Minor quibbles aside, fans of Arendt, Howe and Kazin will find Kishik’s invention, and his playful seriousness in...
A beguiling work of literary and social criticism that begins with a subverting counterfactual and moves into a deeply searching inquiry into the nature of an iconic island.
What if Walter Benjamin, literary critic and postmodern hero, hadn’t committed suicide on the French border in 1940 but instead wound up living “on the top floor in the last building on a dead-end street” in Manhattan? That’s the premise of Kishik’s (Philosophy/Emerson Coll.; The Power of Life: Agamben and the Coming Politic, 2012) engaging conceit: Not only would Benjamin have lived, if perhaps not happily, but he would also have extended his Arcades Project, covering 19th-century Paris to New York, the capital of the 20th. It is that nonexistent book that Kishik is studying here. If the concept is a little head-spinning, then so are Benjamin’s theories of the city, state, economy and so forth that Kishik educes from the—well, the evidence and nonevidence alike. So, “Benjamin argues that the Hegelian belief in a sovereign state that can lead us toward some form of universal reason is either wishful thinking or a cruel joke.” Alas, Benjamin did not live to elaborate the idea, which Kishik then extends to a contrastive study, in brief, of the differences between a philosophy (and philosopher) of the state and one of the city, places and political constructs that the Greeks did not differentiate. “What distinguishes Athens from New York and antiquity from modernity,” writes Kishik, “has something to do with the fact that today we use two words—city and state—to designate two very different entities.” Kishik’s criticism of a fictitious book never descends into coyness, though it occasionally gets a little tangled in ponderousness and faux profundity—e.g., “The Statue of Liberty might be seen as sacred only because it has no contact with the profane street.”
Minor quibbles aside, fans of Arendt, Howe and Kazin will find Kishik’s invention, and his playful seriousness in maintaining it, both a pleasure and a provocation.Pub Date: April 1, 2015
ISBN: 978-0-8047-8603-4
Page Count: 288
Publisher: Stanford Univ.
Review Posted Online: Jan. 12, 2015
Kirkus Reviews Issue: Feb. 1, 2015
A very welcome instance of philosophy that can help readers live a good life.
A teacher and scholar of Buddhism offers a formally varied account of the available rewards of solitude.
“As Mother Ayahuasca takes me in her arms, I realize that last night I vomited up my attachment to Buddhism. In passing out, I died. In coming to, I was, so to speak, reborn. I no longer have to fight these battles, I repeat to myself. I am no longer a combatant in the dharma wars. It feels as if the course of my life has shifted onto another vector, like a train shunted off its familiar track onto a new trajectory.” Readers of Batchelor’s previous books (Secular Buddhism: Imagining the Dharma in an Uncertain World, 2017, etc.) will recognize in this passage the culmination of his decadeslong shift away from the religious commitments of Buddhism toward an ecumenical and homegrown philosophy of life. Writing in a variety of modes—memoir, history, collage, essay, biography, and meditation instruction—the author doesn’t argue for his approach to solitude as much as offer it for contemplation. Essentially, Batchelor implies that if you read what Buddha said here and what Montaigne said there, and if you consider something the author has noticed, and if you reflect on your own experience, you have the possibility to improve the quality of your life. For introspective readers, it’s easy to hear in this approach a direct response to Pascal’s claim that “all of humanity's problems stem from man's inability to sit quietly in a room alone.” Batchelor wants to relieve us of this inability by offering his example of how to do just that. “Solitude is an art. Mental training is needed to refine and stabilize it,” he writes. “When you practice solitude, you dedicate yourself to the care of the soul.” Whatever a soul is, the author goes a long way toward soothing it.
A very welcome instance of philosophy that can help readers live a good life.Pub Date: Feb. 18, 2020
ISBN: 978-0-300-25093-0
Page Count: 200
Publisher: Yale Univ.
Review Posted Online: Nov. 24, 2019
Kirkus Reviews Issue: Dec. 15, 2019
BOOK REVIEW
An erudite and artful, though frustratingly restrained, look at Old Testament stories.
The Book of Genesis as imagined by a veteran voice of underground comics.
R. Crumb’s pass at the opening chapters of the Bible isn’t nearly the act of heresy the comic artist’s reputation might suggest. In fact, the creator of Fritz the Cat and Mr. Natural is fastidiously respectful. Crumb took pains to preserve every word of Genesis—drawing from numerous source texts, but mainly Robert Alter’s translation, The Five Books of Moses (2004)—and he clearly did his homework on the clothing, shelter and landscapes that surrounded Noah, Abraham and Isaac. This dedication to faithful representation makes the book, as Crumb writes in his introduction, a “straight illustration job, with no intention to ridicule or make visual jokes.” But his efforts are in their own way irreverent, and Crumb feels no particular need to deify even the most divine characters. God Himself is not much taller than Adam and Eve, and instead of omnisciently imparting orders and judgment He stands beside them in Eden, speaking to them directly. Jacob wrestles not with an angel, as is so often depicted in paintings, but with a man who looks not much different from himself. The women are uniformly Crumbian, voluptuous Earth goddesses who are both sexualized and strong-willed. (The endnotes offer a close study of the kinds of power women wielded in Genesis.) The downside of fitting all the text in is that many pages are packed tight with small panels, and too rarely—as with the destruction of Sodom and Gomorrah—does Crumb expand his lens and treat signature events dramatically. Even the Flood is fairly restrained, though the exodus of the animals from the Ark is beautifully detailed. The author’s respect for Genesis is admirable, but it may leave readers wishing he had taken a few more chances with his interpretation, as when he draws the serpent in the Garden of Eden as a provocative half-man/half-lizard. On the whole, though, the book is largely a tribute to Crumb’s immense talents as a draftsman and stubborn adherence to the script.
An erudite and artful, though frustratingly restrained, look at Old Testament stories.Pub Date: Oct. 19, 2009
ISBN: 978-0-393-06102-4
Page Count: 224
Publisher: Norton
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 15, 2009
BOOK REVIEW
BOOK REVIEW
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