Schopenhauer And The Wild Years Of Philosophy
Rudiger Safranski
Translated by Ewald Osers
Harvard University Press, 1987

For those within whom passion for the experience of life rushes vigorously, much of philosophy comes across cold and sterile, disturbingly lacking in humanness in its schematic generality, emphasis on rationality and logicality over emotional concerns. The systematic and elaborate presentation of a single idea or simple truth, expressed in mechanistic articulation as if churned out by a machine, devoid of distinguishable personality, with only the known ideas of a particular thinker serving as distinction, is alienating to the passionate souls sensitive to the fluctuation of existence that awards pain and pleasure in unequal measure, that beats down and lifts up unexpectedly, that fills with love and hate without any identifiable reason, and that kills in tragedy all that is noble, heroic, and beautiful. The few lovers of wisdom and truth blessed with the gift of articulation of the abstract who are the exception to this tradition are thus considered mavericks who infuse their lust for life, sensitivity to pain, and adoration of beauty into their explications, not for the sake of rebellion, but because their humanness shines that much brighter than the rest who present their ideas in lifeless safety either to mask their apathy for existence or to honor tradition like a good servant. One such philosophical renegade is Arthur Schopenhauer, who expressed this very same sentiment in this striking passage:

From this, it is no wonder why a number of prominent artists and musicians have been so drawn to the works of Schopenhauer. Not only did Schopenhauer express a profound affection for the arts, and especially music, but he did so through one of the most compelling and convincing aesthetic theories in the history of philosophy. Not only this, but his clear and powerful reasoning and gift of eloquent expression allow his ideas a clarity of deliverance, making him one of the most palatable and readable philosophers, particularly in comparison with his contemporaries in 19^th Century Germany. But most of all, it is his amazing penetration into the nature of humanity, from a combination of acute observation, careful reflection, sensitivity to experience, with a brilliant logical reasoning, along with a strangely endearing curmudgeonly and broody character, that arouses an affection in his readers, which moves them to want to know, as much as possible, the life of this intriguing man.

In Schopenhauer And The Wild Years Of Philosophy, Rudiger Safranski vividly chronicles the life of Arthur Schopenhauer, paralleling the events of his life with the development of his work, presenting an engaging account of how the philosopher’s experiences influenced his ideas, and how those ideas contrasted with the intellectual flavor of 19^th-Century Germany. Defiantly opposed to the Absolutism and appeal to universal Rationalism that reigned supreme in the leading philosophical minds of the era (Hegel, Fichte, Schelling etc..), Schopenhauer’s pessimistic Idealism alienated him from and left him largely ignored by the philosophical academy of his time. Safranski details how Schopenhauer’s resulting bitterness and frustration affected his associations with colleagues and family. Yet, despite this wide-spread neglect towards his work, Schopenhauer never once compromises his values and beliefs to acquire his highly sought-after recognition, all the while, to the very final years of his life, maintaining an unwavering self-confidence and allegiance to his philosophy worthy of fullest respect and admiration. Through years of being overlooked, Schopenhauer stands firm in his belief that his genuine pursuit of truth, and original presentation of that truth, will one day meet with its worthy acceptance. During his last years, and as the tide of intellectual culture in Germany turned in the aftermath of a series of political and social dissatisfactions, Schopenhauer’s work finally began to gather interest, devoted followers, and influential merit.

Safranski tells the story of Schopenhauer’s life in the context of the political and social climate of 19^th Century Germany. The significant events and cultural character of Weimar, Berlin, Hamburg, and other surrounding locations are relayed in detail, and shown to serve as an interesting backdrop to Schopenhauer’s development through the ages of his life. Accounts of his travels through Europe as a youth with his family, his struggles with accepting the inheritance of his father’s merchant business, his reaction to the death of his father, followed by years of a tumultuous relationship with his mother, romantic affairs, and his turn away from mercantile life to a philosophical one ("Life is an unpleasant business; I have resolved to spend it reflecting upon it"), are all successively delivered in glorious detail by Safranski, assisted by quotes directly from Schopenhauer’s own diary and letters. The wonderful result of this narrative approach is that the book reads less like a traditional biography and more as a classic novel as perhaps could have been written during the Romanticist era during which Schopenhauer himself lived for much of his life.

The development of Schopenhauer’s philosophy through the events of his life is explored throughout the book in such a way that, while reading, one has the sense that they are witnessing the gradual blossoming of a magnificent creation. It is also made clear by Safranski that Schopenhauer’s personal experiences and observations played a significant role in this development. The reader gains a deeper understanding of how Schopenhauer came to view the world as he did, through his youthful struggles with the freedom of choice, his melancholy nature which made him greatly moved by the pain and misery he witnessed through his travels, and his resulting conclusion that such a world as this could never have been made by an all-loving God, but rather by a Devil. Safranski also writes of young Schopenhauer’s struggles with the lusts of the flesh, his disappointments in intimate relationships, and the isolation he felt through those experiences; "...my richer experience and my totally different nature at all times led me into isolation and solitude." A solitary and brooding character, yet overly-confident to the point of offensive arrogance, or perhaps simply that much aware of his intellectual superiority combined with his extreme intolerance and eccentricity, Schopenhauer seemed to have lived a lifetime before even seriously considering the thought of a philosophical life, which he began in the radical ages of his early twenties, completing his chief work, The World As Will And Representation, before he hit the age of thirty. His was an untraditional journey to philosophical immortality. Much of his work has come from the experience of real human living, which he held as the ultimate test of truth, and an important reason why he felt that the leading thinkers of his time were so far off the mark with their dialectic thinking and optimistic theories of ‘Rational Spirit’ and ‘the Absolute’. Schopenhauer saw these ideas as theology in disguise, developed by professional philosophers (Schopenhauer, having been blessed with a wealthy inheritance from his father, was freed from having to live by philosophy, and instead lived for philosophy) who were more concerned with honoring the wishes and traditions of the academy than with the sincere pursuit of truth. In his view, there was no "terrible din of universal murder" in such "sham-philosophies".

In his departure from philosophical tradition, Schopenhauer was a true free spirit. As he knew, and as other free spirits have also known (particularly Nietzsche, the freest spirit in all of philosophy, who was greatly influenced by Schopenhauer), free spirits are a threat to the established tradition, and as such, must face a stiffer challenge than shackled spirits who see their safety and convenience in the honor of tradition as their source of sustenance. Every attempt is made to silence the free spirit. Yet, Schopenhauer’s voice was far too strong, his conviction much too firm, and in the end he did arrive, and remains highly relevant to those who seek for a meaning in this mad suffering in a purposeless world, and those creative free spirits who know the meaning of ‘aesthetic contemplation’ and ‘will-less knowing subject’.

For those who have been touched in some form by Arthur Schopenhauer’s work, or those who simply have an attraction to 19^th-century European intellectual, political, and social culture, this book is an essential read. Safranski has provided the closest opportunity one will discover to getting to know Schopenhauer as the man he was. The reader will find this a thoroughly captivating and moving experience, having gained such an intimate glimpse into the life of one of the most important thinkers in the history of philosophy.

12/23/07

Lords Of Chaos: The Bloody Rise Of The Satanic Metal Underground
Michael Moynihan and Didrik Soderlind
Feral House,1998

Lords Of Chaos details the development of black metal in Norway in the late 80s and early 90s, and the events unfolding during this rise that generated sensationalist media attention. The book gives an interesting though somewhat unhinged account of the history of rock and metal music, focusing primarily on the ‘evil’ imagery and subject matter of bands such as Led Zeppelin, Black Sabbath, King Diamond, and Venom. The authors also give some analysis to the connection between Scandinavian mythology and black metal music, as it applies to image, aesthetic, and lyrical theme.

Significant space is allowed for intriguing, informative, and sometimes humorous interviews with key figures of the Norwegian underground metal scene, as well as with sources outside that circle who shed some light on Satanic philosophies and political ideologies and how and why these are exemplified in this type of music. Through the stories of murder and church burnings, the authors do an effective job of portraying these musicians as reasonably intelligent and aware, if a bit misguided and contradicting in a few cases. Emphasis is placed on sufficient background information regarding cultural ancestry and modern societal climate of the region, to make clear the intentions and passions of these individuals.

The book is essential for any fans of underground metal, particularly Norwegian black metal, as it allows individual personalities to shine through in-depth interviews with people such as Ihsahn of Emperor, Hellhammer of Mayhem, and Varg Vikernes of Burzum, along with a plethora of rare photos. Detail is given as to the inner workings of bands both in musical development and formation of worldviews. It is also an appealing read for anyone who may not be a fan of extreme metal, but wishes to gain insight into the tempestuous realm of the darkest, most feral, and philosophically inspired strain of heavy metal music ever to exist.

Impressive and refreshing in comparison to most books on metal music, Lords Of Chaos is written by authors who have personal connections with this music, and have a firm understanding of what it means and why it exists, as opposed to outsiders writing about music they fail to understand in any true sense, often leading to misinformed and confused accounts of a traditionally misunderstood music.

This simple and obvious statement is one of common knowledge among fans, but for outsiders looking to gain some manner of understanding of music unfamiliar to them, such a passage alone carries more honesty, understanding, and accuracy than the vast number of sources who dare to uncover this music through mainstream exposure.

At times the book is disjointed in its presentation, but any flaws are overridden by the integrity of character the authors succeeded in supplying this book. The story of this music is one that needs to be told, and it needs to be told by those who know, feel, and perhaps even love it. Regardless of one’s individual beliefs, the message comes through with alarming clarity that these individuals actually lived their art because they were driven by something beyond music. There is a certain nihilism in an act of collecting pieces of a suicided comrades shattered brain and constructing a necklace from it, and using brain tissue as part of a stew. This nihilism is expressed when members of Mayhem and Burzum speak with indifference about murdered and suicided bandmates. Witness a response from former Emperor drummer Faust to the question of whether or not people were upset after Mayhem vocalist Dead committed suicide:

Such a response communicates an understanding of life that transcends individualistic approaches. It is not the devaluing of life that most would ordinarily perceive it as, but rather an acknowledgment of a broader view of existence that recognizes the universal as possessing greater value than individual components. Faust’s emphasis on losing a good vocalist rather than sorrow at losing a friend reflects a greater appreciation for the value of Dead’s worth to a collective movement than his individual place as a human being in a world overflowing with such beings.

Understanding this existentialist nihilism is essential to understanding black metal. It is a commonality amongst the statements expressed by each of the interviewees in this book who are part of this movement. Moynihan and Soderlind do an admirable job of bringing these ideologies out of their subjects and research, representing this music as something far more than rebellious teenagers making an angry racket with instruments they can hardly play. These are the modern day warriors, revolutionaries, and philosophical visionaries, fueled by a passion for a better world that leaves most others who would assume themselves to be great minds and leaders of our time baffled and insecure, though their lust for personal profit and image would never allow them to admit as much.

The apex of this read arrives in the interviews with Varg Vikernes (a.k.a. Count Grishnackh), sole personification of Burzum, who murdered his one-time bandmate and black metal figurehead Oystein Aarseth (a.k.a. Euronymous) of Mayhem. Varg discusses his ideas relating to Vidkun Quisling's philosophy of Universism and his thoughts on the essence of black metal, presenting himself as an intelligent and aware individual who, with the possible exception of Emperor leader Ihsahn, seems to possess a higher intellectual grasp, or at least a more penetrating manner of articulation, of ideologies fundamental to black metal music. In his answer to the question of how grave desecration fits into his ideology, Varg responds: "It's quite simple. They (The Christians) desecrated our graves, or burial mounds, so it's revenge. The people who lie in the graves are the ones who built this society, which we are against. We show them the respect they deserve. I have absolutely no respect for the people who built this society.."

Listen: Burzum - "Lost Wisdom"

No better story of this movement has been told, and though some mistakes are present throughout, the whole of Lords Of Chaos conveys a depth of understanding and informative awareness making this an enjoyable, engaging, and refreshing read.

2/18/07

Nick Cave
And The Ass Saw The Angel
Black Spring Press, 1989

Nick Cave is a man of many talents, known mostly as singer/songwriter for Nick Cave & The Bad Seeds. His lyrical genius is the driving force in his songs, full of vivid imagery, acute observation, metaphorical wit, and striking earnestness. A natural born storyteller, Cave has a gift for creating worlds both forbidding and strangely inviting, inhabited by bizarre characters, whom Cave brings to life through allegory and a keen sense of the subtleties defining personality. His novel, And The Ass Saw The Angel, guides the reader through a grim and perverted world of troubling activity, delivered in Cave’s own convoluted symbolic representation, which makes this a well-flowing read in its structure and pitch, but altogether disturbing in its substance.

The story is set in the town of Ukulore, located in filthiest southern U.S., during the time of the 1940s. The town is overrun with religious maniacs, whom Cave paints as malicious to the point of murderous absurdity, all in the name of unyielding faith. Extreme outcast and mute Euchrid Eucrow, whose willfully oblivious father is a mad product of inbreeding and whose mother is an alcoholic mess who frequently beats him, struggles through the death of his stillborn twin brother and later, a fixation on local prostitute Cosey Mo, who is the only member of the town to show him any manner of pity. Cosey Mo is brutally thrashed by the town’s people and ostracized, after which she gives birth to a daughter whom the Ukulites believe is the future mother of the Messiah. But she finds Euchrid to be godlike, leading to further complications between the mass insanity and Euchrid. Believing to be on a divine mission, Euchrid creates his own personal domain called Doghead, where is insanity builds towards his ultimate revenge on all who have contributed to his tortuous existence.

Cave’s portrayal of the relationship between the crowd and the alienated individual is effortlessly relatable to social phenomena. Through observation or experience of this phenomena, one learns quickly that the uniform masses are terrified of the lone independent spirit who stands opposed to all that the crowd desire. In defense, the crowd seek to strip this independent spirit of all possible power, if not eliminate this spirit entirely. The social dissident sees through the illusions the crowd adores, but because this spirit is far outnumbered, the crowd usually triumphs in the end through sheer quantitative force. Cave twists this around. Perhaps by making Euchrid a mute, so as to keep his intentions hidden, the crowd are confident in their upper hand position, until Euchrid’s master plan is unleashed upon them.

In its sinister humor and abstract plot, And The Ass Saw The Angel is a spellbinding and analogical read, as well as a disturbingly dirty one. The course and character of the book parallels Cave’s music in its stygian beauty, force of engagement, clever imagination. The blackness and corrosion thicken as the story progresses, as the reader is caught between great loathing and sincere compassion for Euchrid. Given special insight into his inner workings, the reader comes to sympathize with his condition, secretly rooting for his triumph. Cave’s first novel is equally uncomfortable and absorbing. The aftereffects are quite unlike that of any other read, and one may wish to dive into something a bit less ghastly and unsettling soon after. One may feel residue from the filth days after having completed the read, and surely no better compliment can be bestowed upon this work.

3/16/07

Colin McGinn
The Making Of A Philosopher
HarperCollins, 2002

A resident of New York City and philosophy professor at Rutgers University, Colin McGinn was educated at Oxford University and has written broadly on his own philosophy and that of others. He has authored works such as The Mysterious Flame and The Space Trap., and has written for the New York Review of Books, The London Review of Books, and other notable publications. This particular book chronicles his personal journey of becoming a philosopher, while incorporating a number of philosophic concerns he has worked through during this journey. His writing is agreeable through a pleasant clarity of expression that often makes it feel as though you are sitting down with the man in a comfortable setting as he relays his story. Throughout the book, he cleverly and elegantly presents the act of contemplation as a delight of human experience, never soaring off into overindulgence or allowing the philosophical challenges he is worried with to conquer his charming tale. This works to grant the book an appeal to readers who may not be familiar with philosophy in general, or those who are new to it, and take it in as a story of becoming, rising from humble origins, working through identifying one’s true passion, and how that discovery can be accommodated with practical concerns. It is this, and the honest delivery and sometimes humorous character of events, that makes this a pleasantly human read, as well as intellectually satisfying.

The book will find the most appeal among students of philosophy, especially those who have struggled with the impractical aspects of devoting one’s educational career to this area of study. Seasoned philosophy students may find it lacking in serious philosophical engagement, but will surely be able to relate to the experiences of working one’s way through college and beyond. This is an autobiography as well as a kind of introduction to general philosophy. It is a smooth and easy read, yet thought-provoking in a fashion not common to philosophic accounts. He provides his ideas as well as those of his philosophical influences such as Descartes and Russell, while consistently keeping a balanced perspective on life. This is a refreshing read that will certainly bring some sense of comfort to new philosophy students, as well as provide an element of reminiscence to those who are deeper into a similar journey.

2/17/07