BOOK REVIEW: The Critic as Artist by Oscar Wilde

The Critic as Artist: With Some Remarks Upon the Importance of Doing NothingThe Critic as Artist: With Some Remarks Upon the Importance of Doing Nothing by Oscar Wilde
My rating: 5 of 5 stars

Amazon.in Page

Free to Read Online

In this dialogue, the characters of Ernest and Gilbert reflect upon the value, nature, and limits of artistic criticism. Ernest serves largely as foil and questioner, taking the everyman view that critics are failed artists and that criticism is a puny endeavor that isn’t good for much. Gilbert, on the other hand, defends criticism of art as an art unto itself, and a difficult one at that, one that requires revealing elements and ideas of the artistic piece that the artist didn’t put in the piece in the first place. Throughout, Gilbert lays down his counterintuitive bits of wisdom about the job of the critic, the characteristics of good critics, and – also – about artists and art, itself. [Ideas such as that all art is immoral.]

Oscar Wilde was famed for his wit, quips, and clever – if controversial – turns of phrase, and this dialogic essay is packed with them. A few of my favorites include:

“The one duty we owe to history is to re-write it.”

“Conversation should touch everything, but should concentrate itself on nothing.”

“If you wish to understand others you must intensify your own individualism.”

“Let me say to you now that to do nothing at all is the most difficult thing in the world, the most difficult and the most intellectual.”

“Ah! don’t say that you agree with me. When people agree with me I always feel I must be wrong.”

“…nothing worth knowing can be taught.”

This is an excellent essay, and I’d highly recommend it for anyone who’s interested in art, criticism, or who just likes to noodle through ideas. You’re unlikely to complete the essay as a convert to all of Gilbert’s tenets, but you’ll have plenty to chew on, mentally speaking.


View all my reviews

BOOK REVIEW: The Unreasonable Effectiveness of Mathematics in the Natural Sciences by Eugene Wigner

The Unreasonable Effectiveness of Mathematics in the Natural SciencesThe Unreasonable Effectiveness of Mathematics in the Natural Sciences by Eugene Paul Wigner
My rating: 4 of 5 stars

Available online here

This brief essay asks why math proves so effective for describing / codifying physical laws, and whether our physical theories — built on (phenomenally successful) mathematics — offer the truth, the whole truth, and nothing but the truth.

There’s a popular story in which a drunk man is found on his hands and knees under a lamppost at night when a police officer comes along. The cops says, “What-cha doin’?” To which the drunk replies, “I dropped my keys, and I’m looking for them?” So, the cop says, “Well, they’re clearly not where you’re looking, why not look elsewhere?” And the drunk says, “Cuz this is where the light is.” I think this story can help us understand what Wigner is getting on about, if only we replace the drunk’s “light” with the scientist’s “elegant mathematics.” Wigner reflects upon why it should be that so many laws of nature seem to be independent from all but a few variables (which is the only way scientists could have discovered them –historically, mathematically, and realistically speaking.) On the other hand, could it be that Physics has led itself into epistemological cul-de-sacs by chasing elegant mathematics?

There’s no doubt that (for whatever the reason turns out to be) mathematics has been tremendously successful in facilitating the construction of theories that make predictions that can be tested with high levels of accuracy. However, that doesn’t mean that some of those theories won’t prove to be mirages.

A few of the examples used in this paper are somewhat esoteric and won’t be readily understood by the average (non-expert) reader. That said, Wigner puts his basic arguments and questions in reasonably clear (if academic) language. The essay is definitely worth reading for its thought-provoking insights.


View all my reviews

BOOK REVIEW: The One-Straw Revolution by Masanobu Fukuoka

The One-Straw RevolutionThe One-Straw Revolution by Masanobu Fukuoka
My rating: 5 of 5 stars

Amazon.in Page

I kept running into references to this book in my readings about food and farming, and, eventually, I figured it must be a must-read. One topic that’s of interest to me (and should be of interest to everyone) is how [or, perhaps, whether] humanity can be sustainably fed, given the realities of human nature. Fukuoka (d. 2008) was at the vanguard of what’s been called the “natural farming” movement (a term he admitted he didn’t love.) He spent decades growing rice, other grains, and fruits in rural Shikoku, Japan, using a minimalist approach.

The book mixes philosophy, biography, commentary on food / nutrition, and instruction in Fukuoka’s approach to agriculture. Guided by a philosophy of “wu wei” (i.e. “effortless action,”) Fukuoka figured out how to reduce the amount of effort and resources put into farming, while maintaining crop yields that were competitive with the standard farming model. His approach appears backwards, lazy, and unlikely to succeed. He didn’t plow his fields. He planted by casting seed into the previous crop before harvesting it (note: he alternated rice with winter grains.) He didn’t weed, but rather let white clover grow freely and used the stalks and chaff from one harvest as cover for the next (again, rotating crops,) a cover that biodegraded into nutrients. He used no chemicals, neither fertilizer nor insecticide. And yet, important details of his approach kept his yields up while using minimal resources to maximum effect by operating in accord with nature (e.g. no insecticides seems to risk infestation, but it also means that you haven’t killed the creatures that eat pests.)

Fukuoka’s philosophy combines the principles of nature, Buddhist & Taoist concepts, and – believe it or not — something reminiscent of Nihilism (without calling it such.) There are parts of the book that some might find disagreeable. For example, Fukuoka uses an analogy that draws on the Mahayanist view of the distinction between Mahayana and “Hinayana” that Theravadins may find offensive (fyi: the older branch of Buddhism considers “Hinayana” to be derogatory and believes it’s a label based on a mistaken belief.) [To be fair, Fukuoka explicitly stated that he belonged to no religion and he claimed no expertise on the subject.] More likely to take offense are scientists and agricultural researchers, a group who takes it from both barrels. [Fukuoka says his opposition to scientists is that they fill the same role in society as the discriminating mind plays in mental activity, and he values the non-discriminating mind.]

I found this book to be loaded with food-for-thought. It raises a number of questions that aren’t answered inside (e.g. is Fukuoka’s approach scalable?,) but it’s a fascinating and highly readable introduction to natural farming. I’d highly recommend it for those interested in the subject.


View all my reviews

BOOK REVIEW: The Transcendentalist by Ralph Waldo Emerson

The TranscendentalistThe Transcendentalist by Ralph Waldo Emerson
My rating: 5 of 5 stars

Amazon.in Page

Free Online: Emersoncentral.com

In this short essay (about ten pages,) Emerson lays out an argument for Idealism over Materialism, and then contends that it’s reasonable to excuse oneself from the economic and civic aspects of society in favor of a simple life of introspection. [e.g. As Thoreau did in his years at Walden Pond.]

Emerson opens by suggesting that Transcendentalism is just Idealism by a different name. Idealism being a philosophical stance which puts consciousness at the fore while proposing that there is something beyond [that transcends] our experience of sensory information. The arguments put forth in favor of Idealism include the fact that sensory illusions exist and the Kantian critique of Locke’s view that there’s no more to the intellect than that which is or was sensory experience; Kant argues that there’s intuition. Kant’s influence is considerable, and Emerson explains that even the term “Transcendentalism” is derived from Kant’s use of the term “transcendental.”

The latter part of the essay echoes Emerson’s masterwork, the essay “Self-Reliance.” It proposes that it’s perfectly laudable to take advantage of the greatest gift one has, one’s consciousness, to introspect and indulge one’s need to better understand.

I may have mixed views on Emerson’s ideas, but one can’t say he doesn’t use language and reason and passion to make compelling claims. I found this brief essay to be both thought-provoking and inspirational, and I’d highly recommend it.


View all my reviews

BOOK REVIEW: A Personal Anthology by Jorge Luis Borges

A Personal AnthologyA Personal Anthology by Jorge Luis Borges
My rating: 5 of 5 stars

Amazon.in Page

This is a collection of poetry, short fiction, essays, and other short writings (that fit into two or more of the previously mentioned categories) – all chosen by Borges as the works he wanted his literary legacy to be based upon. For those unacquainted, Borges was a brilliant Argentine author whose writings were philosophical, mystical, erudite, and brief. He was the perfect writer for those of us who love ideas and contemplation of the world, but who also suffer deficits of attention. He wrote in bitesize pieces, but those bites couldn’t have been more intensely flavored with ideas and evocative and provocative commentary. His subject matter includes lofty topics such as the lives of Homer, Shakespeare, and Buddha, but also crude, visceral experiences such as a knife fight.

Needless to say, I’m a huge fan of Borges’ work, and couldn’t resist reading his choices for his personal best – even having recently read many of the pieces – particularly the better-known ones. It’s worth noting that Borges’ choices include a great many of the works that others have called his best work, e.g. “The Aleph,” “Borges and I,” “Biography of Tadeo Isidoro Cruz (1829 – 1874,)” “The Zahir,” “The Maker,” “Averröes’ Search,” “The Golem,” “Circular Ruins,” etc. The biggest surprise of the collection was that it included much more poetry than I expected. The works I’ve read previously contained minimal poetry, but I’d say this collection is about half poems.

I can’t recommend this book enough. It’s thought-provoking and magnificently written / translated. I would normally say that I’m not qualified to comment on the skill of translation other than to say the book read well, but the two translators wrote an epilogue that I think showed they could channel the mystery and creativity of Jorge Luis Borges.


View all my reviews

BOOK REVIEW: Zen in the Art of Writing by Ray Bradbury

Zen in the Art of WritingZen in the Art of Writing by Ray Bradbury
My rating: 5 of 5 stars

Amazon.in Page

I rarely re-read books, but I’m glad that I revisited this one. I think I read it more smartly on the second go — more in a way that benefited from Bradbury’s style and message. The book’s nine essays, capped by a small collection of poems, convey lessons on writing, and – specifically – creativity in writing. Bradbury was among my favorite authors because he combined brilliant language with clever stories – i.e. he was creative on both levels. That’s a rarity. There are many excellent storytellers whose language lacks poetry or finesse. And, there are writers who are eloquent and evocative with language, but who either care little for, or have limited gift for, story.

While Bradbury claimed no expertise in Zen and doesn’t hide that he cribbed his title from a popular work by Eugen Herrigel entitled, “Zen in the Art of Archery,” it remains an appropriate title for the book and its eponymous final essay. Throughout the book, one can feel the Zen in Bradbury’s writing. He lets his words and analogies flow without becoming obsessively analytical about them – or at least appearing not to have been. Bradbury uses a lot of short, punchy sentences and a great many poetic applications of figurative language. He practices what he preaches as he both gives lessons and simultaneous demonstrations on how to write. His advice ranges from using single word writing prompts to shake one out of writer’s block, to the very Zen idea of avoiding thought – i.e. letting the words come from the subconscious. Lest one think that there is a conflict in a book on creativity that draws from another book’s title, there’s a recognition that creative writing is never wholly novel.

This book is well worth reading, not just for writers but for other artists and creative types as well. I highly recommend it.


View all my reviews

BOOK REVIEW: Monkey: New Writing from Japan: Vol. 2: Travel ed. Ted Goosen & Motoyuki Shibata

MONKEY New Writing from Japan: Volume 2: TRAVELMONKEY New Writing from Japan: Volume 2: TRAVEL by Ted Goossen
My rating: 5 of 5 stars

Amazon.in Page

Out: December 28, 2021

This anthology of travel-themed short writings by prominent Japanese authors includes: short stories, essays, poems, excerpts from longer works, and even an illustrated story [i.e. “The Overcoat” by Satoshi Kitamura.] The nature and degree of travel varies considerably with some pieces being travelogues or setting-centric fiction, but other pieces explore travel in a more symbolic sense (e.g. “Hell” by Kikuko Tsumura or “Decline of the Aliens” by Hideo Furukawa.] And one piece, “Cardboard Boxes and Their Uses” by Taki Monma deals more with the topic of being shut in, so it might be considered a study in travel through its absence.

The anthology includes works by literary stars such as Mieko Kawakami, Haruki Murakami, and Yasunari Kawabata, and showcases translation by some of the most well-know translators of Japanese literature. [The edition ends with a dozen brief statements by translators about what they have found particularly daunting to translate — not necessarily because the literal translation is difficult but because the elegance of the origin language can be lost to clunkiness in the translated language.]

Among my favorite pieces were “The Dugong” (a historical fiction story with a “Journey to the West” feel to it,) Haruki Murakami’s essay entitled “Jogging in Southern Europe” (which anyone who’s ever exercised amid people who don’t exercise will find amusing,) “Five Modern Poets on Travel” [particularly the tanka of Kanoko Okamoto and the haiku of both Hisago Sugita and Dakotsu Iida,] and “Every Reading, Every Sound, Every Sight” by Jun’ichi Konuma. That said, I don’t think there was a clunker in the bunch, each piece was well-composed and translated, and I’d highly recommend reading this book.


View all my reviews

BOOK REVIEW: Poetry and Prose of the Tang and Song [Trans. by Yang Xianyi & Gladys Yang]

Poetry and prose of the Tang and SongPoetry and prose of the Tang and Song by Yang Xianyi
My rating: 5 of 5 stars

Amazon.in Page

This collection includes works from eighteen prominent poets and writers from the Tang (618-907 AD) and Song (960 – 1279 AD) Dynasties of China. Among the most famous of the included authors are: Wang Wei, Li Bai, Du Fu, Bai Juyi, Wang Yucheng, and Su Shi. The included works (mostly poems but including some brief prose writings) explore subjects such as nature, social justice, patriotism, travel, and drinking. If some of those topics surprise you, you’re not alone. I may be letting my biases show, but I was surprised by how much social outrage and humor was contained in these works from the China of 750 to 1,400 years ago. That said, most of the works do present the kind of sparse imagist depictions of natural scenes one would likely expect from Chines poets in days of yore. (Think haiku, but longer — though no less devoid of analysis or judgement.)

As someone who isn’t an expert on Chinese literature or even a speaker of any of the Chinese languages, I can’t comment intelligently on how precise the translations are. However, the English language versions contained in this volume are evocative, clever, and, occasionally, funny.

To give one an idea of the kind of humor, I’ll offer this quote from a poem by Xin Qiji:

Last night by the pine I staggered tipsily
And asked the pine, “How drunk am I?”
When I imagined the pine sidling over to support me,
I pushed it off saying, “Away!”


I enjoyed this collection, and would highly recommend it.


View all my reviews

BOOK REVIEW: Places Lost and Found ed. Ronald Koury

Places Lost and Found: Travel Essays from the Hudson ReviewPlaces Lost and Found: Travel Essays from the Hudson Review by Ronald Koury
My rating: 5 of 5 stars

Amazon.in page

Out: September 30, 2020

 

If good travel writing is virtually travel, then this essay anthology mixes global travel with time travel. It’s a collection of travel (or at least locale-centric) writings previously published in “The Hudson Review.” While the oldest of the included pieces consists of translations of Tocqueville’s journals from his trip to America, the bulk of the works are from the twentieth century to recent years (and almost all from latter twentieth century onward.) This temporal aspect offers the reader unique insight into how various destinations have changed – particularly if it’s a place one has visited. Only about one-fifth of the essays feature locations in the United States, and the Middle East, Europe, Asia, North America, Latin America, the Caribbean, Australia, and Oceania are all represented among the twenty-five pieces presented.

While most of the pieces are straightforward travel essays, there are a couple that – while focused on location – aren’t what one might typically consider travel writing. One of these, which is probably the most evocative piece of writing in the book, is called “Blue Grotto” and it tells the story of the author being regularly taken to a bar by her father when she was a child [an occurrence that could probably not happen at the time of publication, let alone today, without child services becoming involved.] The other outlier is entitled, “Making it Uglier to the Airport,” and while it sounds like it would be about cutting it close while traveling, it’s actually a review essay about changing architectural notions regarding aesthetics.

The other essays include not only run-of-the-mill style travel writing that uses vibrant descriptions to make a location sound appealing (e.g. see the pieces on County Cork and the Hudson River,) but also include a number of essays about what might be termed “dark tourism” in today’s parlance. Dark tourism is travel to places that are or have been (in recent history) war-torn, crime-ridden, disaster damaged, or otherwise prone to turn up in the nightly news. The essays on Cambodia and Haiti (of which there are two) are prime examples. There are also pieces that fall somewhere in-between, featuring destinations that are a bit rough or challenging, but which are by no means dangerous. A great example of this – oddly enough – was a story of travel to Fiji, but only because the author chose to stay in the home of tribesmen of a remote village.

As a traveler, I found this book to be fascinating. As I mentioned, I got a lot out of the fact that it offered insight into temporal, as well as geographic, destinations. For example, I’d made a similar trip to Cambodia, but about twenty years after the one made by the author, and so it was intriguing to read about similarities and differences. (The trip in the book was much sooner after the disastrous reign of Pol Pot, and so there were many differences.) If you enjoy travel writing, I’d recommend you give this book a look. I was impressed with how broad a range of locales were explored.

View all my reviews

BOOK REVIEW: The Collected Schizophrenias by Esmé Weijun Wang

The Collected Schizophrenias: EssaysThe Collected Schizophrenias: Essays by Esmé Weijun Wang
My rating: 5 of 5 stars

Amazon page

 

Schizophrenia is ill-understood, and that’s just by psychiatrists and psychologists, the rest of us tend to downright misunderstand the condition. Wang’s book collects thirteen essays on her experience of living with schizo-affective disorder. I found Wang’s prose to be clever and engaging, though she does get into the weeds of technicality a bit in some of the early chapters. The book is not only well-written, it’s also brutally forthright. We hear a lot of how the author uses her alma mater (Yale) as a combination of sword and shield to combat the ever-present assumption she will be a stark-raving – not to mention dangerous — lunatic.

The book begins with discussion of diagnosis, but it doesn’t begin with her being diagnosed as Schizo-affective, but rather as Bipolar [formerly know as, manic-depressive.] There’s a great deal of discussion of the inexactitude of psychiatric science, and the fact that — to be fair — it’s not like every case is presents the same. The set of symptoms seen may create the potential to classify the same individual in different ways; hence, psychiatric diagnosis is often a long and winding road.

To list the essays with descriptions wouldn’t do them justice, so, instead, I’ll present some of the highlights. There’re a couple of chapters that look at how Wang tried to cope with, or counteract, the impression of people finding out she had schizophrenia. One of these involved the aforementioned repeated references to the Ivy-league institution that ultimately kicked her out and wouldn’t let her back in once she’d been treated and stabilized. Another was attachment to the label — and the idea — of “high-functioning,” which can be a hard sell for a condition like Schizophrenia. (Though not uniquely so. I once had a conversation with friend who didn’t understand that there could be such a thing as a “mild stroke.” This person believed that if one had any stroke one would surely be unable to talk correctly or have adult cognitive functioning. Though it occurs to me that my analogy is not entirely apt because anyone with a diagnosis of Schizophrenia will at some point experience severe symptoms – e.g. hallucination, delusion, etc. – otherwise they would be unlikely to be [rightly or wrongly] so diagnosed.)

There’s a chapter that deals with the question of having children. This brings up the twin questions of whether the schizophrenic can be a good parent throughout the development of the child, as well as how likely they are to pass on the trait through genes. [Those who’ve watched “A Beautiful Mind” will remember a scene in which the bathwater is rising on the baby because Nash is having an episode.]

Wang uses a number of sensationalist cases – e.g. murders – both to counteract the notion that all Schizophrenics are dangerous by contrasting with her own [more typical] experience, but also to let the reader know such extremes do exist. It should also be pointed out that one of these cases was the murder of a Schizophrenic by a family member who was living in terror that said schizophrenic (her brother) would ultimate kill her and her daughter, given the things he said and the auditory hallucinations he was said to have had.

One of the most interesting discussions for me was Wang’s description of leaving the Scarlett Johansson film “Lucy” asking her boyfriend whether what she saw was real. Everybody has that situation of being drawn into a film in an edge-of-the-seat fashion, but is fascinating to imagine a person who can’t disentangle from that state.

Chapter ten talks about the author’s experience with Cotard’s Syndrome. Cotard’s is a condition in which the individual believes they are deceased. I’ve read of Cotard’s in popular neuroscience books, but Wang’s first-hand account provides an extra level of connection to it.

The last essay discusses Wang’s pursuit of spirituality. It should be noted that in many tribal societies, Schizophrenics have been made shamans and are seen as having special powers. Wang doesn’t talk about this in great detail though she does a little [it is the premise of the series “Undone” on Amazon Prime], but it’s interesting to consider how religion and spirituality might influence the Schizophrenic mind.

I found this book fascinating and the writing to be elegant. I would highly recommend it for anyone with interests in the mind, mental illness, or just the experiences of other people.

View all my reviews