. With the cops and the crooks. The porkheads and the poolsharks. The singers and the sycophants. The junkies and the jailers. The politicos and the pimps. The hoors and the hustlers. The storytellers, the stolentellers and the swollentellers too. The lovers and the losers all packed together in a single city. On a single street. In a single piece of brickwork. In a single sentence even. Honest to God, Marcus, I don’t think I’m dead. We are only as possible as what happened to us yesterday. I liked all their lies best, for I think they are the brightest part of anybody’s history. He’s just a bum, but who ain’t?

A lot has been made of Kennedy’s hometown, and rightly so, since place determines character, and character determines fate, and fate determines story, and story contains the theory of everything. But, like many writers, William Kennedy had to leave his subject before he found it. As a young journalist, he got out of Albany—the “asshole of the northeast,” according to one of his characters—and headed out to Puerto Rico.

By the way, what I came to see about my part of Indiana (the state itself is a patchwork; any unity is a fiction of its own) is the rise and fall of industry, and (in opposition to Faulkner's Mississippi) is a case of the winner losing the victory. The last insight I own as much to Orhan Pamuk as anyone.

I may never get published. So be it; I will keep on writing. If I get published, I may be labelled a regional writer. So be it; if Willa Cather is a regional writer, then I am overawed by sharing that pigeonhole.

Being political, the federal government seems to be centralizing power; Trumpism seems to be advocating a uniform aesthetic, smothering America's imaginative life. Regionalism, localism, appears to me as the only antidote. The only tools left us to preserve America as a unity, not a totality.

SCH 5/12

 

 

 

Tuesday, August 4, 2026

There's something About Icelandic Literature

 Halldór Laxness’s Independent People  (thank you, Joel C for the recommendation) and Auður Ava Ólafsdóttir's The Greenhouse while in prison. Eye-openers both.

There’s Nothing Provincial About This Three-Volume Icelandic Saga (The New Yorker) is behind a paywall that you might get one free view of an article, so a bit longer on the quotes than I intend to do from now on.

About the book being reviewed:

Jón Kalman published “Heaven and Hell” in Icelandic in 2007. The series’ other two volumes, “The Sorrow of Angels” and “The Heart of Man,” came out in 2009. English translations, by the redoubtable Philip Roughton (who also translated five of the Icelandic Nobel laureate Halldór Laxness’s novels into English), followed in the U.K. between 2010 and 2013. But his translations of the trilogy have only become available in North America over the past year and a half; the final volume was published in June. 

What there is about Icelandic literature is its blend of the visionary and the brutal:

The effect of fiction on a reader’s mind may be numinous, but novels rarely succeed if their material isn’t concrete. Jón Kalman’s sense of physical texture, via Roughton’s translation, is as concrete as can be, vivid and poignant. Consider the tiny gaps in an isolated farmhouse’s stacked rock walls that prove useful for storing the children’s baby teeth, a charm to insure the children’s longevity, even though the walls of the kitchen hold the teeth of one of their sisters who has died there the year before. Or the grass blades moving almost imperceptibly, “like rows of venerable statesmen.” Or the boy running “like a scream.” Or the many arresting sex scenes, as graphic as they are incisive about the characters’ emotions, that vary from the taboo to the treacherous to the grotesque to the transcendent. Take the case of Salvör, a maid—savagely beaten and raped by a husband she burns alive in their house—who is later granted the mercy of another kind of man in the local postal carrier, who, for his part, has made his first appearance in the story frozen to his horse. The two spend the night together, and she later compares their encounter to “going through the horizon.”

For the contemporary English-language reader, a three-volume saga of a young man’s journeys through harsh weather, close friendship, and erotic love calls to mind Cormac McCarthy’s “Border Trilogy.” But Jón Kalman’s trilogy is less a hero’s journey and more a deeply psychological stripe of the social novel in the nineteenth-century tradition. The boy is less a hero than a central node, less an Odysseus than a Dorothea Brooke. His effect on those around him is, like hers, incalculably diffused—in his case, amid a village thick with merchants, farmers, drunken scholars, despicable Danes, and stalwart young widows. Among the most memorable of the widows is the landlady Geirþrúður, a name that combines the words for “spear” and “strength” (think “Gertrude”), a coal-eyed former chambermaid who married a man more than thirty years older than she, inherited his house and money, and now feels free to sleep with whomever she wishes, thank you very much, and will contrive a way to preserve her freedom and to care for those she believes need it in whatever way she thinks best.

Having nothing to do with Iceland: 

 

sch 7/30

 

Wednesday, July 29, 2026

Odds & Ends Wednesday

I mean to do some writing today. And I need to go to the grocery again. Which proves me a bit of a shit since I passed on the writer's group. I got into watching Orphan Black, but truly, I did not feel like having that much human interaction today.

Thinking and reading while watching.

 I read Ray Davies' X-Ray while in prison; of the rock star memoirs, I think it is the best I have read. Definitely a Ray Davies production, far stranger and probably deeper than even Dylan's memoir. But I must not have caught the reference to The Beatles mentioned in Dave Davies on the Kinks’ Beatles rivalry (GuitarPlayer)

Blane Chocklett's Guide to Catching Landlocked Freshwater St (Fly Fisherman) - I can hope, can't I?

A bit of fun while continuing through Orphan BlackWestern RoundUp: The Maverick Queen (1956) (Classic Movie Hub Blog)

sch

Tuesday, July 28, 2026

Starting A New Week - Writing, Literary Stuff, Rejections, Bookers, Colson Whitehead, Otters.

Lollygagging around the apartment this morning. I have gotten caught up with Orphan Black. Now, that is an excellent thriller. I went down to the convenience store. Not sure if I want to go out again.

Yesterday's trip to Walmart was partially successful. I had to leave some items there because I ran out of time to catch the bus. 

Working on the blog last night and today are the closest I came to any writing.

Bad insomnia last night. Discomfort continues from the surgery. I really want to take it easy, to do this recovery right.

Items related to writing follow.

 How To Write the Perfect Cover Letter Even Tho Nobody Cares (+ formatting and submission methods)

 (3) The Do’s and Don’ts of Cover Letters

 Writing Queernormative Worlds: World Building Workshop - C. M. Rosens

‘It Was A Matter Of Lust’ and other poems - Literary Yard

The Booker Prize 2026 not likely to read them any more than I get any other books read.

Should the Booker Prize Be Quirkier? (Thornfield Hall)

Emily Wilson · An Uncomplicated Man should be a laugh for Musk and the racist trolls who were so worried about a feminist Odyssey because Nolan used Wilson's translation. 

ROFLMAO: Nolan's 'The Odyssey' ruined a poem I never bothered to read

 What I Learned from a Close Read of All of Colson Whitehead’s Work (Literary Hub) an overview of one of America's best writers.

Oops, I thought I had withdrawn this one:

Thank you for submitting "Going For The Kid" to Tome and Space. Unfortunately, we have decided not to accept it for our publication.


We appreciate the time and effort taken to share it with us.


Sincerely,

The Tome and Space Editors

And a rejection for “After Making Landfall”, but for an older version:

Thank you for sending a submission for the upcoming issue of the Smoky Blue Literary and Arts Magazine. Although we feel your work has many positives, after much deliberation, we decided it was not a good fit for us at this time. 

We receive many incredible stories, poems, non-fiction, and images, and we are forced to select only a handful of pieces. Know that though your work will not be in this next issue, our staff welcomes your submissions and truly hopes to continue receiving material from you. Should you wish to send us another submission, please wait until the next submission period opens.

We do acceptand encouragesimultaneous submissions. You can find listings for where to send submissions at the following:

http://newpages.com/

https://www.chillsubs.com/lists

http://www.everywritersresource.com/literarymagazines/.

Http://www.duotrope.com is perhaps the best source but charges a fee. There is a free trial, however.

If you have any questions regarding your submission or any other publishing matter, please feel free to contact the editor via our website.

Thank you for your support of literary and art publications in general and especially of SBLAAM.

And completely off topic: Bay Area wildlife mystery leaves researchers 'somewhat horrified'.
sch


Sunday, July 26, 2026

Recuperating, Not Spry

 Healing but not doing much more.

I made it to group on Friday. My legs got wobbly. I took the bus there and back, as little walking as possible. I stayed put for the rest of the day. Did some reading, watched shows on Netflix. Right now I cannot recall what it was! Thusday Murder Club

Got a rejection. 

Thank you for sharing "Pieces About A Small Indiana Factory, 1976 - 1984" with A Public Space. We regret that we are unable to use this piece for the magazine, but appreciate the opportunity to consider it.


All our best,

A Public Space 

I keep having these intense moments of insomnia. Those I have used to work on my research project. 

CC called again on Friday. I spoke with KH, too. Joel C called with compliments for “Ahab in the Moonlight”. That is now published. I need to get a link here to it. 

Saturday, I went to Payless and the convenience store twice. A little more walking, a little more of my research project.

I started watching Orphan Black on Netflix. I like it. Oh, I started Bugonia and just could not take its deepness or weirdness. Looks good, though.

I decided against church. Not enough energy, pain is more a low-level discomfort. 

 One thing decided: a different working schedule. I need to get some books read.

Things read over the past few days that I want to share:

The Eyes of Athena and the Disenchanted World of The Odyssey (Reactor) 

The Fermi Paradox, Percolation, and Inbreeding  (Reactor) 

Zardoz: …What the F*ck Did I Just Watch?  (Reactor) 

You Must Remember This’s Karina Longworth on ‘The Bisexuals’ 

Exclusive: In a Ukrainian bomb shelter, Laura Loomer has some regrets (AP News)

How America’s newspapers lost their voice 

Pennsylvania roads are being coated in radioactive wastewater − here’s why 

From author to anime hero: the unlikely revival of a Japanese literary star | Fiction in translation (The Guardian)

No Longer Human comprises a series of notebooks by a formerly “handsome young man”, who declares his incompatibility with the human race. For him, the world is “a place of bottomless horror”; he concludes that “living itself is the source of sin”. The narrator of the title story of Schoolgirl takes a similar view: “the problem is that I’m corrupt. I’m a bad girl.”

The relentless pessimism in Dazai’s work risks seeming overwhelming or indulgent but, as Barton puts it, Dazai “leans into [the self-loathing] with a kind of exuberance”. Indeed, his appeal in part lies in this “unashamed emotional quality, but also tempered with enormous intelligence”.

Cool Machine by Colson Whitehead review – final part of the Harlem Trilogy is freewheeling fun | Fiction | (The Guardian) 

Whitehead initially envisioned the Harlem Trilogy as a jaunty entertainment, a break from the serious Pulitzer-winning business of The Underground Railroad and The Nickel Boys. Cool Machine specifically covers the New York of his youth, a scene he experienced first-hand, which only adds to the air of vivid, freewheeling fun. Whitehead maps the streets, labels the landmarks and dips in at intervals with handy background information. He takes a dark and dangerous corner of history and makes it feel illuminated, magnified, even borderline family-friendly.

A Sudden Flicker of Light by David Thomson review – a brilliantly eccentric history of the movies | Film books (The Guardian)

 Revisionist? Well, it certainly takes us to wintry and sombre ponderings on the movies’ (perennial) tendency to coarsen and to cheapen, to enforce cultural mob-rule. He cites King Vidor’s 1928 film The Crowd, starring James Murray, a former extra plucked from the ranks and groomed for glory but whose awful destiny was to descend into alcoholism and homelessness – back into the crowd. He emphasises movies’ amazing populist-democratic power and reach, their power embodied by the fact that, unlike in the theatre or concert hall, a film’s action could not be stopped or affected by the crowd in front of it. Like a theologian dragged by doubts to the foot of the cross, Thomson wonders if the movies will always lack literature’s way of allowing us to enlarge our imaginations, as opposed to forcing a submission to the screen.

The Rest Is History (Lapham’s Quarterly )

Who Cares? (Sheila Kennedy)

The American Prospect, among others, has reported on the crisis in what we call “Care work.”

As the report notes, immigrants from countries like Haiti, Mexico, the Dominican Republic, Uganda, Jamaica, the Philippines, and dozens of others make up the majority of people who serve the aging, frail, sick, disabled and dying. These immigrants “bathe their clients, change adult diapers, supervise medications, and provide companionship in relationships that are intimate as well as professional.” And they are the targets of Donald Trump’s hatred.

How civilisations fall, according to Gibbon (Engelsberg ideas)

5th Circuit ‘answers the call’ from Clarence Thomas on gun law

4 little-known Google Calendar tricks I use to plan my workweek - and save time (ZDNET)

The Problem With Middle-Class Socialism (The New Republic)

Secret Service Agent Put on Leave for Alleged Leaks About JD Vance (The New Republic)

Trump Prepares to Attack Eighth Country of His Second Term (The New Republic)

Trump Invents the Corporate Pardon (The New Republic)

What Do You Have to Hide? - by Jared Henderson

WNAP-FM | Listen Online - myTuner Radio

The Project Gutenberg eBook of The Compleat Angler, by Izaak Walton

sch



 

 

Friday, July 24, 2026

Writing, story, film stuff

Recuperating from surgery on Tuesday, so still a little rocky. My brain is not in the mood for extended exgesis. Take the following for what they are worth.

The Art of Opposition by Courttia Newland review – piercing essays on culture and creativity  The Guardian

The Red Mouth by Sheila Armstrong review – profound exploration of Ireland’s deep time  The Guardian

This vivid lyricism calls to mind other Irish writers such as Paul Lynch or Sara Baume (Patch and his dog, in particular, echo Baume’s gorgeous debut Spill Simmer Falter Wither). Looking farther afield, the reading experience resembles that of Samantha Harvey’s Booker-winning Orbital, where another handful of individual lives and private concerns are set against a vast and sublime beauty – only this time we are not up in the heavens, but down in the dirt. Just as with Harvey’s novel, some readers of The Red Mouth might bemoan the lack of dialogue or explicit plot. There are no big epiphanies: time unfolds in quiet increments; new losses are accrued; mysteries are set up only to remain unanswered. However, as Brigit, one of Fleming’s daughters, comes to realise, such is life: “things happen, one after the other, and there is no smooth parabolic curve that can connect all the checkpoints … uncertainty is the only certainty”. In Armstrong’s meditative and profound novel, such uncertainty, so exquisitely rendered, is more than enough to sustain us to the end.

Hagitude author Sharon Blackie: ‘At 60 I wasn’t ready to give up, I was just starting’ | Fairytales | The Guardian

In the tradition of Angela Carter, Marina Warner, Emma Donoghue and Helen Oyeyemi, Blackie wants to reclaim these stories from the Disneyfication of the past century. Many of the heroines in her books would rather throw a frog at a wall than kiss one, and are “very much more likely to rescue than be rescued”. The heroine’s journey is one of young women discovering their agency through courage, grit and wit.

Blackie is determined to push back against the wicked stepmother and evil-witch tropes, to restore the “wise old woman” to her rightful place at the heart of society. Frustrated that all the well-known mythical women belong to Greek and Roman legends – “raped left, right and centre, and always secondary to men” – she set out to explore the Celtic folklore of her half-Irish, half-Scottish ancestry. “I discovered all these different ways of being a really interesting and useful old woman,” she says. “Why does nobody know about them?”

Her favourite mythical being is the Cailleach (“old woman” or hag in Scottish and Irish Gaelic), associated with winter and wilderness and as old as the land itself. “A very powerful role model for the challenges we face today,” she says. But the Selkie, a seal woman who is stranded out of water and has her skin stolen, or the miller’s daughter, whose father cut off her hands and must regrow them, are rich metaphors for her own story and for female narratives in general. Rebirth, transformation and renewal – the message of Blackie’s books is clear: be ready for “the Call”, which is most likely to come when you fear your story might be over.

‘Barn Cat Proliferation’ by Caitlin Woodford – The Hemlock Journal - lovely story.

Charles Brockden Brown Declares Independence by Ed Simon 

 The Enduring Power of Bro Language 

But "dude," "man," and "bro" are a specific type of vocative known as "familiarizers." Familiarizers mark a relationship as casual and provide social nuance beyond their attention-getting function. Their true power lies in how they help perform interactional work like signaling closeness or commiseration, expressing or softening disagreement, and managing conversational turns. Consider the different relational messages being delivered by the "bro" used in "Bro, you ate my pizza!" versus the one in "I love you too, bro." 

David Thomson On Cinema And America - by Andrew Sullivan (podcast) 

sch 7/23 

 


Thursday, July 23, 2026

Odyssey Stuff

 Recuperating from surgery on Tuesday, so still a little rocky. My brain is not in the mood for extended exgesis. Take the following for what they are worth. I am just glad that the dimbulbs who were so certain that Mr. Musk has oracular abilities have had their moronic minds smashed.

The Odyssey: How Nolan won the culture war with new IMAX movie | The Independent

Chastity, nodding and enormous pores: will women also love Nolan’s Odyssey? | The Odyssey | The Guardian 

Why you don’t really get Homer 

The Odyssey does not come from the same world as the other pinnacles of Greek culture we all know and love and tweet about. For one thing, it is much older: the events it recounts take place during the late Bronze Age, around 1200 years before the golden age of Attic culture that spawned Socrates and Plato. The poem itself was set down in writing only after centuries of oral transmission — but even the written document is older than not just Plato and Sophocles, but the Persian War, the Olympic Games, and even the Archaic poets like Sappho and Alcaeus. In fact, Homer barely ever uses words that mean “Greek” or “Hellenic” at all: The Iliad and Odyssey are really about a mess of tiny, disunited Mycenaean kingdoms whose subjects wear boar’s tusk helmets and fight with bronze weapons and write, on the rare occasions that they write at all, in a complicated ideographical script called Linear B that was only deciphered in the Fifties. 

No heroic figure better illustrates just how different these two worlds — the Homeric and the Attic — were than Odysseus. It is true that he was often admired by the Greeks of the Athenian Golden Age: the intelligence evinced by his ruses was impossible to ignore for such a self-consciously brainy civilization. But just as frequently, Odysseus was deplored for his lack of scruple, his amorality, his low cunning. Pindar suspected that “the fame of Odysseus is become greater than his toils, through the sweet lays that Homer sang”. Sophocles had his main character, Philoctetes, berate Odysseus for being a “shameless wretch! from whom nor truth nor justice, / Naught that becomes the generous mind, can flow”. Even Socrates, who was generally rather keen on intelligence as a virtue, stopped short of straightforwardly defending the man from Ithaca in the Lesser Hippias, preferring instead to show how his interlocutor is just as bad as Odysseus, because he is a deceiver, not of others, but of himself.  

Go woke, get rich: why rightwing hate campaigns don’t affect the box office | The Odyssey | The Guardian

Musk seethes as ‘The Odyssey’ conquers at the box office - Daily Kos

Paris Review - From Homer’s ‘Odyssey,’ Book I by Homer, translated by Emily Wilson

I like Wilson's work. It runs nicely on the tongue.

sch 

Saturday, July 18, 2026

Saturday Morning - Hit Me With Your Rhythm Stick!

 Up early and questioning what I am about to do now that I've gone through the morning's readings.

Last night, very early this morning, I found accidentally a site having Indiana case law dating back to the 1800s. What I have been trying to get at with my trips to Indianapolis was right there. I got the cases I needed to be downloaded, so not going out of town on Monday. But I am still sleepy.

A classicist’s verdict on Nolan’s Odyssey: a soulful hero flatters our times as women and nuance pushed overboard (The Guardian)

Of course, Nolan isn’t just trying to replicate the Odyssey, and I’m not expecting him to. This is not – OK, not entirely – the chagrin of a Homerist missing her favourite scenes (no matter how I felt when I found out that Homer’s delightfully brash princess, Nausicaa, Odysseus’s key in getting back to Ithaca, had been chopped). What I’m pointing out is what is lost, or changed, in a Nolan–Hollywood–Homer crossover, and why that matters. As Nolan himself has said: “I was intrigued by the idea of a Hollywood studio taking on the biggest of stories.” So this is about uncovering what, in Nolan’s movie, looks like the Odyssey, and what is a product of his own choices. I’m here to think through what an epic hero and his world looks like to Nolan, and to Hollywood. And that is a really telling ride.

***

In the gap between the sung verses of Homer and Matt Damon declaiming to an Imax camera, what this Odyssey offers us, by way of a hero and the grandiloquent experience of epic cinema, is a man who seeks redemption and solidarity among men, recognition from women, and absolution for a civilisation’s fall. Make of that, in the current climate, what you will.

Keith Richards on New Music, Old Friendships & the Future of the Rolling Stones | Billboard Cover

 
Did Homer dream of androids? (Engelsberg ideas)

Another Homeric use of automatos is even more striking. In Iliad 18 we are told that Hephaestus, the god of sweat and technic, made 20 devices which can glide through the halls of Olympus ‘all on their own’. This is the passage that Aristotle cites in his Politics. ‘The tripods of Hephaestus’, he says, ‘see what to do in advance’ and then ‘perform their own work.’ What Aristotle means by this – and Homer, too – is that Hephaestus’ tripods can navigate the whole of Zeus’ palace, bearing to the gods whatever they may happen to desire, wherever they happen to be.

It is not just the gates of heaven, then, which are both sensitive and active. The Olympians’ tripods can drive through the corridors of heaven: Homer tells us that they ‘roll to the halls where the gods convene’ and then return, ‘all on their own’, to Hephaestus’ splendid forge. They certainly would be, as Homer calls them, ‘a marvel to behold’.

In light of all this it is not meaningless to ask: was Homer’s heaven the birthplace of AI? Machines that can drive through a vast mountaintop complex would now be called, if only conversationally, intelligent.

***

Since Descartes, to simplify a long and subtle history, ‘machine’ and ‘intelligence’ have functioned as counter-concepts. In antiquity, on the contrary, the predecessors of our word ‘machine’ and the concept of ‘intelligence’ were very closely linked. There is no machine after all that is not a materialisation of mēchanē, or cunning. The function of any machine is to realise some desire of its originating intelligence.

An unintelligent machine may well function as a mere tool of that intelligence or cunning – roughly, what Hesiod seems to call mēchanē. But if all natural powers are originally purposive, as the ancients felt and believed – then intelligence, too, is purposive. To construct an intelligent machine is therefore to construct a radically purposive machine.

This means that a truly intelligent machine cannot and will not be exhaustively instrumentalised by its creators. If an unintelligent machine can function as a pure tool of its designer, an intelligent machine is, by definition, no longer just a tool. A smart device has device – like the Cyclops. And, for that matter, like Pandora.

An intelligent machine is one that has its own mēchanē, its own cunning. As such, it has its own imperatives and objectives, its own drives. Intelligence possesses some inner purposiveness, some tendency that humans do not fully comprehend in themselves. Did Homer really know why he dreamt of androids in the eighth century BC? And do we really know now?

 

‘A revolutionary act to watch it’: the film India’s censors do not want you to see (The Guardian)

 Trehan describes the ordeal of trying to get Satluj released as “dystopian” and decries “undemocratic censorship” and alleged political interference under the Narendra Modi government re-shaping India’s film industries. He claims Indian cinema has been widely co-opted as a propaganda arm for the government’s rightwing, religious nationalist agenda, where there is “only room for one kind of story to be told”, particularly in mainstream Hindi films.

“It is clear to me that there is no creative freedom in India today,” says Trehan. “When you see the level of censorship happening, films getting blocked by the film board and banned from release, it makes you question: does democracy exist in this country any more?”

Even today, discussions of Punjab’s separatist movement – which raged in the 1980s and 1990s, fighting for an independent Sikh homeland called Khalistan, before it was crushed by the state – remain highly sensitive for the Modi government.

 


  The Common-Law mind and the renewal of America (Engelsberg ideas)

The history of the Anglo-American Common Law is a history of renewal, restoration and reinvigoration that is grounded in practicalities and tangibility. It does not try to answer ‘what is Justice?’ deductively. It searches for justice inductively, case by case, precedent by precedent, and roots itself constitutionally in the community’s capacity for self-government. Not without an endearing sense of grandiosity, Winston Churchill was still right when he said in his sweeping history of the English-speaking world that the claims and disputes across its vast stretches obtain according to the Common Law, at least in theory, and not uniformly. Lincoln the lawyer was dealing in the same terms and, naturally, he had a ‘Common-Law mind’. His life on the judicial circuit showed he understood that the real gem of the Common Law was redress and remedy, not revolution. In its deepest working sense, even the most ordinary, granular case could distil the most fundamental political question there is: what sort of government do we want? Better yet, what sort of government does our history of cases and precedents point us toward?

***

It is by asking and answering such questions that America rediscovers and regenerates itself. Lincoln saw and understood this, which lent him both wisdom and his remarkable belief in the American constitution. America at 250 should remind us of its capacity for self-rediscovery and its durability because of the instincts of the Common Law deeply woven into its DNA. It should remind us, as Lincoln the Common Law lawyer understood, that American democracy is a renewable charter.

 Mark Kermode reviews The Odyssey


 Group paddles 50 miles on White River to boost conservation efforts

Indiana Aligns with Illinois, Ohio, Kentucky, Michigan, and Missouri as Indianapolis Revives the White River into America’s Emerging River City, Unlocking Kayaking, Waterfront Tourism, Wildlife Conservation, Cultural Attractions, and New Travel Experiences Across the Midwest (Travel And Tour World )

Burt Reynolds & Tarantino


 Tarantino does more talking:


 sch

Friday, July 17, 2026

Notes For A Friday: Ethics, Mary Beard, Odysseus, Rejections. Morons In Government

I did group, almost falling asleep at the end. I came home and did a nap. Something like 4 hours. When I woke, I was a little disoriented about time and date. The sky outside was as dull and gray as it had been this morning.

 What I thought would be a small diversion became this post. It has been at least 4 hours since I started. Now, I have run through my emails and have nothing more to say about the outside world. Or life. Or whatever you find here.

I regret to notify you that it has been decided that "Agnes" will not be published in Flying Island Journal at this time. On behalf of the journal's editorial team, I wish you the best of luck with your writing endeavors.

Sincerely,

Hiromi Yoshida

--
Hiromi Yoshida, MA, MLS, SpLIS
Poetry Editor

And:

Thank you for allowing us to consider "Pieces About A Small Indiana Factory Town, 1976 -1984" for Midwest Review. We are sorry to report it was not selected for publication. 

We are honored you thought of us as a home for your work. 

Sincerely,

The Editors, Midwest Review

‘The Odyssey’ Review - by Sonny Bunch ( The Bulwark )

The Odyssey is more fractious, more fissured. It is, first, two hours of abuse and defeats and arguments and disappointments and the occasional bit of grubby cleverness, followed by an hour of glorious vengeance. (So glorious, in fact, that people in my audience were clapping at the mere plucking of a bow and the beautiful twang of its reverberations.) Odysseus, like Oppenheimer, is a man who changed the world, albeit one who had some regrets after the fact: Change is momentous, change is dangerous. When you shatter norms and fail to respect what has come before, you risk calamitous darkness. 

Nukes, Data Centers, A VAT in our future: Race and Gender-Based Contract Practice Ends | Indiana Week in Review | July 17, 2026.

 

Donald Trump claims election insecurity; Markwayne Mullin warns states to cooperate - and so we all join the madness?

Trump's remarks on election security: What to know is that there is no meat on this bone.

John Ware: troubling light on The Troubles (The Article)

Neither Confirm Nor Deny is a book written by a journalist who, with his colleague Geoff Seed, took personal risks and now presents a rigorously researched and balanced account of what happened in Northern Ireland.  It is not a book that makes you want to go into the garden and hoist a Union Jack — nor, come to that, an Irish Tricolour.   Ware explains – in almost too much detail — how undercover security work during serious conflict can, unimpeded by the law, take an ethical nose-dive.  It is to be hoped that this book will make such events, and the moral judgements behind them, much less likely in the future. 

‘At times I felt I’d bitten off more than I could chew’: Christopher Nolan on sweeping the Oscars, making The Odyssey – and getting a puppy (The Guardian).

Bitten by Willie Nile - again!


 The Odyssey review – Nolan goes god-tier with breathtaking epic of men, monsters and moral metamorphosis (The Guardian)

The result is a gigantic, shimmering mirage, a mysterious three-hour vision of crazy episodes that does not yield up wisdom or contentment, but only a grim resolution to continue with the fight, to make sense of ruined lives, to re-enter the scorched battlefield of loss. 

 I've seen only one John Waters movie, Hairspray, but maybe I should have seen more. He was just not on my or my friends' radar. Still, I knew who he was. ‘The minute I had success, I stopped taking drugs’: John Waters on 60 years of screen carnage (The Guardian) is a good reminder.

Nor should the comedy in either film disguise their underlying seriousness. Hairspray may treat the Civil Rights era with a deft touch but its indignation is palpable. Both movies celebrate resistance in the face of racism, fascism and tyranny. What do these movies have to say about the US in 2026? “I think they say that anger can be good, but the way you change things is through humour.” Is there anything he wouldn’t joke about? “I’m certainly not going to go into Israel and that whole situation. It’d be a lose-lose for me to even try. But I’ve always walked the edge of what you can’t make fun of. In all my movies, I make fun of things I like, not things I hate. That’s why I’ve been getting away with this for 60 years.” 

The Day She Returns review – another Hong Sang-soo round of slow, reflective boozing really hits the spot  (The Guardian) has some interesting writing advice:

...The film withholds overt meaning like a short story … and is quietly engrossing.

Our Hero, Balthazar review – a darkly comic satire of incel culture and gun violence | Movies (The Guardian) hits on a subject I have no understanding of and has me pondering this paragraph:

Deathdealer_16 turns out to be Solomon (Asa Butterfield), a Texan living in a trailer with his grandma, none too pleased to see Balthazar. But the two strike up a friendship, with Balthazar besotted by the shooting range, and Solomon eager to prove to the New Yorker there’s more to him than incel futility. Hitting a homoerotic pitch (“You wait to see the rest of what I’m packing,” says Solomon after revealing his glove box pistol), the film is at its strongest outlining this queasy interdependence. It’s a buddy-movie travesty of the mutual incomprehension and fascination between liberal and red-state America, suggesting that resignation to and glorification of gun violence aren’t so far apart. 

It seems to me we are now a nation of the infantilized. I thought that was the goal of prison. Have the powers that be learned their lessons from the pirson-industrial complex and applied them to the nation at large? 

Why Is Digital Freedom Making Us Exhausted and Sad? (The New Atlantis)

For more than two decades, Han has shaped a form of writing equal to his concerns: brief, concentrated books that think in movements rather than arguments. Their brevity feels deliberate, as if composed for the attention economy yet guided by another sense of time. Winding through subjects as varied as Zen, smartphones, and gardening, they often return to the same question: What has become of freedom in the digital age? 

***

Burnout, depression, anxiety: these are the maladies of our time. No one denies their spread, but their wider significance is a matter of debate. For Han, they are not signs that the new order is breaking down. They are signs of its success. We are free — and the result is not liberation but exhaustion. 

***

What Han would later diagnose as burnout is not just a condition of exhaustion; it is a condition of perception. Moods are how we feel the world, even before we think about it. They are less like emotions than the background conditions of our experience, like slow-moving weather patterns that give times and places their character. They cannot be examined like objects from the outside — we are always already within them — but they can be named and described. In Heidegger, Han found a way to notice them. And it made him weather-wise, alert to the world at a time when the weather was changing.

The Berlin Wall came down during Han’s years as a student, marking the end of the Cold War. For most in the West, the mood was jubilant. Liberal democracy and the free market had triumphed, and the specter of totalitarianism seemed to recede into history. The future, many assumed, belonged to societies that were more market-driven — and therefore more free. Han, however, had seen enough to question that story of progress. Growing up under the extreme pressures of Korean capitalism, he knew that domination could take many forms. South Korea had not followed the Big Brother model of the North, yet its people labored with an intensity that suggested another kind of domination — one rooted not in surveillance or prohibition but in competition, achievement, and the inner compulsion to perform.

If the twentieth century had feared domination by the state, the twenty-first would reveal another possibility: domination by freedom.

***

By now, we understand the basic mechanics of the profit model. While complex in one sense, its logic is painfully simple: keep users using; sell their attention to advertisers. In the early 2010s, news about predictive algorithms came as a shock. It seemed uncanny that an advertising algorithm could detect a woman’s pregnancy before anyone else knew about it. But the headlines have long since moved on. What once seemed unsettling has faded into the din of daily life, normalized under the regime Shoshana Zuboff calls “surveillance capitalism.”

When Zuboff began writing about it in 2015, the public imagination often returned to a familiar nightmare: Orwell’s Big Brother, the all-seeing avatar of the surveillance state. Zuboff argued that the comparison was misleading. Today’s most powerful surveillance systems are not instruments of the state, nor do they rule by repression. They are transnational, driven by a market logic that shapes behavior without appearing to command it — what she called “Big Other,” a diffuse computational order that monitors and modifies human action at scale.

***

Han’s new book, The Tonality of Thought, approaches freedom in a different mood. Consisting of three public lectures, the book returns to themes that have run through his work for more than two decades. Han is not searching for a stronger self, but for a way beyond the self — another way of inhabiting the world, combining German Romantic ideals with Eastern thought. “If I may compare my thinking with a fruit,” he writes, “then its skin and flesh are deeply romantic. The seed, in contrast, is Far Eastern.”

***

In this clearing, Han’s thinking lets Western concepts take root differently. Among them is eros — a term that, in Greek thought, signifies much more than desire in the everyday sense. It is the soul’s movement beyond itself, toward a beauty that transcends possession. Eros reorients the reflex of self-enclosure, the habit of drawing the world inward and rendering it usable. The soul, instead of grasping, is laid hold of.

Against a Zen backdrop, this can seem difficult to place: the Western longing for beauty seems to unsettle the stillness of Buddhist detachment. Han’s books, inhabiting that tension, do not systematically resolve it. Instead, they bear its fruit in a mood that attunes us to the world. What matters for Han is that both movements, in their different ways, loosen the grip of a possessive inwardness. The question is no longer how to possess the self, but how to move beyond it.

***

Han begins from a different premise. Freedom in the digital age is found not in resisting the Other, but where the Other resists us. It is a question of ends: does freedom secure the ego or free us from its grip? One posture is habitually on guard, the other habitually open. For Zuboff, who draws again from Sartre, the danger is plain: “Hell is other people.” For Han, the more radical danger is an “inferno of the same” in which the Other disappears.

A life organized entirely around the self — its projects, its performance, its wants — leaves no room for the kind of relations in which freedom can actually take shape. The word freedom, Han likes to note, shares a root with friend. One is not free alone. Freedom arises from vulnerability. It begins not in mastery but in exposure, where one is no longer fully one’s own.

Which, since John Locke is integral to my research project, makes me think of Locke's idea that true freedom reaches its height in civil society - with other people, ordered liberty.

 AI Is Changing What We Can Do. Who We Become Is Still Our Choice. | The Humanist Review of AI

Let’s step back and ask one of the central questions of ethics: “What kind of people should we want to be?” Ethics, in the classical sense, is about how to live well. And that involves more than producing the right outward acts. It involves becoming the sort of person who can recognize what is right, choose it for the right reasons and respond to the world with the appropriate thoughts and feelings.

How, then, could an automated oracle help? It cannot tell you what to feel, because feeling is not something you can summon by obedience. But neither can it settle the matter by telling you what to do. Reasons matter, and to be a morally responsible agent you must reason for yourself. That thought is central to the ethical tradition that reaches back through the European Enlightenment and to Immanuel Kant. Central to Kant’s thought was the ideal of people fully in charge of their own lives, reasoning toward the right decisions through a kind of self-government he called autonomy. People who simply do what they are told, even when what they are told to do is right, are not living autonomous lives. Nor is this a uniquely European idea. Confucius taught the virtue of yi, which involves recognizing what is right and acting in harmony with moral principle. Buddhism offers similar lessons. What matters is not just what you do but the intention with which you do it.

Accordingly, philosophers have rightly been suspicious of “moral deference”, in which someone decides what to do based on what another person or institution declares to be right. Moral guides, your priest, your rabbi, your imam, your guru, even a humble philosopher, can help you think things through. They can draw your attention to features of a situation you may have overlooked. But if they are doing their job, they will not simply listen to your quandary and pronounce a course of action without giving reasons. They will want you to do what is right because you understand why it is right, because only acts that arise from your own deliberation are fully yours. If they espouse values you do not recognize, your compliance does not turn their judgment into your own.

I should add that I am not assuming values are matters of mere belief rather than knowledge, or endorsing relativism, the notion that different normative traditions are entitled to their different answers. You can reject moral deference and affirm autonomy while still believing that there is such a thing as moral truth, and even moral expertise. Perhaps many moral questions, perhaps even all of them, have a universally correct answer. It remains the case that, even if LLMs give excellent answers to moral questions, you still should not defer to their conclusions. You should try to understand the reasons they offer, because it remains important that people act on the basis of their own, admittedly imperfect, understanding. That, in my view, is itself one of the universal moral truths.

***

Once we recognize that people, media outlets or spiritual guides may try to shape us in these ways, we can take that into account. We can ask what interests they have in influencing us. We can consult a range of sources with different interests. I know the pastor has an interest in getting me to make a larger offering. I know that Fox News tilts right and The Guardian inclines left. So, I can weigh what they say accordingly.

But the most effective forms of manipulation are invisible. And one problem with applying this strategy to AI is that we often lack any clear picture of the interests, if any, that guide it. That is one place where public education would help. One strength of LLMs, however, is that, unlike the pastor, they are often willing to tell you what they “know” about the forces that shaped them. And researchers have explored the political bent of the major models. There is a lot of evidence that existing LLMs tend to lean somewhat left of political center. It would be unfounded conspiracy-mongering to suggest that some secret center-left cabal is controlling things behind the scenes. Once you consider the shape of politics in the North Atlantic world, where the main LLMs are based, more ordinary explanations present themselves.

***

Political outlooks also differ in ways that reflect evaluative disposition rather than straightforward factual belief. Moral psychologists Graham and Haidt, for example, argue that concern about fairness tends to diminish, and concern about group loyalty to increase, as one moves rightward.[8] If so, users should know that fine-tuning may favor equality over national loyalty, reflecting the outlook of the cosmopolitan, highly educated people who help shape these systems. Autonomy is strengthened when people can judge advice in light of the perspective that informs it.

***

But notice that an AI guide that did agree to simply choose options would not be much use if you could neither identify the relevant features of your situation nor see what your options were. An LLM cannot tell you anything useful unless you can inform it about your situation. And grasping what matters in your situation is a capacity you can acquire only through practice. There is always something else you might consider. You have to learn what is relevant and how to respond to it.

I would add it is not enough to learn, but to remember and to have faith in what you know in the face of a world that does not care. I knew much. Depression became nihilism as my faith in ethics, in people, in what I was doing with my life dissipated.

Oops, I stopped reading too soon.

Aristotle thought that we develop this capacity through habituation, by practice. For him, the virtues were not rules or isolated good acts but settled dispositions of character, ways of seeing, feeling and responding that are formed over time until they become, in a good sense, second nature. Confucius, in a different key, stressed the role of ritual and custom in shaping good habits of response. Our sensibilities, our capacities for detecting what matters in the human world, do not come ready-made. That thought, largely sidelined for a time in modern moral philosophy, was revived in the twentieth century by thinkers such as Elizabeth Anscombe and Philippa Foot, who urged that ethics return its attention to character, judgment and human flourishing.

One role of fiction, in fables and parables—in novels and short stories, in film, video and even painting—is to let us imagine complex moral situations and so develop habits of judgment and feeling. Conversational exchanges with an LLM, in which scenarios are built out collaboratively, could certainly engage the imagination in ways that help shape character and sensibility. Still, it is likely to remain true that we develop these capacities mostly by using them in the situations we face, alone and with others. Time online draws us away from those encounters.

I once told a friend of mine that the hardest ethical questions were between two equally bad choices. It seems now that may not have been taken as much comfort. I think that was the last time I saw Paula.

I am not a Saul Bellow fan. He put me off my writing for decades. I felt it was a milieu that had no reality - factual or emotional - for me. Yet, I keep coming back to him. Wondering was I wrong about him. Did I close my mind? I wish I had read Philip Roth first rather. Bellow was older - closer to Mailer, whose fictions leave me cold. But I admire Nelson Algren - also of Chicago and close to Bellow's age. And Vonnegut, Heller, Gore Vidal were of the same generation. There is someone else from the Fifties dancing in the shadows of my mind who leaves me as disinterested in his topics as does Bellow. I cannot get a name to form. Cheever's people have all the sexual tics and social anxieties. Yet, I understand their problems better. Augie March I found a novel worth reading, but Humboldt's Gift preceded it by decades. 

And today I received a link to ‘Ravelstein’ Revisited - by Jonathan Marks (The Bulwark). This fit into the previous entries in this post. It might have also sparked a bit of reflection on my Bellow bias. A recession of sorts. It is a consideration of a Bellow novel for which I have only read disdain, to be polite.

 I DON’T THINK THAT CHICK’S EXPOSURE, sometimes intentional, sometimes unintentional, of his own defects justify his shameless exposure of a friend. To be sure, Ravelstein and Chick both merit praise from Bellow’s perspective. Bellow, throughout his career, took a special interest in ineffectual intellectuals, most notably Moses Herzog in Bellow’s novel Herzog, whose book-learning and talent for observation does little to make him wise. Herzog is, however, raised above his fellow moderns, who are less foolish than he is in some ways, by his high ambition, rare in a world ruled by economics, natural science, and the quest for the comforts those pursuits provide. Herzog wants to “live out marvelous qualities vaguely comprehended.” That desire, pursued even to the brink of madness, matters more than the failure of Herzog to gain more than the mystical conclusion that “only the incomprehensible gives any light.”

Chick and Ravelstein, who attempt but fail to understand a world Chick deems “mysterious,” are honorable in the same way Herzog is, a way that is compatible with great foolishness. Perhaps Ravelstein, who understood the quest for human completeness to be nearly always futile, wouldn’t mind being understood as a noble failure. But I doubt that even Chick’s Ravelstein would consider the abandonment of his lifelong convictions and preferences in the face of death to be the kind of failure that is noble.

Yeah, pretty sure I will only read Ravelstein if I am stuck with nothing else to do.

Effing brilliant:  Star Shrapnel by Ata Zargarof 

Book Review: Talking Classics by Mary Beard  

sch