A tour de force from a scholar for whom such tours are par for the course. Wilson, who sowed the seeds of sociobiology decades ago, expands his agenda to the whole of human learning and behavior. All, in both the realms of art and science, can be reduced to a common set of unifying principles, or consilience. All can be subsumed under the basic laws of physics and their offspring in chemistry and biology. For instance, the reductionist new genetics and molecular biology have revolutionized our understanding of biology in terms of evolution, human development, and the brain as the vehicle of human behavior. Further, Wilson restates his notion of the co-evolution of genes and culture, but it is here that his argument is weakest, based on the premise that we are genetically programmed toward certain archetypal forms and themes which he finds in primitive and ancient art but which are dubiously applicable in the modern world. Wilsons arguments on achieving consilience in the h umanities will no doubt rile many of the faithful in these fields. For example, he rails against economists for their arid mathematical models that pay no heed to the irrational ways humans behave and he pretty well damns anyone who espouses cultural relativism; and he has very little good to say about philosophers in general. On the other hand, he writes knowledgeably about mind, making it clear that emotion is inextricably tied to reason, and his distinction between religion and ethics is well argued. In the end, Wilson invites scholars to explore the gaps in knowledge, as well as move toward synthesis: We are drowning in information, he says, while starving for wisdom. :He also pulls out all the stops on the future of the biosphere, noting the potential for changing our genet ic make- up. No doubt many scholars will accuse Wilson of simplistic arguments, errors, and distortions. But how many have the guts to venture beyond the boundaries of their specialty to make a case for unity? For that reason alone, Wilsons proposal merits the attention and debate of the broad community of scholars. (First printing of 125,000)
Pub Date: March 27, 1998
ISBN: 0-679-45077-7
Page Count: 352
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Feb. 1, 1998
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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