Michael Potts's Blog: Bits and Pieces: Book Reviews and Articles on Writing, Horror Fiction, and Some Philosophy, page 3

Review of Robert John Russell, Cosmology, Evolution, and Resurrection Hope

Cosmology, Evolution, and Resurrection Hope: Theology and Science in Creative Mutual Interaction: Proceedings of the Fifth Annual Goshen Conference on by Robert John Russell

My rating: 5 of 5 stars


This is a splendid book concerning an eschatological answer to the problem of suffering in light of modern science. Professor Russell is on the mark when he says that conventional "solutions" to the problem of evil break down in the midst of intractable pain or the suffering and early deaths of children, as well as in instances of great human evil such as the Holocaust. He offers the cross as a means to show Christ's suffering love in the midst of human suffering and a transformed world in which everything will be made new as the only viable way to deal with the issue of both human and nonhuman animal suffering. In this approach he is similar to Eastern Orthodox approaches to evil and suffering (cf. The Brothers Karamazov). Russell is open not only to the possibility of universal human resurrection, but to the resurrection of individual higher animals (and perhaps other animals as well). Russell brings in important insights from quantum theory, chaos theory, and evolutionary biology to deal with doctrines such as creation ex nihilo, the Fall, the resurrection of Christ, and the universal resurrection of all human beings. I recommend this book to all theology students as well as those interested in the philosophy of religion and issues in science and religion.



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A review of Peter Bussey, Signposts to God: Modern Physics and Astronomy Point the Way to Belief

Signposts to God: How Modern Physics and Astronomy Point the Way to Belief by Peter Bussey

My rating: 5 of 5 stars


Peter Bussey offers a clear introduction to the relationship between physics and religious (specifically Christian) belief. His discussion of the nature of matter given quantum field theory is fascinating--it is difficult, if not impossible, to say what matter is. This could suggest a softening of the Cartesian divide between mind and matter.

Bussey presents a detailed version of the Kalam Cosmological Argument for the existence of God. This version of the cosmological argument attempts to show that the universe had a beginning in time, and if so, it must have had a Creator since something cannot come out of nothing. He argues that current cosmological theories that posit "something from nothing" are not talking about true nothingness. Quantum fields or new universes forming are not nothing and still require an explanation. For Bussey, only God can be an adequate explanation.

Although I agree with Bussey's point about "nothing" as it is misused by some contemporary physicists, I am not yet convinced that the version of the cosmological argument he uses in such cases is the Kalam argument; rather, it seems to be a version of Aquinas' first three ways to prove God's existence. The heart of those arguments is that the universe is contingent, dependent on something or someone else in order to exist. All of Aquinas' versions of the Cosmological Argument assume that the universe exists everlastingly, although Aquinas personally disagrees with it due to his Christian faith. It does not appear that Bussey's argument, at least in response to Hawking or the bubble university theory or other theories of "something coming from nothing" can prove a temporal beginning of the universe. Bussey, however, does an excellent job of showing why none of those new theories disprove the existence of God.

I recommend this book to the layman interested in religion and science; it is readable and as easy to follow as any book on science and religion I have read.



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A Review of Carl Elliott, The Rules of Insanity

The Rules of Insanity: Moral Responsibility and the Mentally Ill by Carl Elliott

My rating: 5 of 5 stars


When it comes to the literature of moral responsibility, I much prefer philosophers to psychologists and psychiatrists. The latter two professions tend to take a hard deterministic view of human behavior, according to which a person's decisions are wholly determined by heredity and environment with no room for free will. That leaves no room for nuance--no one could be morally responsible for anything.

Philosophers can be hard determinists, although most are either soft determinists (compatibalists) or libertarians on the will. All would agree that someone who is severely mentally ill to the point of not recognizing reality or not understanding right and wrong is not morally responsible for his actions. Where Eliot goes against the current psychological and psychiatric zeitgeist is in his view that a person with a personality disorder is morally responsible for his acts despite having a somewhat distorted view of reality due to his disorder. His one exception is the psychopath; when this book was written it was thought that a true psychopath has no conscience. Later research has suggested that psychopaths have a conscience but are able to turn it off or on at will.

The current trend is to deny moral responsibility or at least hold that it is greatly mitigated in people with personality disorders. Elliot is willing to admit this in extreme situations such as a person with borderline personality disorder who acts while in a fugue state. In general, however, Elliott considers personality disorders to be character flaws. This is, I think, correct, and is obscured by the social sciences' attempt to remain "non-judgmental." Yet people with personality disorders are not causally determined by their disorder to do act A instead of acts B or C. Rather, they are able to choose which action to perform, though their disorder makes it difficult at times to do the right thing. They remain morally responsible for the bad actions they perform.

Elliot does a service not only to the public at large, but also to sufferers of personality disorders. Many times the refusal of people with personality disorders (especially the Cluster B disorders--narcissistic, histrionic, borderline, and antisocial personality disorders) is due to their failure to take responsibility for their bad actions. Instead, they blame others. If they realize they do have moral responsibility for their actions, that is wrong to say, "I can't help who I am," then effective treatment is possible. Elliott's approach offers a better way of appraising personality disorders and a way out of the suffering by holding people with personality disorders accountable for their actions.



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Review of John Hairr, Harnett County: A History

Harnett County:: A History by John Hairr

My rating: 5 of 5 stars


Almost two years ago I moved to Harnett County, North Carolina and, out of interest in the history of the area, I found this book. It offers a fascinating account of the history of Harnett County from the days of the various Native American tribes to the early Scotch-Irish settlers to the conflict between the Tories and those who supported the American Revolution. There is a good account of the religious history of the area, particularly the influence of Scotch Presbyterianism. The struggles to navigate the Cape Fear River and build the earliest roads are described in detail, including the use of Irish immigrants in construction projects. There is also a fascinating account of Harnett County's role in the War between the States and the Battle of Averasboro. The discussion of the county's politics after the war is interesting, as I was not aware that Harnett County was a Republican stronghold. The founding of the major towns makes a fascinating history, including the defunct towns such as the old county seat of Toomer and its eventual replacement by Lillington. Averasboro was once a thriving town that lost influence and population after it lost its status as a railroad hub. The discussion of the mill town of Duke, which was later named "Erwin," reveals the important role that mills once played in the economics of the region. Dunn's change from its early status as a wild, saloon-filled town into one of the most prosperous and populous towns in Harnett County is detailed. The book also has fascinating accounts of colorful characters that have made up the rich history of Harnett County. I highly recommend this book.



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Review of Francis Seeburger. Addiction and Responsibility

Addiction and Responsibility: An Inquiry into the Addictive Mind by Francis Seeburger

My rating: 5 of 5 stars


Professor Seeburger's book is, by far, the best book on the phenomenon of addiction I have read. Seeburger is a philosopher working within the phenomenological tradition, and this approach helps him to "get inside" the addictive mind to explore the lure of addiction and its closeness to religious experience, albeit twisted in the case of addiction. His discussion of the levels of responsibility in addiction is nuanced but fair, allowing that there are times we do (and should) hold the addict responsible for his actions. I highly recommend this book to anyone interested in the exploding problem of addiction in American society.



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Some Reviewers Really Are Assholes. Ignore Them

The general rule is true that you should never respond to or criticize someone who reviews your book in a negative way. We all have different tastes in books, and not everyone is going to like your particular book. But in general, I think I will say what many believe should be unspoken: Some book reviewers are assholes. Some are incompetent. Some believe that, though they have far less experience and training in writing than the author of a book that they can lecture the author on how to write in a condescending way. How should an author react to a negative review by an incompetent or a troll?

First, do not respond to the reviewer, even if the reviewer made personal comments about how crazy (or stupid) an author is for writing "a book like that." Ignore sarcastic reviews. Although the reviewing community should call out assholes themselves or not allow them to write reviews for their blogs, generally they do not. Your task as an author is to hold your temper and not write a nasty response to a negative review. Some troll-like reviews may still have some valuable criticisms that you can use to improve your work. If a review has no useful information and is totally personal, you are dealing with an asshole--ignore the review. It is only rank amateurs who count the number of "5" and "4" reviews on Amazon and judge a book on that basis--it is far better to read the sample of the book in Amazon and make your own judgment. One or two or three troll reviews won't hurt you--readers usually recognize trolls and simply ignore such reviews. You should, too.

Why are some reviewers assholes? Who knows? Who cares? Their issues are their business. You tend to yours, which is writing. Write. Read good fiction. Go to workshops. Finish another book. When that book comes out, don't sweat the bad reviews--if you put an effort to make your book the best it can be, you'll get some good reviews. Assholes can be left to themselves to be, well, assholes.

On Maintaining High Standards

"You should write for the market. You should write what people want to read. Forget about that "making a beautiful work of art stuff."

The above is the message I get from so many writing "gurus" who e-mail me to buy their works of writing advice. All falsehoods have a measure of truth in them, since what is false is parasitical on what is good. Otherwise, the false would have no appeal.

The truth in the above advice is that it is a good idea to be familiar with contemporary trends in literature, and that includes which books are selling well. If a popular subject or theme intrigues you, write on it--you may have a better chance of selling your book. There is nothing wrong with taking one's own interests into play (including monetary interests) in considering a book topic, and unless you are self-published, most publishers consider the money aspect of utmost importance. While that was not the case when publishing was "a gentleman's profession," it is the case today. Writers must learn to live with that.

What is wrong about the advice in the first paragraph is that it can be interpreted as a call to forget about artistic quality. Do you, as a writer, care about your craft? Do you care about putting out the best written work possible? Do you want to write a beautiful and lasting work of art or a flash in the pan that dies out along with the bestsellers of novelists known in their day, but who are now long-forgotten? If you as a writer go only the commercial route, you will burn out unless you are passionate about the works you are writing. You can be concerned about the potential commercial success of a work as long as you do not sell your artistic soul to the highest bidder. Do not shortchange yourself and your readers for royalties. Do not be so snobbish that you are only going to focus on "artistic purity" at the expense of a chance to actually sell your book. Always write your best quality work without compromising your artistic standards. The "Golden Mean," the middle way, is often the best course of action to take.

Existential Angst and Horror

You awaken at 2 a.m. There is no light in the room. You hear your heart pounding through your pillow. Your mind wanders. "How many heartbeats do I have left? What will happen to me when I die? Will I see the light, or will I pass into nothingness, my consciousness fading away until I am nothing at all?" It seems silly to worry about death being nothingness. You wouldn't feel it. But the thought of that wonderful self-awareness, that consciousness, "I-ness," that once awakened to the play of sun and shadow on the bedspread, that loved, became angry, laughed--passing into the void along with the body--no thinking forever--is beyond fear. It is horror at one day having to face non-being. If you are religious, you wonder if your religion is false. Isn't life after death too wonderful to believe? All that supposed evidence from mediums and ghosts--couldn't that be ESP from the minds of living persons and have nothing to do with the afterlife? You stay awake, sweating, heart racing, lost in despair.

To me, the most frightening aspect of horror fiction is that it can capture that mood. It may do so directly, in a story about someone suffering existential angst--the late William Peter Blatty described that horror in some of his characters. It may be indirect, a dark hole as wide as a rictus in a Lovecraften beast. It may be captured when you identify with a character in a horror story, crawling on the floor in the dark with some unseen dread about to spread its wings and bury the character in eternal darkness. Horror fiction can remind us that this life will end, and without a belief in an afterlife, nonbeing is like Tolstoy's well. A man hangs from a rope, about to fall into a seemingly bottomless well. A white mouse gnaws one side of the rope; a black mouse, the other. Just before the man falls, he reaches with his mouth and grabs some berries near the top of the well. Then the rope breaks, the man claws the walls, fingernails scraping with a sound that scalds the ears. The white mouse represents days; the black mouse nights. The berries represent the joys of this short life. Horror dares to tell the teen who thinks he is beyond death that death will come. It tells the rich heiress that money will do no good to a rotting corpse. It bursts our naive optimism in science by showing that there is no alternative to death. If a writer can take a bit of Camus, a bit of Sartre, a hint of Lovecraft, and mix them into a bowl, darkness will spill out of the bowl to engulf the reader.

Good night, sleep tight, don't let the bedbugs bite.

Existential Angst and Horror

You awaken at 2 a.m. There is no light in the room. You hear your heart pounding through your pillow. Your mind wanders. "How many heartbeats do I have left? What will happen to me when I die? Will I see the light, or will I pass into nothingness, my consciousness fading away until I am nothing at all?" It seems silly to worry about death being nothingness. You wouldn't feel it. But the thought of that wonderful self-awareness, that consciousness, "I-ness," that once awakened to the play of sun and shadow on the bedspread, that loved, became angry, laughed--passing into the void along with the body--no thinking forever--is beyond fear. It is horror at one day having to face non-being. If you are religious, you wonder if your religion is false. Isn't life after death too wonderful to believe? All that supposed evidence from mediums and ghosts--couldn't that be ESP from the minds of living persons and have nothing to do with the afterlife? You stay awake, sweating, heart racing, lost in despair.

To me, the most frightening aspect of horror fiction is that it can capture that mood. It may do so directly, in a story about someone suffering existential angst--the late William Peter Blatty described that horror in some of his characters. It may be indirect, a dark hole as wide as a rictus in a Lovecraften beast. It may be captured when you identify with a character in a horror story, crawling on the floor in the dark with some unseen dread about to spread its wings and bury the character in eternal darkness. Horror fiction can remind us that this life will end, and without a belief in an afterlife, nonbeing is like Tolstoy's well. A man hangs from a rope, about to fall into a seemingly bottomless well. A white mouse gnaws one side of the rope; a black mouse, the other. Just before the man falls, he reaches with his mouth and grabs some berries near the top of the well. Then the rope breaks, the man claws the walls, fingernails scraping with a sound that scalds the ears. The white mouse represents days; the black mouse nights. The berries represent the joys of this short life. Horror dares to tell the teen who thinks he is beyond death that death will come. It tells the rich heiress that money will do no good to a rotting corpse. It bursts our naive optimism in science by showing that there is no alternative to death. If a writer can take a bit of Camus, a bit of Sartre, a hint of Lovecraft, and mix them into a bowl, darkness will spill out of the bowl to engulf the reader.

Good night, sleep tight, don't let the bedbugs bite.

Individual Variability and Writing Habits

If any of you who write have attended a workshop, your group leader may have said, "Write something every day to keep in the habit of writing." Other rules of thumb include "Write at the same time and place every day," and "Don't take a break (or perhaps, 'an extended break') from writing." For many writers, these rules helped them initially get into the habit of regularly writing. However, writers, like people in general, are not monolithic--each writer has nuances regarding the process. If the rules of thumb you hear about the writing process help you write more material, keep up the good work.

For me, I rarely write every day in a week, though I write most days. There are times I am sick of writing and do some reading for a while. Sometimes I engage in academic writing exclusively; at other times I focus on creative writing. Sometimes I write a little of both types on a given day.

I do not write at the same time every day, but "as the opportunity arises." Like mice and other people, my "best laid plans" do not always pan out. Generally I write in the afternoon and evenings, and rarely in the mornings unless I am on a writing retreat, in which case my mind is oriented to writing all day every day with short walking breaks interspersed. On most mornings my brain is half-asleep, and after morning classes I tend to chill out unless I have an approaching deadline for a writing project. Sometimes I will not write at all for several days. I have left novels sitting for months before getting back to them, and usually I find my subconscious mind was able to solve any major issues with plot and character I had earlier.

These are my habits, and with three published novels, two collections of poetry, and a nonfiction book as well as an academic anthology and numerous articles, I believe those habits have served me well. For someone else they may be disastrous. I do not ask people to copy my habits, but if they work for you, by all means go ahead. As long as keep writing and working on our craft along with the other tasks that belong to writers, we are doing all we can do.