Jul. 8th, 2010

joculum: (Default)
Having realized that I, not unlike most of the writers I encounter, recycle my favorite insights from books I have never completely read, I paged through Ernst Bloch again to confirm that Das Prinzip Hoffnung is one of those books I should someday read in its entirely in English, turning from The Principle of Hope to the German occasionally for the sheer pleasure of the prose style.

Bloch writes so lushly and lyrically about intrinsically interesting models of utopian hope that it is possible to forgive him his…I was going to write “transgressions,” basing my word choice on his apologia for Stalin for which a Marxist journal in Scotland excoriated him. But that would lead us into the byways of political mistakes in general—Mircea Eliade jumping in ambiguous directions in the face of King Carol’s royal dictatorship, and too many other thinkers’ transient or not so transient blunders that do not obviate their analytical insights into one or another problem of human consciousness—sometimes insights achieved late in life that effectively negated the premises of their earlier misdeeds of theory. (As in the old joke about those who can, do and those who can't, teach, none of these folks ever did anything heinous in practice.)

Perhaps in lieu of the faux-Protestant "transgressions" I should substitute the once-popular "theoretical blindnesses."

Which leads to my main point: that I should apologize again for having sent some readers off into unrewarding territory where there may well be only one essay out of a lifetime’s oeuvre that is worth anything at all in terms of pointing us in the right direction. The rest of their stuff constitutes their own dead ends, which they sometimes recognized were dead ends and sometimes did not.

There are writers who become known for only one work but who ought to be waded through more extensively in spite of their numerous dead ends—Walter Benjamin is so full of amazing moments that it is unfortunate that most students encounter only his turgid and not always completely thought out “The Work of Art in the Age of Mechanical Reproduction” (or “Technical Reproducibility,” a more accurate translation that warns us that we are headed in turgid directions).

It is perfectly possible to get Benjamin entirely backwards, which is why one of Terry Eagleton’s earlier books excoriates George Steiner for doing exactly that. Eagleton later excoriated Christopher Hitchens for getting Catholic theology ass-backwards, so he is an equal opportunity excoriator when it comes to folks who get things wrong.

Which is why I realize I should have included him in my imaginary Conference on Consciousness, as I have included him in the actual Monologue on Consciousness that is the joculum journal.

I need to hunt up some of the single essays on consciousness by thinkers for whose work I have little use otherwise, just to see what I myself think of them all these decades later. This is, again, by way of apology to anyone who has found him- or herself wading through a few thousand pages of someone’s magnum opus when the only thing I found worth citing from them was the sentence from a forgotten essay. Sometimes an insight expressed in a single place is so penetrating that I can’t help but regret that the writer subsequently forgot he ever had it. or decided that it was in error.

This is another illustration of the point I keep making: that if, for what appear to be empirical reasons, we have decided that there is something wrong with the standard ways of dividing up the world’s multifarious aspects and finding categories with which to talk about them, we need to do several things:

1) Explain why the standard divisions are unacceptably partial (if not completely incorrect), and then defend ourselves against critics who think we are allying ourselves with every other crackpot who said the standard divisions are unacceptably partial. Some pots are less cracked than others, and some can even hold useful contents, even if they don’t hold water.

2) Explain what the alternative way of looking at the world might be, and defend ourselves against critics who think this is the silliest thing they have ever heard because they are confusing the alternative way with all the similar-sounding ways that are considered intolerably silly because, in fact, they are.

3) When appropriate, explain why the intolerably silly alternative ways of looking at the world were acting on valid insights about what the standard-issue ways of looking at the world were failing to explain adequately. Just because someone has seen what is wrong does not mean that he or she can propose a remotely correct version of the right explanation or the right solution.

4) And, at minimum, try to avoid using penetratingly memorable quotes in cases where the writer said nothing else that was remotely applicable to the topic. This is particularly difficult because so many writers wrote so many things that are applicable—but only applicable after being set in a historical context that removes likely sources of misunderstanding for a contemporary reader.

5) This list could go on interminably. I’ll stop.
joculum: (Default)
I have also been realizing that the peculiar operations of our need for the marvelous obviously extends to the territory described by Brian Murphy in The Root of Wild Madder, a book in which his interviews with nomadic carpet weavers reveals a combination of the pragmatic-economic and the imaginative that is quite remarkable. I am not sure it is possible to write a post that combines the world of special-effects filmmakers with that of west-Asian weavers, but I would like to try. In any case, I need to get back to trying to comprehend the larger implications of books like Sheila Paine's Afghan-amulet trilogy and books like The Carpet Wars on how the textile products of the imagination are turned into cutthroat businesses. Few other fields of art combine such primal and/or primary spiritual impulses of our species with its need for simple unalloyed physical survival, however many of them may combine the higher uses of the imagination with the lowest forms of hucksterism.

My use of "species" in the preceding paragraph indicates my ongoing problem: I can't imagine writing about anything without cross-referencing the underlying similarities and critical differences between it and parallel activities across the planet, and then exploring what we know about the biology and psychology underlying the activity.

That really is like writing about the training of circus elephants by beginning with the molecular composition of the elephant and working up from there, or, as in the hilarious opening of Adaptation, starting with the '50s-movie version of the creation of the universe and eventually focusing on a film studio parking lot. (Amelie at least only starts with the union of sperm and egg.)

Now I intend to shut up for a while. Maybe someday the meditation on textiles will appear, minus the appeal to post-Darwinian speculation and twenty-first-century experiments in the psychological basis of different forms of perception.

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