Utsob Roy
Literature is anguish.
It is also the fourth wall of a comic panel. It is also the sky beyond the roof, a ship deck in a storm. It is a hammer that must put a blow right into our self-assurance. And, the Ta-Nehisi Coates I have read do just that.
About a year back, I met a middle-aged person. The now ongoing Palestine conflict has just started back then. That person believed that whatever was happening to civilian Palestinians was happening for good. He was an Islamophobe of particular brutality.
I know he was bullied for being an atheist in a Muslim-majority country; I know drug abuse also contributed to this bitterness. But, mostly, it was propaganda. It was a lack of critical thinking. It was the lack of knowledge— of human cruelty that found its outlet in power. Power makes everyone an oppressor without failure.
Ta-Nehisi Coates made a point of that. I can try, too. But, I know very well, being a minority in many axes myself, no one will understand, except the oppressed.
In the end, this book saddened me. Because I know humanity is beyond saving.
Originally posted at hermitage.utsob.me.
Literature is anguish.
It is also the fourth wall of a comic panel. It is also the sky beyond the roof, a ship deck in a storm. It is a hammer that must put a blow right into our self-assurance. And, the Ta-Nehisi Coates I have read do just that.
About a year back, I met a middle-aged person. The now ongoing Palestine conflict has just started back then. That person believed that whatever was happening to civilian Palestinians was happening for good. He was an Islamophobe of particular brutality.
I know he was bullied for being an atheist in a Muslim-majority country; I know drug abuse also contributed to this bitterness. But, mostly, it was propaganda. It was a lack of critical thinking. It was the lack of knowledge— of human cruelty that found its outlet in power. Power makes everyone an oppressor without failure.
Ta-Nehisi Coates made a point of that. I can try, too. But, I know very well, being a minority in many axes myself, no one will understand, except the oppressed.
In the end, this book saddened me. Because I know humanity is beyond saving.
Originally posted at hermitage.utsob.me.
This year (2024) I have collected as many literary and cultural references I can find in this note.
To me, this is Alan Moor's greatest work. He is so clear, and so in command of the ideas he wanted to expose, I couldn't find a place where they got watered down which is so much common in comics.
Most of the characters in V for Vendetta are complex. Seldom there is a major character like Bishop Lilliman who is typical. So well-crafted the characters are, their inner struggles, and conflicts with the world out that they felt real, yet full of surprise. Moore has shown a mastery in psychology which I consider a hallmark of great fiction writers.
However, the characters are only backdrops here. Alan Moore used these characters to effectively convey some very elaborate ideas— freedom, anarchy, justice, integrity, etc.
So, when V started his vendetta, it was not only against some people. It is against the system, even against the lack of aesthetics that the system enforces (hence the theatrical nature of V).
This year (2024) I have collected as many literary and cultural references I can find in this note.
To me, this is Alan Moor's greatest work. He is so clear, and so in command of the ideas he wanted to expose, I couldn't find a place where they got watered down which is so much common in comics.
Most of the characters in V for Vendetta are complex. Seldom there is a major character like Bishop Lilliman who is typical. So well-crafted the characters are, their inner struggles, and conflicts with the world out that they felt real, yet full of surprise. Moore has shown a mastery in psychology which I consider a hallmark of great fiction writers.
However, the characters are only backdrops here. Alan Moore used these characters to effectively convey some very elaborate ideas— freedom, anarchy, justice, integrity, etc.
So, when V started his vendetta, it was not only against some people. It is against the system, even against the lack of aesthetics that the system enforces (hence the theatrical nature of V).
This book is very concentrated in its form. Myriad ideas got traversed simultaneously— some from historical incidents, some are pure stories, and some are stories about stories— all intertwined to craft a truly musical offering.
So, what this book is about? Art, literature, music, war, destruction, wastage of human life... But, above all, this is a book about hope, about hope and goodness that doesn't wither. It is a book about love that perseveres amidst the toughest of times.
More hunger will come, and more cold and more death. But there are red flowers. This is food for the eyes. Knowing this, every morning will be a child from now on. And every night a womb. With such knowledge, no one can lose a war.
This book is very concentrated in its form. Myriad ideas got traversed simultaneously— some from historical incidents, some are pure stories, and some are stories about stories— all intertwined to craft a truly musical offering.
So, what this book is about? Art, literature, music, war, destruction, wastage of human life... But, above all, this is a book about hope, about hope and goodness that doesn't wither. It is a book about love that perseveres amidst the toughest of times.
More hunger will come, and more cold and more death. But there are red flowers. This is food for the eyes. Knowing this, every morning will be a child from now on. And every night a womb. With such knowledge, no one can lose a war.
Except for Barabbas, this is the only theologico-historical novel I read. And it's from another side of the globe from Barabbas.
While this novel has been labelled as a novel about the atrocious persecution of Christians in Japan, to my understanding that is a backdrop, a fundamental backdrop, but backdrop still, it's also very complex. Official view about Christianity and elaborate tortures, the metamorphosis of the faith in the Japanese soil, the people, places, and nature… It's not a black-and-white story of oppression.
This is predominantly a novel about Christian sympathy. A person's journey through suffering to understand what it meant to Christ, and what sort of shepherd he was. The central character (a priest) has gone through what we can say 'a dark night of the soul'. The crisis was acute. Suffering raised questions that at other times can be considered blasphemous. This crisis is the origin of the name of this book. The unbearable silence of God in the face of the unbearable agony of layman Christians was a recurring theme. A particularly beautiful example of this crisis is:
What do I want to say? I myself do not quite understand. Only that today, when for the glory of God Mokichi and Ichizo moaned, suffered and died, I cannot bear the monotonous sound of the dark sea gnawing at the shore. Behind the depressing silence of this sea, the silence of God. … the feeling that while men raise their voices in anguish God remains with folded arms, silent.
It, in time, led the priest into doubt if God exists at all. Of course, his training in the seminary won.
What I liked about this book is how the priest was officially apostatized. He hasn't been broken down in extreme situations. Neither torture nor persuasion could convince him to apostatize. What convinced him is a deeper, more beautiful interpretation of the Christian faith. He found that even Christ himself would've been apostatized if it saved some souls from suffering.
‘Don’t deceive yourself! ’ said Ferreira. ‘Don’t disguise your own weakness with those beautiful words. ’
‘My weakness? ’ The priest shook his head; yet he had no self-confidence. ‘What do you mean? It’s because I believe in the salvation of these people … ’
‘You make yourself more important than them. You are preoccupied with your own salvation. If you say that you will apostatize, those people will be taken out of the pit. They will be saved from suffering. And you refuse to do so. It’s because you dread to betray the Church. You dread to be the dregs of the Church, like me.’ Until now Ferreira’s words had burst out as a single breath of anger, but now his voice gradually weakened as he said: ‘Yet I was the same as you. On that cold, black night I, too, was as you are now. And yet is your way of acting love? A priest ought to live in imitation of Christ. If Christ were here … ’ For a moment Ferreira remained silent; then he suddenly broke out in a strong voice: ‘Certainly Christ would have apostatized for them. ’
This was the end of his dark night of the soul. The new dawn was not a dawn devoid of faith. Quite the contrary. It was a dawn bringing a faith deeper than anything he had ever learned.
Since I have not read it in Japanese, I can't talk about Endō's writing quality with much confidence. However, I think readers will agree with me on his ability to create symbolic archetypal characters whose importance lies in their manifestation of one quality, or vice, or a crisis. Over and over again throughout the book, they play the same role of a coward, kind, or heroic person. The book contains some such very powerful archetypes.
His intellectual honesty is particularly praiseworthy. He understood the problem of a foreign religion such as Christianity must face in a culture that is in many cases diametrically opposite to its European counterpart. Japanese empire was as oppressive as any of that time. Buddhism in their hand is just another justification to oppress and no solace to the poot. On the other hand, European seafarers are not very bright example of Christianity. However, the love of Christ have some appeal to the unloved ones. Brutality and suppression are just side effects. The problem is deeper, and Endō faced it with much sincerity.
Originally posted at hermitage.utsob.me.
Except for Barabbas, this is the only theologico-historical novel I read. And it's from another side of the globe from Barabbas.
While this novel has been labelled as a novel about the atrocious persecution of Christians in Japan, to my understanding that is a backdrop, a fundamental backdrop, but backdrop still, it's also very complex. Official view about Christianity and elaborate tortures, the metamorphosis of the faith in the Japanese soil, the people, places, and nature… It's not a black-and-white story of oppression.
This is predominantly a novel about Christian sympathy. A person's journey through suffering to understand what it meant to Christ, and what sort of shepherd he was. The central character (a priest) has gone through what we can say 'a dark night of the soul'. The crisis was acute. Suffering raised questions that at other times can be considered blasphemous. This crisis is the origin of the name of this book. The unbearable silence of God in the face of the unbearable agony of layman Christians was a recurring theme. A particularly beautiful example of this crisis is:
What do I want to say? I myself do not quite understand. Only that today, when for the glory of God Mokichi and Ichizo moaned, suffered and died, I cannot bear the monotonous sound of the dark sea gnawing at the shore. Behind the depressing silence of this sea, the silence of God. … the feeling that while men raise their voices in anguish God remains with folded arms, silent.
It, in time, led the priest into doubt if God exists at all. Of course, his training in the seminary won.
What I liked about this book is how the priest was officially apostatized. He hasn't been broken down in extreme situations. Neither torture nor persuasion could convince him to apostatize. What convinced him is a deeper, more beautiful interpretation of the Christian faith. He found that even Christ himself would've been apostatized if it saved some souls from suffering.
‘Don’t deceive yourself! ’ said Ferreira. ‘Don’t disguise your own weakness with those beautiful words. ’
‘My weakness? ’ The priest shook his head; yet he had no self-confidence. ‘What do you mean? It’s because I believe in the salvation of these people … ’
‘You make yourself more important than them. You are preoccupied with your own salvation. If you say that you will apostatize, those people will be taken out of the pit. They will be saved from suffering. And you refuse to do so. It’s because you dread to betray the Church. You dread to be the dregs of the Church, like me.’ Until now Ferreira’s words had burst out as a single breath of anger, but now his voice gradually weakened as he said: ‘Yet I was the same as you. On that cold, black night I, too, was as you are now. And yet is your way of acting love? A priest ought to live in imitation of Christ. If Christ were here … ’ For a moment Ferreira remained silent; then he suddenly broke out in a strong voice: ‘Certainly Christ would have apostatized for them. ’
This was the end of his dark night of the soul. The new dawn was not a dawn devoid of faith. Quite the contrary. It was a dawn bringing a faith deeper than anything he had ever learned.
Since I have not read it in Japanese, I can't talk about Endō's writing quality with much confidence. However, I think readers will agree with me on his ability to create symbolic archetypal characters whose importance lies in their manifestation of one quality, or vice, or a crisis. Over and over again throughout the book, they play the same role of a coward, kind, or heroic person. The book contains some such very powerful archetypes.
His intellectual honesty is particularly praiseworthy. He understood the problem of a foreign religion such as Christianity must face in a culture that is in many cases diametrically opposite to its European counterpart. Japanese empire was as oppressive as any of that time. Buddhism in their hand is just another justification to oppress and no solace to the poot. On the other hand, European seafarers are not very bright example of Christianity. However, the love of Christ have some appeal to the unloved ones. Brutality and suppression are just side effects. The problem is deeper, and Endō faced it with much sincerity.
Originally posted at hermitage.utsob.me.
Rating: 4.5
In its structure and the areas it covers, it is a peculiar book for sure. Like classical philosophical works, this is a book arching over several subjects and is quite technical in nature.
Firstly, I think, it has a fantastic chapter on how computer works. To understand the computer and its true power— this is a very good starting point.
This leads to the question of what the computer can't/shouldn't do for us, where we are better on our own. He stretched our common (often lethal) understanding and reliance on computers.
Rating: 4.5
In its structure and the areas it covers, it is a peculiar book for sure. Like classical philosophical works, this is a book arching over several subjects and is quite technical in nature.
Firstly, I think, it has a fantastic chapter on how computer works. To understand the computer and its true power— this is a very good starting point.
This leads to the question of what the computer can't/shouldn't do for us, where we are better on our own. He stretched our common (often lethal) understanding and reliance on computers.
The course of knowledge is like the flow of some mighty river, which, passing through the rich lowlands, gathers into itself the contributions from every valley. Such a river may well be joined by a mountain stream, which, passing with difficulty along the barren highlands, flings itself into the greater river down some precipitous descent, exhibiting at the moment of its union the spectacle of the utmost beauty of which the river system is capable. And such a stream is no inapt symbol of a line of mathematical thought, which, passing through difficult and abstract regions, sacrifices for the sake of its crystalline clearness the richness that comes to the more concrete studies. Such a course may end fruitlessly, for it may never join the main course of observation and experiment. But, if it gains its way to the great stream of knowledge, it affords at the moment of its union the spectacle of the greatest intellectual beauty, and adds somewhat of force and mysterious capability to the onward current.If not anything else, this spirit (and the execution of it) is an excellent reason to write such a wonderful 32-page pamphlet with striking yet easily understandable ideas.
If you fail to find anything new in this book in regard to the fourth dimension, that is probably because this is one of those works that popularised those ideas.
As the name reveals, this book is a musing/speculation about the fourth dimension.
Hinton's four-dimensional space is an Euclidean one. This shouldn't be confused with the non-Euclidean four-dimensional space like the Minkowski's which was the basis of the Theory of Relativity. Hinton never mentioned *time* as the fourth dimension and it would've required a paradigm shift on Hinton's part. While it is not the *spacetime* we know now, it is quite an interesting system. ^a63817
I liked how— example by example— Hinton built a system of fourth-dimensional space in a few pages which is consistent— complete with physical properties and consciousness, sound in its structure and extremely thought-provoking.
Originally posted at hermitage.utsob.me.
The course of knowledge is like the flow of some mighty river, which, passing through the rich lowlands, gathers into itself the contributions from every valley. Such a river may well be joined by a mountain stream, which, passing with difficulty along the barren highlands, flings itself into the greater river down some precipitous descent, exhibiting at the moment of its union the spectacle of the utmost beauty of which the river system is capable. And such a stream is no inapt symbol of a line of mathematical thought, which, passing through difficult and abstract regions, sacrifices for the sake of its crystalline clearness the richness that comes to the more concrete studies. Such a course may end fruitlessly, for it may never join the main course of observation and experiment. But, if it gains its way to the great stream of knowledge, it affords at the moment of its union the spectacle of the greatest intellectual beauty, and adds somewhat of force and mysterious capability to the onward current.If not anything else, this spirit (and the execution of it) is an excellent reason to write such a wonderful 32-page pamphlet with striking yet easily understandable ideas.
If you fail to find anything new in this book in regard to the fourth dimension, that is probably because this is one of those works that popularised those ideas.
As the name reveals, this book is a musing/speculation about the fourth dimension.
Hinton's four-dimensional space is an Euclidean one. This shouldn't be confused with the non-Euclidean four-dimensional space like the Minkowski's which was the basis of the Theory of Relativity. Hinton never mentioned *time* as the fourth dimension and it would've required a paradigm shift on Hinton's part. While it is not the *spacetime* we know now, it is quite an interesting system. ^a63817
I liked how— example by example— Hinton built a system of fourth-dimensional space in a few pages which is consistent— complete with physical properties and consciousness, sound in its structure and extremely thought-provoking.
Originally posted at hermitage.utsob.me.
Literature is anguish.
It is also the fourth wall of a comic panel. It is also the sky beyond the roof, a ship deck in a storm. It is a hammer that must put a blow right into our self-assurance. And, the Ta-Nehisi Coates I have read do just that.
About a year back, I met a middle-aged person. The now ongoing Palestine conflict has just started back then. That person believed that whatever was happening to civilian Palestinians was happening for good. He was an Islamophobe of particular brutality.
I know he was bullied for being an atheist in a Muslim-majority country; I know drug abuse also contributed to this bitterness. But, mostly, it was propaganda. It was a lack of critical thinking. It was the lack of knowledge— of human cruelty that found its outlet in power. Power makes everyone an oppressor without failure.
Ta-Nehisi Coates made a point of that. I can try, too. But, I know very well, being a minority in many axes myself, no one will understand, except the oppressed.
In the end, this book saddened me. Because I know humanity is beyond saving.
Originally posted at hermitage.utsob.me.
Literature is anguish.
It is also the fourth wall of a comic panel. It is also the sky beyond the roof, a ship deck in a storm. It is a hammer that must put a blow right into our self-assurance. And, the Ta-Nehisi Coates I have read do just that.
About a year back, I met a middle-aged person. The now ongoing Palestine conflict has just started back then. That person believed that whatever was happening to civilian Palestinians was happening for good. He was an Islamophobe of particular brutality.
I know he was bullied for being an atheist in a Muslim-majority country; I know drug abuse also contributed to this bitterness. But, mostly, it was propaganda. It was a lack of critical thinking. It was the lack of knowledge— of human cruelty that found its outlet in power. Power makes everyone an oppressor without failure.
Ta-Nehisi Coates made a point of that. I can try, too. But, I know very well, being a minority in many axes myself, no one will understand, except the oppressed.
In the end, this book saddened me. Because I know humanity is beyond saving.
Originally posted at hermitage.utsob.me.
