Philosophy Books

I used this anthology in the late 1990's for a course I was teaching in the history of modern philosophy. I will be teaching the same course in the Spring of 2009 and I will be using the same textbook. It is comprehensive. And students will appreciate the fact that it is relatively inexpensive. Hackett does it again!

Modern Philosophy -- full of writings from philosophers such as Locke, Kant or Spinoza -- can be seen as a daunting period of philosophy. I read this book as a text for a modern philosophy class, and found that it is a very competant editing of these difficult texts. The anthology begins with "premodern" writings of Galileo and others, goes through Descartes (with a selection of criticisms of Decartes' work from his contemporaries), and then goes through the work of other modern philosophers such as Locke, Berkeley, Spinoza, Libeniz, Kant, and others. The editor does a wonderful job arranging texts to illustrate the back and forth dialog and critisms among the philosophers. In addition to the selection of texts, there are wonderful notes scattered throughout the text to help alleviate much of the confusion that can arise after reading some of the quite lengthly writings of some (many! ) modern philosophers. Perhaps on an aesthetic (non-content) sidenote -- the book itself is excellent. When I was reading a section, I did not have to worry about pages flipping on me, because the binding is very flexible. In addition highlighters don't bleed through the page -- a wonderful plus to a great anthology! I would highly recommend it.

"Archaeology Of Knowledge" finds Foucault at his barest, trying to build up his own theory. Like others have said, it is fascinating to see how much he tries to encompass and how extremely difficult his own enterprise is. Foucault spends many pages trying to explain to us what he means by "discoursive formation", "object formation", "formation of concepts", etc., and the place where his own theory stands vis-à-vis a so-called "history of ideas". You can learn lots from this book, because, like myself, sometimes you get lost in Foucault's magistral writing, his fabulous way of weaving history and thus cannot clearly follow his own particular method of research. If you want to see some of his (earlier, almost stricly discourse-oriented) key concepts clarified, reading this book will prove very fruitful. As always, you're left with a lot of questions and with a distinctive feeling of "now what?". But then again, that's what's so utterly beautiful and engaging about Foucault... he forces you to think for yourself and provides you of the right tools to do it.
I read the spanish translation of this book so I can't comment on the english one, but the contents of this book are priceless.

Viewed against the background of Foucault's other books, *The Archaeology of Knowledge* is a curious work. In it, Foucault not only explicates the results of his early books on madness, medicine, and the history of the human sciences: he also offers programmatic statements that link up his methods with the main stream of 20th-century French historical researches. The *episteme* linking seemingly disparate fields of inquiry is here explicitly presented against the background of Ferdinand Braudel's *duree*, and other famed devices for recontextualizing historical facts. For Foucault is intent on demonstrating his method without reference to (*against*) the philosophical luminaries that had until then monopolized such meta-theory.

The uninformed, and perhaps some of the informed, may be surprised to find Foucault actually considering the fact itself: hardly a promising beginning for showing how everything seemingly natural about social life hinges on systems of power. But it is precisely the historical fact that Foucault is concerned with, the dry, value-free content of the "archive": he is interested in the conditions of the possibility of grasping the events of the world in the manner of the historian, and proceeds to elaborate a system for comparing and construing such data without reference to processes of consciousness or any other valorizing quantity from outside history.

He proceeds to do this by elaborating a pragmatics of discourse quite unlike linguistics of the Saussurean (or Gricean) variety, studying how contexts of information combine to produce a happening intelligible as an event, not only as a linguistic counter or evidence of an intention. His analysis strongly resembles that of the celebrated Thomas Kuhn, who in truth aimed not to relativize science but to explain its true "background" in actual scientific practice. Drawing many examples from (and correcting naivete in) his books *History of Madness*, *Birth of the Clinic* and *The Order of Things*, Foucault attempts to show how an intellectual history can carefully collate and juxtapose historical information without imposing an idealizing "mentality" on the originators of a discourse.

Recapping as it does his work of the Sixties, fans of Foucault's analyses in *Discipline and Punish* and *The History of Sexuality* may expect this book represents only "transitional" views of Foucault's, later discarded in favor of a full-blooded Nietzschean pursuit of power relations. But "genealogical" theories are not ignored here, particularly in Foucault's inaugural address for the College de France, "The Order of Discourse", generously included at the end of this volume. It is true that Foucault's theory does not represent the program of a "history of truth" elaborated in "Truth and Juridical Forms", early lectures on the history of the penal system included in volume 3 of the New Press's *Essential Works*. But by the same token those interested in the French social theorists who preceded Foucault will find that Foucault's engagement with their problems, especially those of his teacher Althusser, is here much more explicit than elsewhere.

In conclusion, this book is unlikely to grab you unless you have already made a significant investment in Foucault, or "contemporary" history more generally. But for anyone who has indeed spent some time thinking about such things, this book is an anodyne statement of important and influential views about history and how it is done.

Foucault is not a light read - you will spend several hours just trying to interpret this text. His wording is unusual and complicated, and sentences can run on for almost a paragraph. Sometimes you'll just want to tear your hair out.

Nonetheless, this book is important. The theories Foucault presents in this book, while nearly impossible to cite correcly, do reappear in many modern texts, especially ones about modern literature or the academy. My suggestion is you read it with the assistence of others, preferably including someone with more academic experience (i.e. a professor.)

Do not be fooled by those who dismiss this as a mere curiousity in Foucault's oeuvre. This difficult work is absolutely essential for understanding his central concept of 'discourse'. All of his works are better understood after a careful reading of this difficult work; this is true even for the later 'geneaological' works.

The Conclusion of this book (Chapter V) is perhaps the most interesting. Foucault appears to be corresponding with an undisclosed someone, wether with himself as a self critique, or with a critic. I won't put asside the possibility he is coversing with someone from the Tavistock Inst.; as Tavistock Publications Lim. was the first place of translation for this text. If he had not suceeded, in his archaeology of knowledge, an undermining of structuralism, with the thesis on human discourse, then perhaps it is because of a lack of conviction on part of this "someone" or on part of himself.

Understanding the implication of Foucault's thought process from a first read requires a refflective reader and in many ways requires a far-reaching mind from the start. This work is composed of a terminal plethora of architectures and teleological plethoras of exemplifications from science and history. Economics, stats, documents, records, and items from all discourses are examined and presented as artifacts of discursive knowledge. The Archeaology itself is the thematic for the Archive, and the archive is the preservatory of knowledge, that such discursive knowledge is preserved is archaeology. Foucault's task then is to undermine the archives of knowledge and present that knowledge back upon the structural framework of rational discourse. With observational power and radical ability, Foucault goes beyond the framework and invisibly subordinates it's needs to be observed and it's intention to be ritcheous (ritcheous in all that it accounts for, and ritcheous of the observer.) From the most primordial archean, to the revival of the primal archaic state, to the archaology of all knowledge, Foucault shows that in a way discourses built upon historical facts are like artifacts themselves. Here in the conclusion we see that the problematic of language (langue) as the derivational principal of discourses, cannot be made paletable (literaly!)

And so the audition fails because language or the "langue" is not sufficiently constructed for what it represents in discursive practice. At the zenith of the teleological project, when temporal conceptualization extinguishes itself from being quantified into being qualified, at the last quarter of the era, perhaps this work will be gleamed from the resevoire and conrgessively discussed.

This book was delivered in excellent conditions, it was a brand new book and it arrived faster than I expected!

A previous reviewer asked what Thoreau might think of how society has developed commercially since he wrote this book. I have to also wonder what he would think of the ridiculous (in my opinion) and jingoistic cover of this current edition? The person who chose the cover design should have read the book. The cover is offensive, given the ideas the book contains. Penguin should be ashamed.

This is a classic novel. It's value as literature speaks for itself.
I received the product in the condition advertised, in two days.
I am completely satisfied with the purchase and service.

Thoreau is more than simply a writer who produced a great American classic. He exemplified the idea which perhaps as much as any other has come to be at the heart of the American creed. "If a man does not keep pace to his companion, perhaps it is because he hears a different drummer.Let him step to the music which he hears, however measured or far away."

Throreau when he went into the woods of Walden Pond on July 4, 1845 , a journey in solitude which would last just two years and two months, was the archetypal American individualist. He was the man 'doing his own thing' living in accordance with what only he could know was right for himself. This idea of 'radical individualism' has become part of the American common faith. Its abuses are legion and may be disastrous, but it also has brought about not simply 'better mousetraps' but a whole vast world of innovations and innovators, the like of which Mankind has never known before.

Thoreau as he writes in his introduction went to the woods to explore not simply the natural world, the outdoors he so much loved. He went to the woods to truly go more deeply into and know himself. As he says in his introduction:

" I should not talk so much about myself if there were anybody else whom I knew as well. Unfortunately, I am confined to this theme by the narrowness of my experience. Moreover, I, on my side, require of every writer, first or last, a simple and sincere account of his own life, and not merely what he has heard of other men's lives; some such account as he would send to his kindred from a distant land; for if he has lived sincerely, it must have been in a distant land to me."

Thoreau in that enigmatic, epigrammatic aphoristic style, he shared with his great mentor and fellow pioneering poet- philosopher, Emerson connects the world within with the world without , connects the Concord woods with the Cosmos . He creates a work in 'Walden' of singular beauty and of its own special economy and principles in thought.

Thoreau was too an abolitionist, an opponent of the Mexican war, a civil disobedient who refused to pay the poll tax-, a pioneer
whose followers would include Gandhi and Martin Luther King Jr.

But in his close looking at the world of nature and the world of himself he was first a great explorer of life and reality going out alone in his own way- however geographically close he may have been to home.

His words and his wisdom waken us even today to the hope of new and better worlds i.e. he also embodied the spirit of a great American optimism.

The great individual teaches us even in dark hours to find new worlds in ourselves outside our own darknesses. " There are new worlds yet to be born" he writes, " The sun is but a morning star"

Walden itself is a book that will make you re-examine every aspect of your life. I recommend buying another version. The writer of the introduction to this version is clearly not a fan of Thoreau. He certainly did not experience the spiritual somersault that 80% of the population would experience with this masterpiece, and so is ill-suited to comment on it. The quotations from other authors at the end of the book seem to have been chosen to undermine Thoreau, and the review questions are at best patronizing and at worst insulting.

In addition the type and pages are too small. You will want a larger volume with room for underlining and note-taking when you read this Walden.

When I read through the prologue of this book, I thought it would be about consciousness, and how activity in the brain explains why we have the experiences that we do.

I was wrong. This book is not about consciousness. Instead, Chris Frith attempts to explain how our mental world arises from activity in our brain. He does this not from wild speculation, but from a horde of neuroscientific evidence. He stops short of explaining why our experience of our mental world is at it is. For example, Frith shows that colour is all in your mind, but he does not explain why the colour red appears to you as it does.

The book is divided into three parts. In part 1, Frith shows, using strong scientific evidence, that our experience of direct, complete and immediate access to the physical world (through our senses) is nothing but an illusion created by the brain. There is a real world out there, but we don't experience the real world - we experience our brain's coarse model of the real world.

In part 2, Frith explains how our brain develops good and useful models of the world. Roughly, this is done by making predictions based on an existing model (prior knowledge/assumptions) about the world, examining evidence about the errors in these predictions, and updating the model in light of these errors. This iterative process is the essence of learning. All this work is done subconsciously, of course - we just experience our brain's ever-changing model of reality. At the end of this part of the book (chapter 6), Frith explains that it is by modelling the physical world that we can model the minds of others, and that our access to the mental world is as indirect as our access to the physical world.

In part 3, Frith explains that our brains develop good models of other people's minds using the same scientific process (described in the previous paragraph) by which our brains develop good models of the physical world. This process allows us to (sort-of) understand other people, and to share ideas with them.

In the epilogue, rather than try to explain consciousness, Frith offers speculation on what consciousness - and the associated illusion that we are free agents - is for. He argues it gives us reason to reward and punish, thus it facilitates cooperation. I personally feel this is the weakest part of the book (or perhaps I just missed the point), but it provides interesting food for thought.

Overall, the book is well structured and an easy read for the intelligent layman. Frith writes with a very casual and informal style and a good dose of humour. There are a lot of typos that will stop you in your tracks, but the intended meaning is always clear from the context.

The book is perhaps a little brief, but I am satisfied with what I've learnt. Since reading the book a few days ago, I've actually noticed that I "see" things differently now. Like when Neo can "see the matrix" at the end of the film The Matrix, I feel like I can (to some degree) see through some of the illusions created by my brain as I go about my life. This is an empowering change - the world seems more interesting, and less threatening. I did not expect this to happen from simply reading a popular science book.

It's hard to resolve where the best place to encounter Chris Frith might be - a classroom, a pub, or a party. In this book, the last is set as a means of providing exchanges between a working cognitive neuroscientist and people from the humanities and other sciences - English and physics, in this case. Frith goes to some effort to show how many misconceptions about how the mind works still exist in our society. He wants to set those right, and does so splendidly in this book on the workings of the brain. With a style one might almost describe as jocular, Frith reveals how the brain deals with the world outside and within us.

Frith had the good fortune to enter the field as the new, non-intrusive methods of brain imaging were emerging. Big, cumbersome and expensive, these tools, the PET, fMRI and CAT scanning devices soon came into more widespread use. These machines could map the living brain, while patients could be queried or given tests to assist in determining which brain areas were active at a given time. Frith describes these tools as moving brain studies from a "soft" science to a "hard" science in which detailed measurements could be made. Previously, it was either guess-work, or brains could be analysed only after a patient's death.

What has emerged from these studies is a very serious challenge to what we call "reality" and our perception of it. The brain does many things without our realising it. Apart from the obvious ones like keeping the heart and lungs pumping, there is the issue of what we "see". We like to think that when we "look" at something or somebody, we are seeing a continuous image. That's simply not the case. Beyond the fact that the eye undergoes a rapid shifting motion called "saccading", it's also converting photons into electrical signals. The brain must interpret the incoming messages and make sense of them. When it finally sends a message to the frontal cortex, an "image" has been recorded and you are now in a position to react to it.

The many vagaries in the operation of the brain in creating the mind, lead many in the humanities to scorn cognitive neuroscience. Frith uses his English professor as a foil to challenge the value of his work. "You can't pin down the mind like a specimen in a display case", he has her intone. But Frith's work and that of the many researchers he cites, demonstrates the fallacy of believing that we are in control of our minds.

Vision is but one area where the brain must interpret input and build a result for you to understand. The brain has developed a number of tricks to help itself produce something meaningful from what the senses tell it. The chief resource in this mental technique is memory. From our earliest years, the brain has been recording and cataloguing various inputs to assist in the formation of what we think we perceive. A point that must be remembered through all this is that the catalog isn't something that the devices can pinpoint for us to analyse. Memory, though it has fairly well-defined pathways, is part of a very dynamic and elusive system. What it produces for our conscious use is highly arbitrary. The brain may serve up memory images almost as a whim. Very little of it is under our control, yet we continue to assert we are given "free will". Frith doesn't deny there's an element of will in how we think, but it's anything but "will" in an absolute sense. And we must be cautious about how free of constraints it is. Since the brain is faced with countless episodes of false information, such as optical illusions, those memories we depend upon as the foundation for decisions, "free will" comes close to being meaningless.

For the person new to the ideas and research being done in how the brain works, this book is the ideal starting point. It's invaluable for the concepts it introduces and explains - so far as is known, and does so in a compelling manner. While he chides the English teacher on the one hand, he pays attention to her comments as a lever for introducing a topic needing further explanation. And his explanations, while challenging some long-held philosophical notions, demonstrate how much we've learned, yet still need to know about the brain. A fine gift for a student seeking a career path. What we learn about the brain tells us a great deal about who we are. [stephen a. haines - Ottawa, Canada]

When I first found this book, it took some convincing before I bought it. The book is fairly expensive, and from looking at the chapter sections, the book seems to promise to explain the impossible... and in a very short space.

However, there was one other review, which was very positive. I then learned that the book had been positively reviewed by both V.S. Ramachandran and Oliver Sacks. So I bought it, and I sure am glad I did!

To put it bluntly, this is by far the best book on the brain that I have ever read. Don't get me wrong, I love the books by Sacks, Ramachandran, Pinker, etc and recommend them to people all of the time. But as for overall readability, wittiness (I laughed out loud numerous times), and extremely clear explanations of complicated topics, this book is tops. There were a few things in the book I already knew about, but Firth explained them again in new ways I hadn't considered. I was constantly blown away the awesome amount of information in each chapter.

The book does exactly as the title promises, and explains from basically the ground up, what different parts of the brain do, how they do it, why they do it, and how we know... and how this all comes together to make the mental world that we experience. He addresses all of the common questions and objections that arise during discussing such topics, and even addresses why many scientists give psychologists such a hard time about being "soft scientists", and why this is changing.

So in conclusion, if you know nothing about the brain, or even if you know a lot about the brain, read this book. I am sure that everyone will learn a TON from it, and enjoy it immensely. I guarantee that you wont regret it.

Every once in a while, I read a book which performs a sort of miraculous feat. It sets out to do the seemingly impossible, and then not only does so, but does so in a way which seems almost effortless.

Chris Frith's book "The Making Up The Mind" is like this. Its task is nothing less than to explain "how the brain creates our mental world" to a popular but educated audience - and in the space of 193 pages, he actually does it. Along the way, he references dozens of the most important studies on conscious/unconscious perception, computation, self-image construction, etc., extracting from them their most relevant points, and weaves them into an engaging narrative characterized as much by its clarity as by its genial tone.

A few particular personal high points in this book: Frith's tidy explanation of Bayesianism, his remarks on the inevitability of pre-judging, the brain as a cultural organ, and most of all, his chapter on prediction/evaluation mechanisms.

When I started the book, I kept a pencil handy so as to underline all the most important sentences/concepts. By the time I was done reading it, my book looked like a band of hypergraphic monkeys had gotten hold of it, so full of circles and lines and scribbled notes was it.

Verdict: five big stars.

This is a great book, I've gone back to it many times. It is not the definitive text on Buddhism, and does not try to be. It is an easy to read, thought provoking and wonderful piece. Strongly recommended for those who are beginning their meditation practice, and who want to learn more about Buddhism through meditation.

Some people go to a chiropractor for a spinal adjustment; I turn to this book time and again when I'm in need of a mental and emotional adjustment. And even aside from the meditation itself, when I'm stressing too much over things I can't control, or spending too much time thinking about what or who is frustrating me, the teachings in this book have given me the tools to put things in perspective, not as I might wish them to be but as they are and that is a GREAT thing! It would not be overstated to say this book has changed my life in the three years since I first read it.

Multi-tasking with work, kids, home, etc., I began to notice my memory failing me more and more often. Though I probably don't meditate long enough or often enough, I am so uplifted afterward. When I meditate in the morning, my whole day is better for it. There is something about fucusing on the breath that makes it easier to focus on anything better. Whenever I find my thoughts wandering, I narrow things down to the breath and the thing I'm actually doing and everything else falls away. I've learned something about the discipline that's necessary to pay attention to the here and now and thus, my memory is improved because I'm now paying attention in the moment and everything has a better quality to it. It's really that simple.

Like other reviewers, I go through my phases of reading this book before bed. It's soothing and calming and I feel more optimistic. the philosophy is so well laid out here and accessable and useful to anyone, even if you don't practice the meditation - but I hope you will... I am so grateful to have stumbled upon this one!

This is a beautiful book that presents the fundamentals of Buddhism and meditation for the beginner without the weight of ritual and history. It simply delves to the core meaning of the practice and communicates the many benefits to the reader in a refreshingly simple and thought-provoking way. Highly recommended.

This book was a pleasure to read. The message was awesome and the metaphorical teachings are a work of art! This author transcends Buddhism. He is not trying to sell Buddhism as a religion. He teaches the readers how to calm the mind chatter to reach a level of abiding peace and to become leaders, helping others to reach a stage of enlightenment. The goal of all of this is happiness and it deals with changing ones focus from self-centeredness and seeking bliss from external things to serving others and learning what is real and what truly brings lasting joy.

The author uses a clever horse analogy throughout the book and brings it all together with an extraordinary and delightfully skilled culmination. I had to stop and take a deep breath and contemplate on how much thought went into weaving this teaching and metaphor summarizing the lesson with a beautiful mind picture in less than two paragraphs.

I have read and reviewed many great books on Mindfulness meditation. This book takes that meditation to another level of Shamatha and Contemplative meditations for "Turning the Mind Into an Ally," discovering truth, appreciating life and becoming an example for others to emulate.

It is by far worth much more than a 5-star review! Buy it now. You will be glad you did!

Sayong Mipham has produced an easy to digest book involving the basic principles of meditation. At the risk of being overly simplistic, "Turning the Mind into an Ally" involves removing the clutter that crowds the mind. To employ Mipham's own metaphor, our minds often run wild like a horse which needs to be corraled and trained. Even through simple techniques that only involve breathing, one can focus the mind. Yet Mipand's instruction does not stop here as he takes the reader through further levels. I am hesistant to summarize the book further as Mipham states his case much better than I ever could for him.

Although I am a Christian, I have long been interested in Buddhism and the principles of meditation. As Thomas Merton explored in his lifetime, Buddhism has more parallels with Christianity than one might think. In reality, this book is written for a wide audience and can appeal to divergent people including those with only the most basic knowledge of Buddhism.

This is a distillation of the sublime wisdom of fifties and sixties writer on Vedanda, Zen, and psychotherapy in a proto-integral non dual Zen way. This is a perfect, succint glide past constructed and limited ego. Five stars.

In his pursuit of science man emphasizes the difference between things: this is not that. This approach has created the technological world in which we live, but the very same mind set has created a culture in which man feels cut off from the world, isolated in the eternal 'I', lonely and at odds with those around us. "You are not me", we say. But in this book Watts wants to teach us a different way of looking at the problem. Things do not exist in separate categories of, for example, 'right' and wrong. Rather the world is a set of continuums and polarities which are basic to our understanding. Right and wrong are interdependent and we can't understand one without knowledge of the other. Also, we are not divided off from the world, but intimately linked to the environment. In a witty scenario Watts explores the inter-relationship between an ant in a hole in the ground and you, via your own kitchen. You and I share certain qualities, though of course we may have different degrees of them.

This book is, at its heart, Watts' take on the philosophy of Indian, Verdic (Hindu) literature. As usual it is very accessible reading and is filled with witty descriptions and arguments that lead you to think more deeply about life. I read the book several months ago and am still taking on board some of his apparently simple arguments. I found, however, that I agreed with Watts through his long chains of arguments only to balk at his final conclusion. This happened repeatedly. Specifically I cannot agree that man is a total microcosm of the macrocosm, that we are a unique, yet complete, expression of Brahma, God, Absolute Meaning, or whatever you choose to describe the ultimate 'It' as. This is just too much metaphysics and theology for me. It must be remembered that Watts is an ex-Anglican minister and I think his background shows here. I also wished that Watts had spent much more time defining modern man's current predicament as I feel that this is where he is at his very best. For example I loved the first half of his earlier book The Wisdom of Insecurity for that very reason. Of course your understanding of the world may be very different to mine, so you may like the book better than I did. I certainly didn't dislike it, but I do not feel that it is his best.

After reading this marvelous exposé on the advaita view of who I really am, there was nothing left to do than to give it to my son. It is the ultimate gift a father can give!!!

In 1966, Alan Watts published a book near the end of which he introduced the word "nonduality" to a mainstream audience: "The unity, or inseparability, of one and many is ... referred to in Vedanta philosophy as `non-duality' (advaita) to distinguish it from simple uniformity." The Book is important for anyone who wants to understand nonduality. The topics it covers are wider ranging than what's seen in the current crop of more direct and lean books on nonduality. He riffs on God, Christmas morning, American values, spirituality, Dads, religion, social change, philosophy, death. He calls in Blake, Bohm, Schrodinger, a gang of philosophers, a cut of Zen. Did I mention Santa Claus? Yeah, I think I did.

Alan Watts was the Carl Sagan of nonduality. That is, he spoke eloquently, plainly, quotably, and memorably about the essential truth of his sphere of interest, which could be called nonduality, truth, IT, That, or This, or Who You Are.

In the first few pages, Watts informs the reader a new perspective is about to come down: "We do not need a new religion or a new bible. We need a new experience - a new feeling of what it is to be `I.'"

Then he gets into it and in paragraph after paragraph of explanation and example, Watts lays down the nondual perspective: "...what we call `things' are no more than glimpses of a unified process. Certainly, this process has distinct features which catch our attention, but we must remember that distinction is not separation."

Watts' tone of voice is like that of any guru: "If you ask me how to get beyond the ego-feeling, I shall ask you why you want to get there. If you give me the honest answer, which is that your ego will feel better in the `higher spiritual status' of self-transcendence, you will thus realize that you - as ego - are a fake."

Because of the quality of explanation, I would say The Book is an important and excellent book to add to your study of nonduality. I do think there are moments when Watts enjoys hearing his own voice, but I enjoyed hearing it too.

Jerry Katz
One: Essential Writings on Nonduality

There are many many books available today written about the non-dual philosophy or perspective. At the time this book was written, the old nonduality traditions like Zen, Dzogchen and Taoism were well-known but cloaked in the mystery of Asian or Eastern religions or philosophies. Alan Watts was one of the first to take this revolutionary and radical perspective to the West.

Alan Watts writes from a clear understanding of the nature of reality - he does this in a way that slowly lures us from our conditioned and programmed thought process into a more open and accepting stance.

He points to the fact that the illusion of "ME" being a separate entity held prisoner within a bag of skin and bones is merely a mistake in perception, a false belief given to us by unknowing and similarly-illusioned parents. He uses concepts and illustrations to guide us past the mind, past the overlay of conceptual belief, into a pure STOP, a cease of the mind, in which the true nature of beingness can be known.

The traditional Eastern philosophies were always viewed as just that - Eastern and "separate" philosophies, which applied to "those of that faith" but was not much more than a passing curiosity of those in the West. When this book came out, it was an introduction to Advaita Vedanta, a Western slant on the Eastern teachings. It talked about things which were taboo in the west, hence the title "The Book on the Taboo against knowing what you are."

And why is it Taboo? It's taboo because there is a Truth shining through the words, a freedom of being which underlies ALL religious beliefs, a seeing/knowing which is ever-present and prior to the mind and it's attempts to run away from the Truth. And who wants their long-held and treasured beliefs to be questioned?

Who really wants to know that they truly do not exist?

After waiting so long for this series to be reprinted in better editions than those published recently by Mysterius press, I am sorely disappointed to see this series of reprints come along with another set of completely boring covers.
Donald Westlake had been in talks with Hardcase Crime to bring this series back, sadly that didn't happen, since it would have meant a very irregular reprint schedule, and instead we end up with another series of very conservatively designed books.
Although I find the subjct matter of HCC's covers distracting (ussually scantily clad females in some noirish pose), the painted style is very reminicent of the era in which the Parker novels originally appeared.
This will not distract most readers from a thouroughly enjoyable read, though, but this edition again hides the explosive nature of Parker's first appearance and subsequent misadventures.

One of the best which deserves a lot better.
The novel: 5 stars, the Edition: 0 stars!

The Hunter (also known by it's movie names of Point Blank or Payback) is the beginning of the "Parker" series written by Donald E. Westlake under the penname of Richard Stark. These were paperback originals in a noir crime vein with Parker as the master thief and organizer of major robberies. Written from the early 60's through the mid-70's, the first 12 or so novels became cult classics especially popular with prisoners! DEW resumed the series due to popular demand in the 90's and has completed about 4 more with 1 more just being released. The writing style is stripped-down for fast action and none of the characters seems to have any conscience, least of all Parker. About half of the jobs Parker is involved in go bad due to unforseen problems like greed and betrayal, so murder (but only out of necessity) and revenge are common themes. This series has been reprinted over and over as new readers discover Parker and his single-minded focus on robbery to maintain his quietly luxurious but anonymous lifestyle. Serious literature? NO! Great fun for the crime novel fan? YES!

If you really don't have anything else to read, read this one, nothing of what is written here can be true. The plot is the following (I will write it because this is the first review and is nothing written about this book).

Parker who is a bank robber went to jail when he was betrayed by some friends. When he goes out he found those friends (of the mafia) and try to kill them. Super Parker goes for the mob himself because they owe him part of his last robbery.

If you have one day at the beach without children, you can finish this book in one day.

The Hunter

This is the book where Donald Westlake writing as Richard Stark introduces us to Parker in 1962. After re-reading the book after thitysomething years I realize that Lee Marvin was probably cast as a truer version of Parker. Danny DeVito would have been a good messenger and James Gandolfini would have made a better Mal Resnick. The ending was changed for the movie, but what the hey, that's Hollywood. I think I'll reread them all as my next project. They're that good.

I think Sam Elliott would make a great Parker. He could make a whole career out of this series.

As far as I can tell the other Parker books are:

1) The Hunter (1962; AKA Point Blank, Payback; Parker, by Richard Stark).
2) The Man With the Getaway Face (1963; AKA The Steel Hit; Parker,
3) The Outfit (1963; Parker, by Richard Stark)
4) The Mourner (1963; Parker, by Richard Stark)
5) The Score (1964; AKA Killtown; Parker, by Richard Stark)
6) The Jugger (1965; Parker, by Richard Stark)
7) The Seventh (1966; AKA The Split; Parker, by Richard Stark)
8) The Handle (1966; AKA Run Lethal; Parker, by Richard Stark)
9) The Rare Coin Score (1967; Parker, by Richard Stark)
10) The Green Eagle Score (1967; Parker, by Richard Stark)
11) The Black Ice Score (1968; Parker, by Richard Stark)
12) The Sour Lemon Score (1969; Parker, by Richard Stark)
13) Slayground (1971; Parker, by Richard Stark)
14) Deadly Edge (1971; Parker, by Richard Stark)
15) Plunder Squad (1972; Parker, by Richard Stark)
16) Butcher's Moon (1974; Parker, by Richard Stark)
17) Comeback (1997;
18) Backflash (1998; Parker)..
19) Flashfire (2000; Parker, by Richard Stark)..
20) Firebreak (2001; Parker, by Richard Stark) ..
21) Nobody Runs Forever (2004) Parker, by Richard Stark

Highly recommended for Parker fans and fans of action adventure stories.


Gunner December, 2007

The book was very marked-up and highlites are only helpful if someone highlights well. These highlights were very sloppy and didn't even highlight topics or statements that were useable.

I came across this book as required reading for my intro to ethics course. The first chapter was very interesting, but as time passed, I grew somewhat disinterested. While it is a very nice collection of ethics articles, it lacks TRUE diversity.

The readings are fairly diverse, though only within the realm of "common" ethics -- very little space is given to opposition philosophers such as Nietzsche, Crowley, Russell, etc.

Overall, the editors have done a grand job of presenting articles on the more prevalent issues in ethics, both past and present. It could have been more enjoyable (to me) with the inclusion of vastly opposing arguments, but I must say that it does serve the purpose quite well in that it makes you analyze your own beliefs. Highly recommended for those who desire varied readings in "compassionate" ethics; interesting, but not of utmost importance to those looking for more diversity.

this is a wonderful and enlightening book I recommended to all with an open mind.

This book on ethics is very well-written and its just delightful to read. Don't miss this book, it shou be high on everyone's reading list!

Excellent condition.Excellent translation of Bakhtin whose writing is a Russian take on phenomenology. In the Dialogic Imagination he considers ficition writing--I enjoyed discovering his analysis of the "road" or journey.

Bakhtin is quite a character, and much more accessible as a writer than the reviewer below might suggest in this volume. He has been regarded as the most important theorist of the novel, perhaps ever. But when he celebrates "the novel," it is not always obvious if he's discussing actual novels, an idea ubernovel, or a quality that is novel. I prefer the latter interpretation, but all three are possible.

The crown jewel of this collection of essays is the third one, on the crhonotope. Here, Bakhtin inquires into what amounts to genres of being in narrative space and time. The vampire's lair, the old western saloon, the medieval castle... These chronotopes circulate around in our heads, and can get dangerous if you try to actualize them in the wrong way. Bakhtin himself experienced the horrors of the Stalinist version of the Worker's Paradise chronotope. Enter "the novel", the potential for nongeneric being, open-ended action. That's freedom, no?

Meanwhile, it's great fun to inquire into how the chronotopes in your neighborhood operate, and perhaps to unpack them. Ideals in the U.S. about how a "perfect American" may move and have his/her being might be a good place to start, assuming introspection is not yet so unpatriotic as to become illegal yet...

Bakhtin arguably at his best. Sure the final essay in the volume is not an easy read, but if you think Bakhtin is hard to read try Heidegger when he grooves along with his own lingo. Bakhtin's key idea of contextual language and the many voicedness of novels against the backdrop of an author's voice and that of his times is prehaps the sum total of what the novel as a genre is. In fact, the novel is not quite a genre but an ongoing process that escapes ossification as it changes with the times. Wonderfully done.

I was introduced the Bakhtin, by way of this book, in my grad literary theory course. I found him at the time to be a long-winded individual who took 200 pages to say what could have been said in 50. How wrong I was.

I've since become very enamored of Bakhtin's ideas and I think now that this collection was a wonderful place to start. Yes, Bakhtin is demanding but once you step up to the challenge you will find yourself rewarded beyond your wildest dreams.

The key to this whole collection is the final essay, Discourse in the Novel. This is perhaps his most influential work and it contains some very interesting ideas about the novel, the definition of language and how labguages interact with one another. I would not recommend that a newcomer to Bakhtin start here. If you pick up this volume start with the first essay, Epic and Novel, and go from there. The writing gets progressively more dense and the ideas build on each other so you'll be quite lost (like I was) if you try to tackle Discourse first.

This book consists of four essays of Bakhtin's "Middle Period", two short and two longer works which have been arranged, according to complexity, with the most accessible essay first and the most difficult last. Cooincidentally, this is also the reverse order in which they were written. None of these essays were avaiable in English before the present translation/compilation by Emerson and Holquist, and judging from its many reprintings (the 10th by 1996), quotations and misquotations, and various interpretations, it is the most influential of Bakhtin's works.

Some brief notes on the four Essays:

1. "Epic and Novel" dated 1941 - A rather straightforward comparison of the Novel and the Epic. Its aim is to show the distinctiveness of the Novel. This can be seen as a transitional essay between the Chronotope Essay and the Bildungsroman Fragment. It is well organized and introduces several characteristics unique to the novel such as three-dimensionality, imagery and openendedness.

2. "From the Prehistory of Novelistic Discourse" dated 1940 - This is in essence a brief history of the novel according to Bakhtin. It concentrates on style, theory and as the title states, discourse, beginning with Greek works and going to the Renaissance. Conceptually this is strikingly similar to Erich Auerbach's "Mimesis". This essay is incomplete.

3. "Forms of Time and Chronotope in the Novel" dated 1937-38 - Another long (175 page) discussion on the distinctiveness of the novel. The concept of the Chronotope is introduced simply as "time space" and the essay seeks to show its use from the Greek Romance to the novel of the 19th Century. Bakhtin inserts here also a discussion of the "Rabelaisian Chrontope", the role of the clown, etc. Special emphasis is also given to the Blidungsroman. This essay, it seems to me, is essentially, Bakhtin's own favorite Reading list in which he experiments with his own concept of Chronotope, skillfully fitting it to each work. Despite its digressions it is basically a chronological presentation.

4. "Discourse in the Novel" dated 1934-35 - Another lengthy essay which is in essence Bakhtin's discussion of his philosophy of language. This essay also seems to be unfinished. It consists of five distinct parts in which Bakhtin experiments with different approaches to discourse in the novel. As is often the case with Bakhtin, this essay is also open-ended.

I find this compliation of four essays to be most stimulating. It seems to be well translated and edited. Ample footnotes assist the reader with Bakhtin's many, sometimes obscure, literary references. In my opinion, particularly the last two essays, constitute Baktin's most important work on the novel. Those expecting distinct conclusions and theories will be disappointed, because this is not the aim here at all. Bakhtin instead provides many different starting points from which to continue the study of the novel. This is, for example, what makes the chronotope indefinable, because it is constantly changing. I highly recommend this surprisingly accessible book. I believe that it is, along with "Speech Genres and other late Essays" Bakhtin's most important work on the novel.