2023 Book Reviews

The Fundamentals of Ethics by Russ Shafer-Landau

This is an easy to understand and down-to-earth introduction to the major ethical theories in western philosophy. The author does not use a professorial tone, but a conversational one, which is fitting of the subject matter. So much of ethics only make sense through discussion of concrete examples and counter-examples, and so it is helpful that the author talks things out in a more casual way, offering up understandable real-world examples along the way.

One distinct feature of this textbook is the author’s affinity for logic: he lays out tons of ethical arguments in the form of syllogisms (premise-conclusion form), and then critiques each argument to test its validity. It’s an interesting way to view ethical arguments, which in the real world are infrequently tested for logical validity. His objections to the various arguments and his defenses of them are often creative and thought-provoking. Sometimes the logical format works well with moral premises, but other times it feels oddly out of place, too strict a system for something as loosely-goosey, as slippery as human morality.

Sometimes the author, in a quest to poke holes in certain ethical theories that he seems not to agree with (such as ethical skepticism), resorts to straw-man arguments, intentionally using flawed premises (or premises that, while being easy to disprove, do not capture the full spirit of the philosophical argument at-hand) when stating the arguments he wishes to dismantle. He doesn’t do this too often, but it does stand out when he does. However, the author doesn’t talk down to the reader in any fashion. The reader is invited (required) to think critically about each of the moral arguments presented, and the author makes it clear that much more philosophical work needs to be done in all of the most controversial areas of ethics. Nowhere in the book does the author claim that there is an easy answer to difficult ethical questions or an open-and-shut case when it comes to challenging moral theories. This book is an excellent starting-off place for those who wish to do that philosophical work themselves, for those who want to walk the long and many-forked road of ethical contemplation.

Overall, the author is an even-handed referee, sorting strong arguments from flawed ones. Though I detect, despite his even-handed approach, that he embraces the theory that there are in fact objective moral truths. He spends the last couple chapters picking apart arguments that express skepticism of our ability to possess objective moral truth, and his efforts to damage skepticism are convincing though not unassailable. I walk away with a deeper uncertainty that moral truth is possible than I had before I read this. It seems that every moral rule (do not kill, do not torture, do not lie) comes with exceptions (it might be ok to kill if someone is threatening to harm your family, it might be ok to torture a terrorist if by doing so we can learn the whereabouts of a bomb that is about to detonate in a major urban area, it might be ok to lie to a Nazi officer who is seeking a family of Jewish refugees that are hiding in your basement). If there are no categorical reasons to follow any particular moral law, there may not in fact be objective moral truths. Perhaps every moral truth is subjective, based on the context of the situation, malleable. Or perhaps moral “laws” are actually just expressions of our emotions rather than objective laws (when we say “it is wrong to torture,” we actually mean “torture makes me mad, grrrrr!”). Or perhaps objective moral truth does exist, but it’s far more complicated than we realize.

This doesn’t mean there is no such thing as moral behavior in the real world (most of the time I decline to torture people), but only that perhaps morality itself is more of a human construct than many moralists would like to admit. As the author acknowledges repeatedly, there is much more work to be done on this question.


Various works by Plato: Charmides, Euthyphro, Laches, Lysis, Menexenus, and Ion.

I read these all one after the other, so my head is all full of Socrates’ ancient voice. All of these dialogues show Socrates deep in conversation, challenging his friends and acquaintances in his usual insistent style. Though I too seek wisdom at the feet of the great teacher, I continue to walk away feeling uneasy whenever I drink deeply from the Socratic well.

Whenever Socrates offers up conflicting meanings of particular concepts: Charmides (temperance), Euthyphro (piety), Laches (courage), and Lysis (friendship), it seems that his main goal is to demonstrate that nobody really knows anything, or even worse, to demonstrate that those who believe they have gained knowledge are mistaken. But often all this amounts to is word-play rather than timeless wisdom. Sometimes Socrates seems to want to thoroughly confuse the conversation to such a degree that nobody is sure what is true any longer. His tactic reveals more confusion than it does truth, which may actually be Socrates’ aim.

I’ve written before about Socrates’ habit of using word-play to prove that the so-called experts are actually phonies, and that the average life of the average person is nowhere near as important or authentic or deep as the life of the philosopher. Though the quest for truth was clearly Socrates’ calling, it’s easy to see how his behavior might have annoyed his fellow citizens. He constantly questioned everyone he came into contact with. His questions often led the conversations down zany or even nonsensical paths, where words stop making sense and truth is flipped on its head. Once the victim is thoroughly confused and turned around by Socrates’ inquisition, Socrates can easily accomplish his over-arching goal: proving that people don’t know as much as they suppose.

(This is not to say that Socrates only critiques the ideas of others, and never proposes positive philosophies of his own. He certainly offers up a unique philosophy in the later dialogue Republic, and even in Euthyphro his question about pious acts – whether God loves pious acts because they are inherently right, or whether pious acts are right only because God loves them – has been a relevant question in the field of ethics for over two thousand years.)

It also doesn’t help that many of the characters in these so-called dialogues seem absolutely trusting and worshipful of everything Socrates says. So the format of the dialogue is subverted; Socrates’ logic, no matter how tortured, is rarely challenged in any substantial way. The characters that are supposed to critique, question, and counter-balance Socrates’ philosophy fail in these crucial tasks, and instead show themselves to be either pompous, one-dimensional buffoons (Euthyphro) or yes-men (Socrates’ companions in Lysis). This is fairly harmless in the low-stakes discussion about the nature of friendship, but takes a more troubling form when Socrates lectures on his political philosophy in Republic.

Menexenus has a unique format compared to the others: it’s a satire of political funeral speeches, such as the one delivered (just a generation before Socrates) by Pericles during the Peloponnesian War. Though it seems like Socrates wishes to ironically parody the Athenian tradition of giving funeral speeches (Menexenus mainly features Socrates giving a mock funeral oration), Socrates’ speech really doesn’t sound much different than a real funeral speech. In fact, Plato clearly had a knack for speech writing.

Ion is not so much a dialogue but a lecture that attempts to prove that poetry is delivered to man directly from the gods. It is pious Socrates, Socrates the teacher. His opponent Ion, the renowned performer of the poetry of Homer, has the air of a villain. He is vain and over-confident of his abilities (much like Euthyphro), the perfect target for our hero. So Socrates employs his usual tactic of trying to prove that his opponent knows nothing of that which he considers himself an expert. Ion is shown to be a phony: Socrates uses wordplay to prove that actors and performers do not actually possess an art, knowledge, or even a real skill. And though Socrates’ logic is (as usual) a bit wacky, Ion offers no competing ideas. Thus the format of the dialogue suggests this is an open and shut case by the end; Ion is rightly humiliated, and Socrates once again proves that only he understands real truth. The frustrating part for the reader is that Socrates’ argument leads to a bogus conclusion, and nobody is there to challenge it. Actors and performers do indeed practice an art form and possess a skill set. Socrates doesn’t believe this to be true because he’s got a chip in his shoulder about non-philosophers: anything of value besides Socrates’ own profession (philosopher) holds no value to Socrates, and so he relentlessly attacks any who have not chosen that path. No wonder he was widely detested.


The Dictatorship of the Proletariat by Karl Kautsky

It was fascinating to read this critique of Lenin right after reading some of Lenin’s writings from the same exact time frame.

Kautsky buys into the Leninist idea that socialist transformation is inevitable. But unlike Lenin he emphasizes (in a somewhat convoluted fashion) that socialism cannot exist without democracy. Lenin was eager to abandon democracy the very moment his party seized power, and this is really the basis of Kautsky’s scathing critique of Lenin’s tactics.

In his own way, Kautsky supports bourgeoisie democracy because it lays the groundwork for (what he perceives to be) the inevitable proletarian revolution, and allows the workers to voice their grievances and form workers parties (capitalism generally comes with liberty and freedom of speech). He believes that if capitalism continues to grow, the disenfranchised proletariat must grow with it, and so capitalism will inevitably create communism, as Marx argued. The working poor will grossly outnumber the wealthy, and so they will eventually vote their way into power. Kautsky assumes that the workers in a democracy, once given the power, will unanimously demand socialism. And so he’s not so different from Lenin, in that he believes that class interest motivates all decisions (also known as vulgar materialism). Like Lenin he has an idealistic image of a united working class all sharing the same demands and motivations, without disagreements or deviations within the ranks. This is not how real politics works, which makes the idealism of Kautsky and Lenin appear particularly quaint (and in Lenin’s case, dangerously naive). Though Lenin and Kautsky subscribe to the same brand of idealism, they disagree on the timeframe: Kautsky prefers the slow and even development of socialism over time; Lenin demands a violent and immediate revolution (any who refuse to come along with his plan must be purged).

So Kautsky and Lenin both share the same end goal, only that Lenin was too hasty to get there. What is really at the heart of this disagreement over the timeframe of the revolution is a more critical disagreement about democracy. Democracy is a crucial feature in Kautsky’s imagined revolution, and in his imagined communist society that follows that revolution. To take it even further, Kautsky believes that socialism cannot exist without democracy. Without democracy the whole plan will decay into dictatorship. In this regard he was proven right by Lenin. The Bolsheviks’ first move was the dismantling of democracy, including democracy among the workers (many of whom dissented or belonged to different parties from the Bolsheviks). By the time the Bolshevik transition to power was complete, real socialism (read: equality between all classes) was dead in Russia: Lenin’s party (read: the new ruling class) controlled all facets of government, culture, and society, while the teeming masses were disenfranchised, impoverished, and completely unable to openly voice grievances. The Bolsheviks’ so-called “dictatorship of the proletariat” was just a dictatorship, not socialism.

So Kautsky is right in the sense that socialism without democracy decays rapidly into dictatorship or single party rule. However Katusky isn’t particularly clear about how democracy will inevitably lead to socialism. While Lenin squashed democracy in order to preserve his party’s power, Kautsky sees democracy as the pathway to real socialism. But this will only happen if the vast majority demand socialism, and agree on what “socialism” should mean. Lenin rightly understood that this isn’t really feasible. The democratic electorate simply cannot come together on such a large and ambiguous goal, if all citizens are allowed to vote and speak freely. And so Lenin and his small cohort of true believers staged a sudden coup rather than allowing the masses to vote him into (which he knew they would never do), and then once in charge he destroyed all vestiges of democracy in his rise to absolute power. Was this a cynical attempt to hold onto power, or did he truly believe that by eliminating democracy he would one day create real socialism? Answer: who cares. His method led to totalitarianism, so it was wrong. It was the wrong method both for creating socialism and for governing in general (call me a consequentialist if you like).

Lenin understood, unlike Kautsky, that democracy is more likely to kill socialism than birth it, because factions within workers parties and disagreements between large swaths of the population create deadlock and stalemate and thin margins for change. Generally the most revolutionary outcomes a democracy can hope for are the sort of liberal, incremental, compromise-focused changes that we typically see in parliamentary governments. Kautsky ignores the reality of pluralism: people hold different opinions and see the world through unique lenses, and this is true even within workers parties and unions. This is a natural facet of humanity, and cannot be ignored. It is a fantasy to imagine that something as intricate as a socialist economy could ever be democratically planned and administered, or that the entire population could even be made to agree that socialism is the correct path, or even be made to agree on one single definition of socialism. Democracy is far too messy and inefficient and factional for that. There will always be disagreement and innovation and challenges to the status quo, and economic factors alone will never be the sole driver of human behavior. This is why democracy does work well with capitalism, which is also sloppy and unplanned and competitive. Pluralism is one of the driving forces of capitalism, which (like the gene pool) is strengthened by diversity. Lenin understood all of this well, and so (as a hater of diversity) sought to prevent any who opposed him from exercising any democratic power whatsoever. Lenin couldn’t allow factions or even small disagreements to flourish within the party, so he dictated to the party members (and therefore to the people of Russia) exactly what they needed to believe. The result certainly was not capitalism, but it also certainly was not socialism.

So allowing real democracy is unlikely to lead to socialism, but snuffing out democracy only leads to dictatorship and totalitarianism. Socialism fails when it’s undemocratic, and it fails when it’s democratic. I fear that the message here is that socialism is impossible.


Main Currents of Marxism, Volume 2: The Golden Age by Leszek Kołakowski

This book is a masterpiece of philosophical summary and deep-diving analysis. Kolakowski has an uncanny ability to break down and explain even the most complex philosophical arguments in a clear and concise manner. At times he plays the part of omniscient referee, diligently sorting the good ideas from the flawed ones. But never does he simply tell us that a writer’s theory is wrong; instead he identifies the holes in it and pries them open, exposes them to the light, lets the reader decide what to think.

In this book his main target is Leninism, a philosophical tradition absolutely bursting with contradiction and double-talk. Kolakowski’s even-handed tone and mind-bogglingly high level of erudition suggest that he did not intend to write a polemic against Leninism. But in the end Kolakowski’s even-handed philosophical critique of Leninism amounts to a withering indictment of Lenin’s method, his philosophical rigor, his honesty, and his contradictory actions once in power. Lenin is revealed to be a boor, a liar, a tyrant, a power-hungry despot. Kolakowski does not draw these conclusions explicitly, but instead allows the reader to do so. Perhaps Kolakowski is a masterful propagandist who possesses the ability to incept these opinions into the reader’s brain, but I don’t really believe that. Instead he just exposes various thinkers’ theories to the light, that’s all. This doesn’t mean Kolakowski is a constant critic; his analysis is so much more subtle and productive than that. If a theory has enough qualities to withstand the author’s scrutiny, it comes out stronger for it in the end. Kolakowski analyzes many Marxist ideas and traditions throughout his magnum opus, and a good portion of them – those based on sound reasoning, honest argumentation, and deep philosophical reflection – show their quality under Kolakowski’s scrutiny. It just turns out that when we shine this same light on Lenin’s theories, they wither, crack, and fall apart. They are revealed to be hollow and decrepit. (Oh dang I’m being too polemical again).

Kolakowski sees Lenin’s dismantling of Soviet democracy as the original sin of Bolshevism. Lenin’s critique of bourgeois democracy hinged on the notion that modern democracy is a sham: the propertied classes (who overwhelmingly benefit from capitalism and bourgeois law) trick the exploited masses into believing they are sovereign in order to pacify them and prevent revolution, though in reality the workers are largely disenfranchised. In other words, the masses are led by our culture, media, and propaganda (all of which is shaped by the ruling class) to believe in freedom, democracy, individualism, and the sanctity of private property, but all of that is a veil over their eyes that prevents them from noticing that they are slaves. This sentiment, borrowed wholesale from Marx, is compelling in itself. Here’s the sad irony: once in power Lenin banned all democratic expression (including dissent from the proletarians he claimed to speak for), imprisoned his political adversaries, and disallowed any political party but his own. A man who rose to power by arguing that only communism could bring authentic democracy to the masses turned out to be a despot who was so desperate to hold on to power that he fully and permanently disenfranchised the masses. To make it worse, while doing so he claimed that the new Soviet system was a more authentic form of democracy than a parliamentary system could ever be. Kolakowski punishes Lenin for this betrayal of his own principles, simply by laying out the actual actions Lenin took once in power. Turns out that listing Lenin’s achievements is enough to reveal his naked opportunism and staggering hypocrisy.

Kolakowski’s main argument, if one must be identified, is that Bolshevism did not deteriorate into totalitarianism because of Stalin (as is often argued, especially by Lenin sympathizers), but instead because totalitarianism was baked into Lenin’s philosophy from the start, despite all the noises he made about wanting to create a better democracy. Before he was even in power, Lenin fantasized about liquidating all his political opponents, using violent coercion to keep all dissenters in line, and dictating to the masses what was and was not in their best interest. He desired to create a new permanent elite (the communist party officials), but dressed it up as if he was actually abolishing all elites forever, as if his new elite would better represent the masses than could parliamentary democracy. Lenin described in detail his dream of conducting mass confiscations of all private land and surplus (see Lenin’s State and Revolution), and imagined that the bulk of the people would not only celebrate these actions but assist in the mass thievery. In reality, Lenin’s first economic policy of requisitioning “surplus” grain from peasants (or what the requisitioners considered to be surplus) led to widespread mistrust of Lenin’s new state, as well as bribery and coercion. The people did not want to give up their product to the state, and the officials in charge of snatching the goods were highly susceptible to bribes. Their only carrot for making the people obey was threat of force, and use of Lenin’s massive police state infrastructure. Meanwhile all political activity that did not “further the socialist revolution” was anathematized.

This was not Stalinism, but Lenin’s original ideas and policies, the tactics that he used when he (Lenin) was in charge. Modern lovers of Lenin argue that he truly fought for the good of the people, and that after his death it was Stalin who corrupted his ideas and policies, warping them into a totalitarian, violently repressive, hyper-bureaucratic police state. But Lenin was the true founder of Soviet totalitarianism. Kolakowski lays this bare without becoming overly angry in the process (something I would struggle with). In the end, his critique of Lenin is devastating, yet really he lets most of Lenin’s ill-conceived ideas and shameful policies speak for themselves.


What is to be Done? and State and Revolution by Vladimir Lenin

Having read a few of Lenin’s writings now, I can say with confidence that I don’t enjoy his written work. He is absolutely humorless in his tone, harsh and reproachful toward anyone who even very subtly disagrees with him, and uncompromising in his particular vision of how a revolutionary party must behave and the goals they must fight for. He believes he is the lone defender of the Truth; anyone who has even the slightest variance of opinion is a liar, fraud, chauvinist, opportunist, or traitor. There is no room for compromise, no point in discussing alternative views, no patience for philosophical objections to his worldview, no time to hear warnings of the dangers that lurk in his political program. In other words, he is insufferable.

He points his intense beam of hatred not just toward the obvious targets (capitalists, politicians, the czar), but also toward his fellow socialists who object to his heavy-handed and dictatorial approach to party management, and even toward workers who don’t conform to his narrow outlook. Reading Lenin, one gets the impression that he would gladly banish from the party (or perhaps from life itself) all those who don’t agree with him on every single point, including proletarians who refuse to convert (though he claims to fight for and speak for the working class). Pluralism is his enemy, which of course makes him the enemy of humanity as it really is: contradictory, sloppy, confused, slow to act, apathetic, open to various arguments from different parties, agnostic. Lenin is a utopian: he believes that one man is capable of unlocking the one single universal Truth that renders all other opinions invalid for all time, and wishes all humans to either conform to his plan or vanish. Only those who show dogmatic adherence to Lenin’s program get to be included in the citizenry, in his revolution, in his definition of “the people.” I have little patience for this kind of approach to politics. Even if he claims to fight for the lowest classes, he is actually an enemy of mankind. Real humans, with all their flaws, can never thrive under a system that requires a hive-mind mentality, requires us to shun anyone and everyone who disagrees with the Founder. Despite Lenin’s best intentions, the party and governmental machinery he hopes to construct will only become the perfect vehicle for totalitarian dictatorship. Lenin himself may not have intended that, but he was so vain and so convinced of the perfection of his own ideas, that he was deaf to this criticism.

For these reasons, I find myself feeling absolutely repulsed and disgusted whenever I read his writing. I want to dismantle his philosophy, shine a harsh light on all its flaws, flay it in the public square and leave it bleeding on the pavement. Why do I care? Because there are those today who still believe Lenin’s philosophy holds the key to solving the major problems of our time: wealth inequality, climate change, etc. Though I still believe that Marxism has much to teach us about our world, and perhaps (when combined with liberal democracy) can even provide us with a workable approach toward addressing problems like climate change, I firmly believe Leninism is a dead end.

Of course, Lenin would say that my opinion here is driven entirely by my class status (I suppose he’d say I’m petty bourgeoisie). But that cop-out argument is the exact reason I detest his arguments: he can’t stomach philosophical critique of his outlook, so he side-steps it by automatically invalidating all criticism by claiming it is driven by class interest. When someone raises a valid question, he slaps him down and calls him an opportunist, as if all objectors are agents for the ruling class. Personally, I fear totalitarianism and understand the value of civil rights, which is why I raised objections to Plato’s Republic. Were those objections class-driven, or perhaps driven by a genuine distaste for dictatorship?

Lenin’s early writings are dictatorial in their approach to party politics, demanding either obedience or expulsion from the party. The society he later founded exhibited these same features on a much grander scale: demanding society-wide obedience to the party, or banishment/death. The inevitable slide into totalitarianism is all right there in his writings, nakedly apparent to anyone who stops to think about what he is actually saying. Lenin claims to speak for the worker, but he only speaks for himself and his cohort of zealots (and opportunists who will ride his coattails to power). That all being said, I think it is imperative we study his work, lest we forget how easily dictatorial thinking can slip into ideology that claims to be selfless, that pretends to serve the long-suffering masses, that promises to build a better world. Just another utopian with a thinly-concealed thirst for power, a desire to be God and remake the world according to his whim. I’ll have more to say about this guy later.


The Iliad by Homer

After reading a bunch of Plato, I felt like it was finally time to tackle this classic of the ancient world. Afterall Homer’s work plays an out-sized role in Plato’s Republic; it is the main target of Socrates’ program of censorship. I can understand why: Socrates wishes for the warriors in his polis to be fearless in the face of death, absolutely selfless in their submission to the will of the state, and incapable of pity or mercy or really any unmanly emotion. Therefore literature in the polis must not portray either soldiers, kings, or gods showing any of those negative (banned) attributes. But in the Iliad, a poem that was legendary even by Plato’s time (Socrates state in Republic that Homer was the poet who educated Greece), soldiers openly discuss their fears about death, the king’s authority is challenged by his subordinates, the childish gods bicker with each other and act in a petty and insolent fashion, and Achilles (the deadliest soldier in the army) whines and weeps and complains constantly about his sorry lot in life. He even sits out of the battle like a coward, all because he is so angry at the king for confiscating his favorite slave woman. While these situations push the drama forward and make the story so much more interesting, Plato can’t allow any of this in his polis. They insinuate that the heroes, the kings we are supposed to obey, and the god we are supposed to worship are all just a bunch of whiny, fearful, petty, contradictory jerks. In other words, they act like real people, and Plato can’t allow that because he is attempting to build something that resembles the Ideal. He can’t have his humans acting like humans! So Homer’s gotta go.

As for my thoughts on the Iliad: I’m glad I read it. The language is beautifully crafted and bursting with delicious similes. Many of these similes reference wild animals, nature, and farm life. These provide a closer look into what actual Greek life was like during Homer’s time (approx. 400 years before Plato). Here are a couple examples:

Like flies swarming around shepherds’ pens in spring,
when pails fill up with milk, so the Achaeans,
a huge long-haired host, marched out onto that plain
against the Trojans, eager to destroy them.
Just as goatherds sort out with ease the wandering beasts,
all mixed up in the pasture, so through all the army,
the leaders organized the troops for battle

He was like a lion
slightly hurt by a shepherd guarding his sheep flock
out in the wilds, when it jumps the wall into the pen.
But he’s not killed it. The wound rouses the beast’s strength.
The shepherd can’t keep the charging lion from his sheep,
who, left unguarded, panic. Huddled in a mass,
they crowd in on one another. So the lion,
in his hot rage, leaps over the wide sheep-fold wall.
That’s how strong Diomedes went to fight the Trojans
in his angry fury.

Aren’t those fun! Honestly though, the plot of this poem is a bit thin. Reading about how the battle went back and forth and back and forth, over and over, and this guy slayed that guy and on and on, it started to feel like I was reading a written account of an Ancient Greek football game, every play written out in epic poem style. In other words it got a bit dull (try describing a football game, play by play, and see if you can keep it interesting). The poem is also surprisingly violent, full of graphic descriptions of slaughter and atrocities. The main characters are all mass murderers, many of them openly reveling in the bloodbath. They have absolutely no problem with slavery, pillage, desecration of their enemies’ corpses, and wholesale butchery. As a fan of history, I appreciate how this draws the reader back to a bygone era, revealing the warped psychology of the Ancient Greek warrior-nobility.

But in the end, I much preferred the Histories of Herodotus to the Iliad. Both are beautifully written, but Herodotus delivers so much more plot and insight into the cultures of the world, so much more varied and deep perspective on he goings-on of man. Homer’s work only gives us a single perspective: those of the warrior-nobility. Homer is blind to the plight of slaves and common soldiers, completely uninterested in the perspective of those who might view the rape and pillage of a city as gross injustices. He’s a man of his time. Herodotus offers up something that feels, at least to me, more timeless.


The Open Society and its Enemies, Vol. 1: The Spell of Plato by Karl Popper

I’m not sure if I was just naturally disinclined to disagree with Plato’s political philosophy, or whether instead Karl Popper incepted the dislike of Plato into my brain. I feel like I probably would have disagreed with Plato no matter what (Plato is a totalitarian idealist after all), but Karl Popper gave me all the tools to turn my vague discomfort into sharpened arguments. I’m sure that a fan of Plato would tell me that it’s an awful blunder to read Popper’s scorching critique of Plato side by side with Republic. Shouldn’t I let Republic stand on its own merit without allowing a critic to tear it apart before I’ve even had a chance to enjoy it? Look, I want to give Plato a chance and all, but I’m so very glad I read Popper’s work, so glad. I am fully under his sway, I’m captivated. I lapped up his critiques like a hungry puppy! Frankly he nails it. He pinpoints exactly what is wrong with idealistic totalitarian thinking. I am so excited to read part two, where he tackles Marxism. I imagine he has much to say about philosophy’s other most famous idealist (yes I know Marx was a materialist, but I also believe he was deeply idealistic in his prophesies about the future, his opinions on human nature, and his belief that class is the ultimate defining feature on one’s life). Popper is a philosopher of science, which means he cares very deeply about scientific method, and about only using the word ‘science’ to describe actual science (not pseudo-science). For example, after reading Popper one realizes how laughable is the notion that a revolution – where so many factors all change at once – can ever be ‘scientific.’ Yet in Marxism there is a belief that if we apply the scientific tools of Marxism, we can not only orchestrate a socialist revolution, but then scientifically engineer a society that can maintain communism and radical democracy. Popper might not flatly argue that the goal itself is impossible, but only that it is absurd to imagine that any part of that chaotic process would be handled ‘scientifically.’ Popper also rejects the notion that history has patterns that, once understood, allow us to predict future historical patterns. Therefore Plato’s theory of history (that history started with the ideal Forms and degenerated over time, but if we make certain changes to society we can return to the ideal that was lost) is hogwash, as is Marx’s prophesy that eliminating capitalism will usher in an era of communism. Anyhoo, I loved this book. I haven’t read an author I agree with more than Popper in a while; I can feel his influence shaping my long-term thinking about philosophy, science, and politics.


Republic by Plato

You can find my thoughts on Republic here:


Crito by Plato

You can find my thoughts about Crito here.


Write No Matter What: Advice for Academics by Joli Jensen

This book is a treasure trove! Though I am not a true academic, I not-so-secretly wish I was one, and this book spoke directly to me. Here are some of the nuggets of wisdom I picked up:

  1. Write for 15 minutes per day no matter what. If all you feel is frustration and lack of creativity, write about that. The act of writing will expunge those negative feelings and bring you closer to resolving them.
  2. Close the door to distractions. You have to be willing to shut the rest of the world out for a brief time every day so that you can give your writing the full focus it deserves.
  3. Aim for craftsmanship, not performance for others. You do not need to impress anyone, and your work need not be a timeless masterpiece. Think like a carpenter learning to construct a great rocking chair. It may take many iterations, and each time he learns from his mistakes and makes subtle (or drastic) adjustments to his design, process, and execution. The goal is not to create the world’s greatest rocking chair, a chair that belongs in a museum or on an alter. The goal is to improve steadily, to work on your chops, to gain experience. With this attitude always at front of mind, the pressure of performance dissipates and writing becomes fun and relaxing, a release valve for built-up tension and intellectual backlog, an activity we look forward to.
  4. Save productive minutes for this work, don’t wait til you’re depleted. If you are most productive in the morning, spend 15 minutes writing during that time. You can spare 15 minutes. Don’t wait until midnight, when your brain is shutting down. Write when you are fresh and most productive.

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December 2021

The Future of Freedom: Illiberal Democracy at Home and Abroad by Fareed Zakaria

The Future of Freedom
Zakaria’s full-throated defense of Madisonian democracy is still, 20 years later, surprisingly prescient and powerfully persuasive. He argues with great strength and cleverness that, though democracy is a good thing (and though we may worship it in the West), too much democracy makes governments dysfunctional, economies inefficient, and politics frustrating. He claims that in America we have democratized to such an extreme degree, that we’ve created a situation where our congressional leaders pander to public opinion rather than making difficult choices, where our outdated and voluminous tax code and byzantine subsidy system can never be reformed because of the power of lobbyists and special interest groups to sway legislation, where we have become convinced that the average citizen (though he doesn’t trust himself to fill out his own tax forms or write his own will) is qualified to go to Washington as a senator and write our laws. Along the way Zakaria predicts, in so many words, the rise of Trumpian billionaire-worshipping celebrity populism, the degradation of our corporate media, and the ever-worsening political gridlock in the congress. His solution is a return to elitist democracy (rather than the populist democracy gaining popularity on the right and left today), a democracy where the citizens delegate law-making and regulatory authority to undemocratic but highly qualified bodies that can steer our country in the right direction without having to contend with the whims of a fickle public. He wants the experts to rule, and for limits to be placed on the power of the majority (just as James Madison argued for), but simultaneously the civil liberties of the citizenry must be set in stone. In other words, the limits should be on democracy, not on individual liberty. He points to the Supreme Court and the Federal Reserve as examples of elitist bodies that get it right more times than not, and calls for us to turn away from the sloppy sort of direct democracy that not only caused the downfall of Ancient Athens but is also responsible for the complete dysfunction of California’s own legislature. So in a sense, he wishes for the return of the smoke-filled room where important decisions get made. Zakaria is very wise, for though he lays this argument out in great detail, he does take time to acknowledge that the reason so many people have turned away from elitist democracy in recent years is because the elitists and experts, back during a time when people had more faith in leaders and institutions, caused so much irreparable harm through their poor decisions (see: Vietnam War). I was very pleased with this lovely book, so full of mind-expanding perspectives and deep research, and the ability to question his own arguments (something I consider crucial in any philosophical text). I am not entirely convinced yet that elitism is better or worse than democratization, nor do I agree with his main thesis that what ails America is TOO MUCH democracy (it often seems as if we are actually an oligarchy, or a democracy in name only). What Zakaria calls democratization, I call corporate takeover of our politics and culture… But this book still gave me much to think about.

November 2021

Debating Democracy by Bruce Miroff, Raymond Seidelman, and Todd Swanstrom

Buy Debating Democracy: A Reader in American Politics book : Bruce Miroff,Raymond  Seidelman,Todd Swanstrom,Bruce Miroff,Raymond Seidelman,Todd Swanstrom ,  0395906164, 9780395906163 - SapnaOnline.com India
I loved reading this book. Every chapter addresses a particular question about democracy: is elite democracy better than popular democracy, should the federal government or the states control public policy, is the modern media beneficial or harmful to democracy, etc. Then for each issue, the editors place two competing essays side by side, each addressing the issue at hand and offering up an answer, both equally compelling and well-argued. I found my self impressed over and over with the arguments contained in the book. I really gained some new perspectives, and have been forced to reexamine some of my preconceived notions about democracy. This book makes me want to write about democracy.

Great Courses: The Big Questions of Philosophy by David Kyle Johnson

The Big Questions of Philosophy by David Kyle Johnson | Goodreads
This is a fun and challenging course. While the main content is the “big questions” from philosophy (Is God real? How do we know we exist? Is true knowledge possible? Is there such a thing as objective moral laws? What is the most ethical type of government? etc), I think this course is actually about something else: how to make compelling logical arguments that can withstand scrutiny, and how to find flaws in philosophical/political arguments that rob the arguments of their power. For every lecture, the professor lays out major arguments that have been made throughout the history of philosophy by many of the greatest minds, then he systematically pokes holes in them all. Of course this is the nature of philosophy: there are no right answers to these unanswerable questions. So instead of seeking an absolute truth, the real purpose of studying these issues is two-fold: 1) get as close to the truth as we possibly can while making sure we aren’t being misled by faulty logic, and 2) learn how to craft one’s own arguments in such a way that they can withstand scrutiny. In other words, this course taught me how to look more carefully at philosophy and debate, to sniff out the logical fallacies, and thereby refine my own belief systems so I never fall into the same traps as past thinkers. And if I do hit those traps, I need to recognize it and adapt my thinking to make it as logical and correct as possible. This course is about how to reason carefully, which is a skill with endless applicability in the real world, whether or not one cares whether God’s existence can be proved or which type of government is the most ethical.

October 2021

After Virtue by Alasdair MacIntyre

This author argues that in our modern world the state of morality is in disarray. This is because one can never use reason to determine the right answer to moral questions, yet people often speak as if there are right and wrong answers to moral questions. Example: if a person opposes abortion because she believes all lives are sacred (and the fetus, being alive, is therefore sacred), while another person supports abortion rights because she believes strongly in the principle of liberty (so therefore the pregnant woman must possess the right to do as she pleases with her own body), there is no logical argument anyone can make that proves one of these women is correct and the other is wrong. One cannot use reason to prove that liberty supersedes the sanctity of an unborn life or vice versa; in the end it just comes down to personal preference. Yet in an abortion debate, all the different sides will speak as if their particular and unique sense of morality is the only absolute correct way of thinking. And in an age where there are so many different philosophies, religions, political perspectives, cultures, ideologies, and world views to choose from, and many of them offer compelling answers to the moral quandaries of our time, we find ourselves living in a world there everyone thinks he/she has found the correct answer, but in truth there isn’t one. If, when trying to solve a moral problem, multiple contradictory points of view are all equally valid, it makes the problem at hand even more intractable. Even historians, sociologists, philosophers, and economists ultimately fall back on their own personal preferences and biases when forming their conclusions and predictions, masking their personal opinions under a veneer of expert credibility. It seems this all leads to a bad case of moral relativism. The author has a solution in mind to this sticky problem: a deep reexamination of Aristotelian virtue ethics, and a prescription that we all join small communities or clubs where we can work with other humans to accomplish agreed-upon goals. While Aristotle’s ethics can definitively teach individuals how to live full and happy lives, I remain unconvinced that this solution even begins to solve the macro problem of moral relativism that pervades modern societies. Our world faces existential problems, so telling people simply to go find happiness in their individual lives smacks of nihilism… though I fall into this same moral relativism/nihilism trap as well (it’s not like I have a solution to climate change), and when I do I can at least find comfort in strategies that allow me to flourish in my own life. Maybe that’s the best most of us can do in the face of existential crises: join our little communities, focus on individual virtues, and work hard to construct happy lives, even in the face of the enormous intractable problems facing mankind. Or maybe I’ve just been super cucked by our individualist culture into thinking that humans are incapable of solving big problems, and all I’m left with is the selfish desire to live my own best life while I can. More to explore there. Anyways this book was my first deep dive into moral philosophy, and I’m glad I went in, though at times the writing meandered like a lazy river. This author’s knowledge of ethical philosophy is unimpeachable, and he makes me want to plunge even deeper into this rich intellectual tradition.

The Bhagavad Gita (translated by Eknath Easwaran)

The philosophy contained in this ancient little book is profound, elegant, and so very useful. It speaks right to the real challenges we all face in real life, and arms the reader with tools not only to weather whatever storms life may bring, but also to walk away with one’s soul and spirit intact. In other words, it’s basically a handbook on how to live a happy and fulfilled life, even when faced with tragedies or ethical quandaries or challenging situations where no matter which choice you make you (or someone you care about) will suffer a loss. One can use this book as a tool to find his or her own unique purpose in life, to find meaning in each day and through the decades. It was also Gandhi’s favorite book! I’ve written more about what I learned from the Bhagavad Gita here: https://www.senigaglia.com/timeless-lessons/

September 2021

Philosophy 101 by Paul Kleinman

I really enjoyed this charming little survey of philosophy! The book is not in chronological order, so the authors are free to jump from Bertrand Russell to Aristotle to moral relativism to ethics to Jean-Jacques Rousseau to the Prisoner’s Dilemma. The way the author leads the reader from topic to topic is really creative way to present this material. The author especially excelled whenever he discussed language. Great book to pick up and put down over the course of many months.

The Great Courses: Moral Decision Making: How to Approach Everyday Ethics by Clancy Martin

Moral Decision Making by Clancy Martin, The Great Courses | Audiobook |  Audible.com
Each episode of this series deals with a moral question we all face in daily life, such as “am I morally obligated to give to charity?” and “Is it ever ok to lie?”. The professor, Clancy Martin, is a real hoot! I really appreciate the insight, honesty, and personal touch he brings to each lecture. He not only dives into what history’s great thinkers wrote about ethics, but he also shares about his own personal tragedies, his alcoholism, his divorces, hard lessons he’s learned in life, and choices he’s made that he’s not proud of. Just a quick example of this honesty: here’s an article he wrote about all the times he’s been arrested for being drunk in public. The professor’s style and honesty really made this course for me. The only limitation was that sometimes the author’s own personal philosophies steered the conversation, and that limited the breadth of the teaching. For example, in the episode that discussed whether private property as a concept is ethical, he did not really explore the thinkers who have argued that it is not (such as Karl Marx). The professor seemed to operate from an assumption that it is ethical, and it’s only a matter of figuring out whether it is only somewhat or very ethical. But really, I still recommend this one. I felt a genuine connection with this guy.

State and Revolution by Vladimir Lenin

The State and Revolution is perhaps Vladimir Lenin’s most influential piece of writing. The book is many things: a scathing polemic directed against Lenin’s political adversaries, a stirring collection of prophesies and predictions about the socialist revolution to come, a call to arms for workers to unite and rise up, and a philosophical treatise that argues for the violent overthrow of the capitalist state. There is much I disagree with in this text, and I hope to write a proper critique sometime soon.

August 2021

On Violence by Hannah Arendt

On Violence (Harvest Book) - Kindle edition by Arendt, Hannah. Politics &  Social Sciences Kindle eBooks @ Amazon.com.
This short book was supposed to be a philosophical deep dive into the concept of violence: how and why humans use it, its justifications, how to define it, what proper role – if any – it should play in human affairs, its morality, the psychological effect it has on those involved in violent acts, etc. However the book was simply too brief to accomplish all that, and the author got too caught up in seemingly minor tangents that carried outsize importance during the time the book was written (e.g. the student uprisings of the late 1960s), but today seem laughably unimportant in comparison to other more momentous historical events that could have been analyzed instead. I wish she had taken the task at hand more seriously, because I genuinely want to read such a study on violence, and I’d love to read normative analysis of the role violence should or should not play in future revolutions. Instead, I think this essay devolves into simple commentary on the events of her day, which of course prevents this from being any kind of timeless philosophical tract.

The Great Courses: Quest for Meaning: Values, Ethics, and the Modern Experience by Robert H. Kane

Quest for Meaning: Values, Ethics, and the Modern Experience by The Great  Courses, Robert H. Kane | Audiobook | Audible.com
This course is really about how our modern, technologically advanced, capitalist, liberal, individualist, democratic society has created a pandemic of moral relativism. In other words, people no longer know what to believe, in terms of belief systems, morals, and even basic facts. It may have been easier for people to make up their minds in ancient and medieval times, when societies weren’t so pluralistic, and entities like the church or monarchy were able to effectively control public opinion and morals. But today there are oh so many opinions available in our free society – religious, political, ethical, economic, scientific, cultural – that it can be difficult for thinking people to take a firm stance, or to know which outlook is the most valid. Should I be a Marxist, a Christian, a liberal, a fascist, a Hindu, a rugged individualist, a communitarian, a nihilist, an incrementalist, or one of the other infinite options? How to choose?? This professor does a fine job laying out the arguments for and against moral relativism, as well as what philosophers have thought about freedom, ethics, democracy, and public morality, and he does so with a charming Boston accent and a lot of cute jokes thrown in. At times sadly I think this course is a bit dated, caught up in a that “late nineties, pre-9/11, pre-climate disaster, post-fall of the Soviet Union” fad of believing there was a growing worldwide “overlapping consensus” that liberal capitalism was the best possible solution to the world’s ills. I think, if that consensus did at one time exist, it is badly fracturing. The professor also confidently states that Marxism is dead, but he doesn’t explain whether he is speaking about Marx’s prescient critique of capitalism, or Marx’s more utopian predictions about the future. I got the impression the professor dismissed Marx when it was trendy to do so, without really wrestling with Marx’s class-focused lens, nor with the impending disasters wrought by capitalism. Really, the professor’s own opinions (classical liberal, opposed to moral relativism, believer in capitalism) shined through just a hair too frequently, and made this piece a class for its time (the 90s), rather than a timeless classic.

July 2021

The Great Courses: Meaning of Life: Perspectives from the World’s Great Intellectual Traditions by Jay L. Garfield

I entered this course with a mild interest in philosophy, and left it with a profound hunger to consume philosophical texts, and to think consciously about how to live a fulfilled life. I’ve never been so inspired to read and think about this subject, though I suppose I have been pondering it casually since I was a kid. I took a philosophy course in college, but only now am I beginning to understand how philosophy can be used as a tool to understand the world, the universe, the self, the point (or lack of a point) of it all. My hat is off to this gifted and eloquent teacher. I will listen to this again I am certain. I also have much reading to do. Ok I’ll just say it: this course may have changed my life.

May-June 2021

An Introduction to Political Philosophy by Jonathan Wolff

Paperback An Introduction to Political Philosophy Book
This author is a masterful explainer, and he possesses a powerful philosophical mind. He doesn’t just summarize the major ideas of great political philosophers, but he challenges them, and puts them through a gauntlet of philosophical analysis. In the end, we see the perks and flaws of the theories of Locke, Rousseau, Mill, and we also understand that all “normative” philosophies are up for debate. His description of the leftist critique of liberalism was the clearest I’ve ever encountered. However I do wish there was a bit more of a Marxist lense at certain points, and at times the book speaks lovingly about modern liberal capitalism in a way that feels a bit dated, especially since the only allusion to climate change (a direct result of modern capitalism) is a brief mention of “externalities”. When the book is on philosophical ground the writing is superb, but when he dips into pure economics he seems somewhat out of his depth (or behind the times anyhow). Regardless, I recommend! I learned a lot, and it got me thinking. I would retitle this book Intro to Western Liberal Political Philosophy.

April 2021

EinsteinHis Life and Universe by Walter Isaacson

Einstein: His Life and Universe: Isaacson, Walter: 9780743264747:  Amazon.com: Books
Einstein’s story is lovingly told in a quite informal manner, which fits the subject quite well. Einstein remade physics in the 20th century, but was never fully comfortable with the ramifications of his own theories (quantum spookiness), nor did he ever really seem to fit in anywhere he went. This story dives into how an unknown patent clerk revolutionized our understanding of the universe and became a world-wide mega celebrity for it, yet somehow maintained his disarming, sloppy, absent-minded manner to the end. Einstein is funny and kind and lovable, a sweet and (in some ways) innocent genius wandering amusedly through a wacky life. Even when he had to flee Nazi Germany, when the Germans confiscated his home and labelled him an enemy, he kept his sense of humor. Above all, I learned that Einstein was very human. Unlike Gandhi, Einstein was no saint on earth. He was a skilled physicist, but struggled at times with being a loving husband or an attentive father (he preferred to focus on work). He never quite learned to hold his tongue, and often got into public arguments with those who disagreed with him (or his theories). And even in physics, he wasn’t always correct (he never accepted quantum uncertainty, even when it was experimentally verified). Despite his genius, I found him entirely relatable.

March 2021

Two Years Before the Mast by Richard Henry Dana

Two Years Before the Mast; A Personal Narrative by Richard Henry Dana |  NOOK Book (eBook) | Barnes & Noble®
This book is still, after almost 200 years, powerfully moving and often hilarious. The author was a Harvard grad (and talented writer) who decided to try his hand as a sailor on board a merchant ship, and this book is the harrowing story of his two year trip from Boston, around Cape Horn, to California and back. The narrative is filled with wry first-hand observations of the sailors life, and many funny stories of the ridiculous characters the author encounters along the way. His telling of the perilous voyage around the horn, as their ship battled arctic storms and advancing scurvy, is terrifying and incredible. And there’s some flogging action in there for good measure.

February 2021

Bobby Fischer Teaches Chess by Bobby Fischer

Image result for bobby fischer teaches chess
This is a great book to start with if you’ve never played chess, or if you know the basics of the game but have never put much thought into how to play well. This book dives into the most basic checkmates, and also starts to train the reader on the kinds of pattern recognition that underpins Bobby Fischer’s chess genius.

The Great Courses: Redefining Reality: The Intellectual Implications of Modern Science by Steven Gimbel

These lectures are unique, varied, and deeply interesting! Every lecture is a different topic: physics, sociology, genetics, culture, economics, and more. The professor is a brilliant summarizer of big new ideas, as well as the current unanswered questions that taunt philosophers and scientists today. Pick any lecture, and there will be something in there that opens your eyes and maybe even challenges the way you see the world.

January 2021

Great Ideas in Classical Physics by Steven Pollock

Image result for great courses classical physics
Dr. Pollock is a truly gifted teacher. His explanations of the major discoveries in classical physics are so clear and understandable, that he allows you to focus on just how mind-blowing the laws of physics really are. This course really opened my eyes, and taught me many new ways to see the universe. I want to know more!

Meetings with Remarkable Manuscripts by Christopher De Hamel

Meetings with Remarkable Manuscripts: Twelve Journeys into the Medieval World: de Hamel, Christopher
This author lovingly leads the reader on an in-depth tour of some of the world’s oldest and most treasured books, as well as the libraries where they are kept. The stories behind the books are fascinating, as are the author’s breathless descriptions of the books themselves, and the meaning behind the magnificent artwork inside them (not to mention the scribbles in the margins made by some anonymous monk 1,200 years ago). Full of glossy pictures of the old books. Great book to pick up and put down whenever you want.

2020 Book Reviews

My entry for the NYC Contemporary Music Symposium

Recently I’ve been writing this music for piano, clarinet, and cello, with the intention of entering it into the composition contest held by the NYC Contemporary Music Symposium. Today I officially entered the competition. If I win, this music will be performed at a concert in New York, and I’ll get a professional recording too.

The first draft of this music came about in 2007, after reading the dark and mysterious novel The Meaning of Night by Michael Cox, which filled my head with strange colors. I sketched out the basic shape of the piece, but then discarded it as I got swept up in writing Jackdaw.

I revisited the music after returning from my honeymoon in 2012, and built it into a more sturdy shape. Because of the energy and emotion I was feeling during that incredible time in my life – when I had just returned from Europe newly married, when I was so obsessed with creating art and so hungry for life, and in many ways mixed up – this music (which was a by-product of that creative energy and emotion) will forever remind me of that time. To be specific, this music reminds me of the city of Prague, where I drank absinthe and played piano at a pub, and felt myself sink into the Great Human Experience. Read more about that here.

Even after all that, I still couldn’t be bothered to actually finish the music, so again it was discarded and left for dead. Then nine years later, in April 2021, when I decided to enter the NYC Symposium contest, I chose the Bowery Trio as the ensemble I would write for, and resurrected this music that has always meant so much to me. First I changed the instrumentation. The original instrumentation was piano, oboe, and bassoon, which certainly gave it a funky flavor (as I mentioned earlier, I was trying to express some strange color)! But once I switched over to the much more standard piano, clarinet, and cello, the music took on that rich and loving sound that it always wanted to have. While the original instrumentation was unique, it didn’t fit with the sections of the music that were more tender, the love themes. The new instrumentation brought those themes to life, and welcomed more diversity of color into the music as a whole. Oboe and bassoon can become a bit monochromatic after a time, but cello can sing forever.

This music bends genre a bit. It’s classical for sure, but also infused with blues. I also wanted certain rhythms to sound metal, but not metal in the sense of Metallica meets the symphony. I wanted the metal-esque pieces to be fully baked, or interwoven, into the framework and form of the classical music (as opposed to simply taking a metal song and performing it with a classical ensemble). Therefore this music doesn’t really sound like authentic metal in any sense, but certain sections were inspired by the genre, and these moments make an impact on the ear as they pass.

This music has followed me through multiple stages in my life. First as a student striving to expand my creative palate, trying to understand the world but falling far short; then as a young husband, traveling in a haze from country to country, stateless but full of love and optimism, bursting with creative energy; and lastly as I find myself today: a father, trying desperately to prioritize art creation during a very busy year of a very busy life, still nurturing that spark. This music somehow reflects all of that. Or at least that’s what it means to me.

I set myself a goal in January to enter two music competitions this year. One down, one to go.

2020 Book Reviews

December 2020

Behave by Robert Sapolsky

Fascinating and funny too! Goes into epic detail about how the different parts of the brain affect human behavior, and how brain chemistry can help us understand why humans can be so aggressive/racist/warlike and also so nurturing/sensitive/empathetic.

Isaac Asimov’s Magical World of Fantasy, Volume 1: Wizards by various authors

Image result for asimov wizards
Such a fun collection! My favorite is the story “Mazirian the Magician” by Jack Vance.

September – November 2020

The Expanse Series (Books 1-8) by James S.A. Corey

Image result for expanse book series
What can I even say about one of the greatest sci-fi series ever written by man? These stories are so innovative and far-reaching, truly mind-bending; meanwhile the characters are so lovable and relatable… I just love these books so much. And they got me interested all over again in learning much more about physics!

August 2020

The Poorer Nations: A Possible History of the Global South by Vijay Prashad

Though the writing style is a bit monotonous, this book is eye opening and heartbreaking. It rips the veil away and reveals the lies underpinning the “story of America’s economic greatness” that is taught in every classroom in this country. I left this book feeling fully disenchanted with economics, capitalism, billionaires, and the way America conducts itself in the world.

July 2020

Sapiens: A Brief History of Humankind by Yuval Noah Harari

Image result for sapiens
This writer is a master at making connections, tying together different branches of science and sociology and archeology into a picture that explains who we are, how we got here, and what drives us. His writing style is forceful, even aggressive at times, but brilliant throughout; he paints such a convincing and captivating picture of the way he sees things, it’s tough to argue with his logic. His views can be controversial at times, and he presents his ideas with a lot of attitude, which make this book a real fun read. I’m not certain that Harari is spot-on with all his theories, but don’t let that stop you from allowing this book to change the way you see humanity.

Understanding Marxism by Richard Wolff

This is a very brief book, basically aimed at identifying the major problems with capitalism. While I sympathize with the arguments, the author did not go into any level of depth regarding solutions to these problems. He simply takes for granted that socialism is the solution, without bothering to prove it, or to dive into any of the sticky situations socialism can create. I need solutions, not just identification of problems. Here are some thoughts on the matter.

April – June 2020

Gandhi and India Trilogy by Ramachandra Guha

When the Covid-19 virus hit the US and we all had to lockdown, I decided to finally research a man I had long wanted to understand: Mohandas Gandhi. These books did much more than tell me about his life; they expanded my mind and invited me into a completely different way of seeing (and existing in) the world. Gandhi still has so so much to teach us all: about how to somehow feel so much love and passion and connection with all of humanity that you’d be willing to sacrifice your body to spread peace, while also embodying detachment and desirelessness, a man without anger or pride, a man at peace with himself and universe. Gandhi took these dual, perhaps opposing, outlooks to their extremes throughout his life. Was he successful at creating a more peaceful world? Well that’s a question worth discussing.

January 2020

How the Earth Works by Michael Wysession

Image result for how the earth works
This is probably my favorite Great Course I’ve ever listened to. This professor is so talented: with a calm a laid-back demeanor he dives into so many fascinating scientific topics, and his mastery is apparent in every lecture. Learn the inner workings of Earth, the formation of the solar system, the role that life plays in the geology of the planet, why earth is a giant magnet, and how each and every one of us are all part of a giant connected cycle that never ends. This lecture course made me feel so connected to my planet and the living things on it. It also made me question whether anything humans create can ever be called permanent or important. Eye opening and mind blowing all the way through.

Jackdaw String Quartet (Complete)

1. Memories of the Ghetto – Read about this movement here.
2. The Metamorphosis Read about this movement here.
3. A Letter to my Father Read about this movement here.
4. Milena Read about this movement here.
5. The Hunger Artist Read about this movement here.

I have long been fascinated by the connection between music and literature.  My favorite pieces are the ones that tell real stories, or convey a timeless message to which we can all relate. For example, in Schubert’s “Der Erlkonig” and Liszt’s “Mephisto Waltz,” the listener hears the devil’s laughter and knows the human characters will not survive.  These scenes are profoundly tragic in ways that all humans can understand and relate to, yet all we hear are the musical notes. This is the power of art.

When I began this string quartet, I was working at a book store.  Everyday I would sneak into the stacks of literature and read as much as I could without getting caught.  It was during this time that I was introduced to the works of Franz Kafka.  Immediately upon reading his words, I knew I wanted to set them to music.  The dream-like quality of his stories and the constant sense of anxiety in his prose put me on edge, and filled me with difficult emotions.  I began researching his life, and found his real story to be almost as painful as his characters’ stories. 

Born in a Prague ghetto in 1883 to an emotionally abusive father and bewildered mother, Kafka developed into a nervous, death-obsessed adolescent.  He never married, and some of his most substantial female relationships were through innuendo-filled letters with married women.  He eventually took a job at an insurance bureau, but began writing short stories on the side.  Though rarely published, his stories were startling and unique.  Dark, haunting, and non-sensical, each one feels more like a drug-induced nightmare than a short story.  Kafka wrote hundreds of letters and diary entries as well, detailing his vague escape fantasies; possibly to Palestine where his Jewish brethren would welcome him, or to far-away America where he could reinvent himself, or anywhere that he could finally find a community that accepted him for who he was. Franz was brilliant, but neither his father nor turn-of-the-century Prague appear to have noticed. Regardless of his desires, he never left Prague, and died at the age of 40 from tuberculosis.

I related to Kafka in a number of ways, back when I was obsessed with him, back when I was writing this music. I was about 22, in between school and whatever future career I hoped to build. I was working a part-time job, delaying the inevitable. I drank too much, stayed up all night, slept til noon, accomplished very little. I felt isolated and scared and indecisive and twitchy… not a great time. I was obsessed with my own impending death, with time ticking by, with the ever-present fear that I was wasting my life. Upon reflection, I realize now that this was just a transitional time for me, when my childhood had ended but adulthood had not yet begun. I did not have a community, I wanted to be someone else, I wanted to be better than I was, to have more skills and experience, I wanted to flee. At that moment in my life, Kafka’s strange voice reached out to me across the expanse of time and made me feel like maybe I wasn’t so alone.

Like Kafka, I’m also Jewish. Kafka seemed to vacillate between indifference to the religion of his birth, and the intense interest of one who tries over and over (in vain perhaps) to feel connected to his culture, his ancestors, his local community. In Kafka’s entire written works, there is only one, single mention of Jews or Jewishness. Yet Judaism permeated the culture of Kafka’s upbringing, and most definitely influenced his style of story-telling: his gallows humor, his affinity toward demonstrating the absurd nature of human existence, and of course the sense of “otherness” that all his main characters share. I have always felt similarly conflicted about Judaism. I have never been a true believer, nor have I felt much in common with those who take the dogmatic parts of the religion seriously, which made it difficult for me to find a home in the Jewish community of my birth. However despite this lack of faith or religious devotion, I am absolutely a byproduct of Jewish culture and upbringing. Jewishness is in my blood, as well as my way of speaking, my sense of humor, my cynicism, who I am and how I see the world. I may read about the history of Judaism as a way to feel connected to my ancestors, to understand all the ways the religion and history and culture shaped me, but (like Kafka) I have no community in the temple.

Kafka took this sense of “otherness”, this cynicism and love for the absurd, this desperation and loneliness, and rolled it all together into an alternate universe that flowed endlessly from his pen. In his dream world, everything is almost exactly as it is in reality, except nobody seems to act the way a sane person would act. Social cues mean something altogether different, and we the reader are lost in what appears to be a culture both foreign to us and recognizable as our own. People are cruel and stupid, rules that make no sense are enforced without empathy, the world appears to be a labyrinth of faceless bureaucracy, and we the reader are lost in it without a guide or a map. So in other words, it’s pretty much like the real world.

This music is about Kafka’s life and my own. It’s about feeling lost and alone and desperate and scared. It’s about reaching for love and hope and joy in a world full to the brim with unthinking cruelty. It’s about striving for connections to our own culture, which though it’s our own can sometimes feel so foreign and nonsensical. It’s about making art in a cold and indifferent world, art that attempts to tell a story that is timeless and tragic and messy and uplifting all at the same time, a story about what it’s like to be human, a story we all know.


Fun fact: the keys of the five movements are C, A, F, C, A.

The Metamorphosis

“The Metamorphosis” from Jackdaw

When I was a young man of 22, I developed a bit of an obsession with Franz Kafka. In retrospect this feels like a natural thing to have happened, since Franz Kafka’s stories are basically angst incarnate, and I was certainly feeling a whole lot of angst at age 22. At the time, I was a recent college graduate working at Borders, resisting my parents’ urgings to go get a teaching credential and start my career. I was broke, uncertain whether I was a kid or a grown-up, terrified of the future, maladjusted to the world around me, and dissatisfied with who I was. So yeah, Kafka spoke to me.

In Kafka’s world, nameless police break into your home in the middle of the night and drag you to your trial, where none of the evidence makes any sense to you but the judge sentences you to death anyhow. Kafka’s characters react to things differently than we would expect normal humans to react, which creates a disorienting feeling that something is off, or that we just don’t understand the rules. These vibes made me feel right at home in my early 20s, when I felt the profound sensation that I did not understand the world, that I did not know all the rules, that something was a bit off.

The Metamorphosis is the ultimate story for this brand of angst. The main character (who is pretty much Kafka himself) awakes to find he has become an enormous insect, a disgusting vermin, a horror so hideous his family can’t even look upon him. Like his family, he doesn’t understand why this has happened to him, or why, or even what kind of food he is supposed to eat to stay alive. When his family leaves plates of food inside his door, the food just makes him sick. He can’t communicate with anyone. Nothing makes sense. He spends his time frantically scuttling up and down the walls trying to make sense of the world, staring out the window longingly, and listening to his sister play heartbreaking melodies on her violin from the other room. His family tries to live normal lives, but clearly everyone has been shattered by the transformation. In the end, the bug dies. The family sweeps the corpse out of the house, and go out together to buy new clothes. Now that the horrible freak is gone, they feel alive again.

I think this story is really about feeling misunderstood. For anyone who has ever felt directionless, or lacking in strong relationships, or “apart” from the world, this story creates a perfect little metaphor for how that feels. You feel like a disgusting bug that can’t communicate, doesn’t understand how the world works, and just weirds people out. For all the sci-fi/horror components of the story, it’s really about the author himself feeling hurt and alone. Kafka, though brilliant, was a pretty misunderstood guy in his time. His low self esteem was reinforced by his brutish father, who never gave a kind word or loving gesture to his only son. Young Franz, a sickly but gifted kid, seemed unable to relate to most of the people around him, as if he came from a different culture (or planet). Easy to imagine him picturing himself as that bug. I know I did the same back when I felt so lost.

The music itself is a rondo, which looks like this:

What makes a piece a bagatelle? - Music: Practice & Theory Stack Exchange

The curtain raises on the reflective and somber “A” theme, music that comes back again and again throughout the piece. It’s a theme song (if you will) for the giant hideous bug monster pondering his own fate. The “B” section is the bug coming to terms with his new reality. He grieves and questions and rages and hopes and longs for things to be different. But inevitably that “A” section returns, confirming that this horror show truly is his reality, and resignation sets in. In the “C” section, the bug realizes that, though he is a monster unloved by the world and locked forever in his room, when he sets his humanity aside and embraces his bug-ness, he can do some cool stuff. He scurries up and down the walls, forgetting himself in the joy of stretching his segmented, hairy bug legs. It isn’t so tragic, at least for the moment, that he is no longer a man. He explores his bug senses, listening and smelling and experiencing his new reality, feeling what could even be described as happiness. He isn’t trying to be human or trying to be loved, but just being whatever he is.

In this music, there is a moment in the middle, while the bug is happily scurrying all over the walls, when suddenly you can hear his sister’s violin ringing through, her gentle tune rising above everything else, nostalgic and sad as the memory of a lost love. He may be separated from her, unable to communicate, horrifying to look upon, but they both understand that melody for what it is: a love song. Even in the midst of pain and uncertainty and fear, there are still things that tie us all together. One of those is love. Another is music.

Memories of the Ghetto

“Memories of the Ghetto” from Jackdaw

“This is not a city. It is a fissure in the ocean bed of time, covered with the stony rubble of burned-out dreams…”

Franz Kafka, writing about Prague

Franz Kafka grew up in the Jewish ghetto of Prague, one of the most ancient Jewish communities in Europe. My own Jewish ancestors also lived in the Jewish quarters of various European cities. The ghetto can mean so many things to the person who grows up there. It can mean a prison. It can mean the memory of one’s grandmother making soup on a Sunday afternoon. It can mean the cold, emotionless face of a police officer, or it can mean freshly baked bread, or a baby’s first breath. It can mean poverty. It can mean the language and hopes and stories and memories everyone shares there, and how those same hopes and memories have been shared by generation upon generation, leading backward into the endless abyss of time. The ghetto can house one’s cultural identity, one’s ancestors, one’s fondest and darkest memories. It can shape one’s sense of self and fears and hopes for the future. It can be detested and longed for all in the same moment.

I wanted this music to convey a sense of wistful nostalgia. The movement is a series of vignettes, or memories, that come and go as the music progresses. Memories of one’s own childhood, faces of people we’ve loved, a deep longing to return to a place and time that perhaps only ever existed in our memory. We smooth over the real details of our upbringing, of the culture that shaped us, until all that remains is a blurry recollection that is more feeling than memory.

Havelska Street Market circa 1900

I’m Jewish too, so of course the music is also about that. My own ancestors lived in the Jewish quarters of various European cities. For hundreds and hundreds of years they lived and worked and loved and laughed and built their communities. I stand on top of the rubble of those countless generations, and one day will become part of it. Yet despite that, I’ve never felt very connected to my ancestors, to their culture and memories and lives, to their religion and beliefs, to their struggle fleeing persecution, to what they left behind, to a way of life that is gone forever. I’ve always wanted to feel that connection, but it’s not something that can be forced. I grew up here in California in a secular family, far from the trials and rituals and religious teaching that my ancestors knew well.

This music is about longing: a longing to feel connected to something ancient, about a nostalgia for a world I’ve never seen, for a family I’ve never known, for a culture that isn’t my own. I can reach back in time and try to remember the Jewish quarter as it existed once, remember my ancestors as they lived and loved and prayed and raised children and died, remember my own heritage.

Freshly baked bread, a baby’s first breaths, a lover’s embrace, a tattered prayer book, my grandmother’s soup.

Milena

“Milena” from Jackdaw

“I see you more clearly, the movements of your body, your hands, so quick, so resolute, it’s almost like a meeting; even so, when I then want to raise my eyes to your face, in the middle of the letter… fire breaks out and I see nothing but fire.”

Franz Kafka in a letter to Milena Jesenska

Franz Kafka began writing letters to Milena Jesenska when he was on holiday recovering from Tuberculosis in 1920. It began as a business correspondence; she was a translator of his short stories, and in addition to that, a married woman living in far away Vienna. However what began as a professional relationship soon warped into an obsessive kind of long-distance romance. The letters from Kafka are infused with desperate passion and lust, a sleepless, jagged, stream of consciousness urgency to every sentence he wrote. He wanted to worship her, to kiss her feet. He wanted to hold her from all sides, to steal her in the night and make love to her in the dark forests outside Vienna. He was guilt-ridden and embarrassed one moment, triumphantly confident of his love for her the next moment. He wanted her to take away his pain and disease, to see him for who he was and accept him, to want him. His love was insistent and oppressive and private.

Of course, this affair was doomed. She was a married woman living far away. Kafka was dying and desperate for love. Over the course of their entire affair, they only met in person twice. So really, the letters weren’t just a part of their relationship; the letters were their relationship. Kafka clearly obsessed over every word she wrote. He poured his very soul onto every page. He kindled the flame for as long as he could, but eventually he couldn’t stop Milena from breaking off the affair.

Milena preserved Kafka’s letters, and understood him as a genius. When Kafka died she wrote a loving obituary in the Vienna press, and promoted his works. Later, when the Nazis came, she joined the resistance and helped many Jews escape Austria, though the work was dangerous and she was not Jewish. Eventually the Nazis arrested Milena for consorting with Jews, and sent her to Ravensbruck Concentration Camp where she died in 1944.


“By the way, why am I a human being, with all the torments this extremely vague and horribly responsible condition entails? Why am I not, for example, the happy wardrobe in your room, which has you in full view whenever you’re sitting in your chair or at your desk or when you’re lying down or sleeping… Why am I not that?”

Franz Kafka in a letter to Milena Jesenska

“Yesterday I dreamt about you. I hardly remember the de­tails, just that we kept on merging into one another, I was you, you were me. Finally you somehow caught fire; I remembered that fire can be smothered with cloth, took an old coat and beat you with it. But then the metamorphoses resumed and went so far that you were no longer even there; instead I was the one on fire and I was also the one who was beating the fire with the coat. The beating didn’t help, however, and only confirmed my old fear that things like that can’t hurt a fire. Meanwhile the firemen had arrived and you were somehow saved after all. But you were different than before, ghostlike, drawn against the dark with chalk, and you fell lifeless into my arms, or perhaps you merely fainted with joy at being saved. But here the transmutability came into play: maybe I was the one falling into someone’s arms.”

Franz Kafka in a letter to Milena Jesenska

“I must confess I once envied someone very much because he was loved, well cared-for, guarded by reason and strength, and because he lay peacefully under flowers. I’m always quick to envy.”

Franz Kafka in a letter to Milena Jesenska

“His knowledge of the world was extraordinary and deep; he was himself an extraordinary and deep world.”

Milena Jesenska writing about Kafka in his obituary

The Hunger Artist

“The Hunger Artist” from Jackdaw

Franz Kafka’s final story is called “The Hunger Artist,” about a man who starves himself in a cage for weeks as a circus attraction (read the story here).  However, over time fewer and fewer spectators stop to watch his stunt. The few that even bother to notice him are mostly repulsed, and quickly skitter off to find more tasteful entertainment.  The people pass him by in his filthy cage, and eventually everyone forgets he even exists. 

Yet the hunger artist just continues to fast anyways, even with nobody watching. He knows he is an artist, but nobody else even knows he’s there. Eventually he finally dies a slow and painful death from starvation; unappreciated and misunderstood even in his final moments.  As soon as the man is dead, the circus owner disposes of the corpse with little ceremony. The cage is cleaned, and a young panther is put in the cage, wild and thrashing. A crowd gathers to watch the powerful animal throw itself around the cage, and they are reminded of freedom itself.

This is yet another of Kafka’s stories that appears to be autobiographical.  When Kafka himself contracted tuberculosis, his diseased throat became so painful in the end that he could no longer eat.  While he was writing this story, Kafka was wasting away as the disease consumed him. Like his famous character, he too died of starvation; unappreciated, misunderstood, and forgotten by a fickle world.  The crowds, Kafka believed, want to see passion for life, strength and power, a shining panther slamming against the bars. Nobody has the time or stomach for a sickly artist wasting away in his cage. Kafka was never strong, never a panther, and he fully expected the world to toss his emaciated corpse in a ditch and forget he ever existed. Luckily for us he was wrong (at least about the forgetting part). The artist is appreciated today. Whether Kafka would have found that idea comforting while he starved… it seems unlikely.

In the music, listen for melodies from the previous movements. For example, the violin melody the sister plays in Metamorphosis returns, slowed way down and full of longing and regret. Much of this music expresses longing and regret. Over and over throughout the entire string quartet, the music longs for love and warmth and acceptance. It calls out for them, reaches and reaches, but they always seem to slip away. The love, the warmth, the acceptance were all dreams or memories, or memories of dreams.

We’ve all felt this way, the way this music feels, at one time or another. We reach for a lover who is gone. We reach back in our minds for a father’s smile, for a long-lost friend, for the home we grew up in, for a time when things were simple, for something that welcomes us with open arms and loves us for who we are. But it all becomes blurry, as if viewed through a mist, because we are reaching for memories and dreams and figments of our imagination.

The world can be cold and uncaring. It loves strength and youth. We all must die, and eventually every one of us will be forgotten. In time, we all get swept out of our cages, to be replaced by young panthers. Best to live and love and feel and create art while we have the chance. Best to cherish the memories of everyone we’ve ever loved, of everyone who loved us back. Cherish where we’ve been, what we’ve seen, what we’ve felt, what we’ve achieved and didn’t achieved, what we strived for. Cherish it all, for it is life!

Listen the entire Jackdaw String Quartet here.

Quiquern (Complete)

Quiquern is a five movement piece of music for piano, two flutes, and a clarinet, based on a short story by Rudyard Kipling.

Here is the story behind the music .
1. The People of the Elder Ice – Read about this movement here.
2. The Dog Sickness – Read about this movement here.
3. Quaggi (The Singing House) – Read about this movement here.
4. The Magic Songs – Read about this movement here.
5. Hunter’s Return – Read about this movement here.

“Quiquern” is a short story from Rudyard Kipling's Second Jungle Book.

A young Eskimo boy lives in a tiny village surrounded by a frozen arctic wasteland. The village’s only source of food is seal meat which the people catch with the help of their many well-trained dogs. One particular dog is born a runt, shrunken and sickly in the freezing wind. However the young boy cares for the dog, and raises him as a member of his own family. His love for the dog is pure and innocent, and together they frolic in the snow like siblings.

One year the winter is especially harsh, and the ice does not recede. The surplus seal meat runs out, and the people of the village soon begin to starve. In their moment of desperation they eat the wax from their candles, the leather from their belts. Their beloved sled dogs, still chained together in groups of eight, insane with hunger and fearing for their lives (just as lion cubs must fear their mother in times of hunger) break their chains and run screaming into the white waste. The people of the village become living skeletons.

The boy and a young girl from the village, still strong in their youth, announce to the village that they will venture out into the ice storm and find food for the village. It is suicide, but nobody stops them. Within days of their departure they are hopelessly lost, freezing, and beginning to hallucinate. They kneel shivering in the snow and announce to the heavens that they are man and wife. As darkness closes around them they pray to Quiquern, the eight-legged spider god of the arctic, for salvation and mercy.

The two children open their eyes to see a massive creature barreling toward them in the distance, eight legs scurrying effortlessly across the snow. A giant, hulking body becomes larger and larger in the morning haze. Quiquern has arrived to devour them; they are helpless as newborn seals. It is the end of their short lives, the end of their people. Two freezing, starving children prepare to die alone on a frozen plain at the edge of the world.

However as their eyes focus, they realize that the eight-legged creature is actually two dogs, running wildly through the snow pulling an empty dogsled. The dogs are well-fed and excited, blood dripping from their snouts. At the front of the pack is the runty dog the young boy once saved, frothing with joy at the sight of his oldest friend.

Carried by the sled dogs, the two Eskimos travel for miles to an open pit in the ice, where fat seals emerge for air. The dogs had found the hole in the ice and gorged themselves on meat. The boy and his wife fill the sled with food and return to the village as heroes. The village, now inhabited only by ghost-like creatures with sunken eyes, celebrates by burning whatever candles they have left. An ancient people go on.