# Examining Pro’s Prose Part 13

Graham Greene is one of my favorite “classical” English language writers (I guess I mean he’s taught in some schools). I first read The Power and the Glory eleven years ago, and I was blown away by it. I haven’t returned to the novel since then, but I wanted to use it to dig into Greene’s prose a bit.

I’m not religious, and I wasn’t back when I read it either. One of the things that struck me most about the novel is its ambiguous stance toward religion. The book takes place in a (future?) time where religion is banned. Literally every single reference to any religion is destroyed by the government.

The main character is a Catholic priest secretly keeping religion alive and standing up to the evil government. It sounds like the setup to a cheesy, made-for-tv, inspirational religious movie. But the priest is a drunkard (known as the “whisky priest”). He’s gluttonous and immoral. Now it sounds like anti-religious fiction about hypocrisy in the Catholic church.

Eventually I realized that thinking in terms of these competing narratives was a mistake. This setup was merely a powerful tool to examine the human condition. Each of us has virtues and vices. Each of us has a moral compass we try to live by, and part of the novel is to show how even the strongest of us can throw these ideals away when put in dire situations.

Greene writes with a simplicity and clarity necessary to drive these points home. The book could have easily slid into excess drama and cliche and angst if done by a less-skilled writer. Instead, we get a beautiful story of human frailty.

Anyway, I thought that preface was necessary to understand an analysis of the prose style. Here’s a segment from the second chapter:

The lieutenant walked home through the shuttered town. All his life had lain here: the Syndicate of Workers and Peasants had once been a school. He had helped to wipe out that unhappy memory. The whole town was changed: the cement playground up the hill near the cemetery where iron swings stood like gallows in the moony darkness was the site of the cathedral. The new children would have new memories: nothing would ever be as it was. There was something of a priest in his intent observant walk- a theologian going back over the errors of the past to destroy them again.

One of the hallmarks of non-professional writing is the misapplication of “show, don’t tell.” Something that is supposed to be a small detail blows up into paragraphs of showing for no reason. The brilliance of Greene here is how he uses single, carefully chosen descriptive words to evoke feelings, mood, scenery, backstory, and more. Lesson: one can show more with less words if those words do work.

One could imagine an exuberant young writer letting that first sentence get out of hand with descriptions of the shutters and houses and the general mood and atmosphere of the town. Instead, Greene’s use of the phrase “shuttered town” does all this work for us. We understand the people are terrified. They’ve shut themselves in. No one is out and about. It’s desolate and bleak.

All of this “showing” happens in our head, because Greene struck upon a great word. If the word “shuttered” were something like “terrified,” we’d only get the mood. If it were something like “locked up,” we’d get a visual, but not the mood.

Next, Greene does multiple things at once. He describes select places in the town in order to get backstory on the lieutenant and paint a picture and explain the current political climate.

When the lieutenant was a child, there was a school. He was part of wiping it out and replacing it with the “Syndicate of Workers and Peasants.” Greene doesn’t take the time to explain what this is, but it’s clear. This is some bureaucratic government thing. The name evokes this without further need to explain.

A cathedral was destroyed, and a playground put in. But if Greene had said it this way, we might think this is a happy place. Instead, he gives us the simile “iron swings stood like gallows.” It evokes the disturbing thought of children having to do with chopping people’s heads off. Careful juxtaposition like this can paint vivid imagery in people’s minds. Greene continues this theme. The playground is “cement.” It’s near the cemetery.

Everything about the description of this place is disturbing, and what’s brilliant is that he reveals so much about the character and the town while doing this. This is a man remembering his own history with these places: how he helped wreck the town.

Then he uses a parallel concept. The new children will have new memories. Greene shifts from the character’s childhood to new children and what they’ll think.

The paragraph closes by drawing a parallel to the priest. He connects two of the characters in the novel and draws out a theme. All people want redemption from their past mistakes. But sometimes things we do to absolve a “mistake” only makes things worse. Those “mistakes” might not even have been mistakes at all, but we only see this in hindsight.

The takeaway from Greene’s prose is that one can show more with a few carefully chosen details than if one were to spend paragraphs describing it all. This stripped back style strikes emotional resonance in the novel (especially the haunting last chapter).

Of course, style must be chosen to suit the needs of the work, so this might not be the best choice for everything. But it’s hard to think of a modern novel that wouldn’t be made better by moving in this direction a little.

# Year of Short Fiction Part 6: Cosmicomics

I’ve sort of been dreading this one, but it’s the only thing remaining on my short fiction list that I own. Three years ago I wrote up my interpretation of Italo Calvino’s If on a winter’s night a traveler. Calvino can be strange and highly symbolic, but that book’s meaning jumped out at me with little effort. He had constructed a condensed history of critical theory through the story.

I had a vague familiarity with Cosmicomics, so I knew it would be harder. The stories all feature or are told by a character named Qfwfq. Each story starts with a tidbit of science such as:

Situated in the external zone of the Milky Way, the Sun takes about two hundred million years to make a complete revolution of the galaxy.

The story that follows is usually related to this somehow. The collection as a whole can be read as a symbolic retelling of the history of the universe. Calvino has taken real science and created mythologies that actually fit the data.

But it’s more than that. The stories often have a moral to them or a symbolic quality. They aren’t just fictionalizations of the events of the early universe. They’re almost parables like classic mythology. He’s achieved something odd with these.

The collection came out in 1965, fairly early in Calvino’s career, and well before the highly experimental If on a winter’s night a traveler. Calvino believed realism to be dead, and these stories mark his foray into a new type of fiction. He held on to pieces of realism but incorporated highly fantastical elements.

That’s enough of an overview, let’s dig into my favorite story to see these elements at work. “All at One Point” is a story about the Big Bang. More specifically, it’s about the time when the universe existed in a single point.

The beginning of the story comically plays with the idea that “we were all there.” On a scientific level, this is obviously true. Every atom in the universe existed in the singular point “before” the Big Bang. This includes every atom in our bodies, so we were physically there.

Calvino cleverly takes this statement to its extreme form and personifies us as actually existing at one point. The narrator, Qfwfq, says, “…having somebody unpleasant like Mr $Pber^t Pber^t$ underfoot all the time is the most irritating thing.”

The story spends quite a bit of time in a Flatland-type thought experiment. Through humorous interactions, Calvino teases apart a lot of odd ideas about what it actually would mean to collapse the universe to a single point. For example, one couldn’t count how many people were there, because that would require pulling apart, no matter how slightly.

One family, the Z’zu, got labelled “immigrants.” This, of course, makes no sense, because there is no such thing as outside or inside the point. There is no such thing as before or after the point. Time only started at the Big Bang. So the family couldn’t have come from somewhere else.

The humor in this surface-level reading of the story is already worth it, and I won’t spoil any of the other awkward moments shared by these people from all occupying the same point.

Then the story turns its attention to $Mrs Ph(i)Nk_o.$ She is one of the Z’zu, the family everyone hated. But she’s different. She is pure happiness and joy, and no one can say anything bad about her.

In an act of epic generosity, despite what people say about her family, she says:

Oh, if I only had some room, how I’d like to make some tagliatelle for you boys!

That’s what causes the Big Bang. The universe is made and expands and the Sun and planets and everything. It all happened because of a true act of selflessness and love. The phrasing of the final paragraph is very moving. I won’t quote it here, because I think it must be read in context to be appreciated.

The theme, when condensed to a pithy phrase, is something like “love can make universes.” It sounds really cliche and cheesy, and I think this is one of the things that makes these stories so brilliant. In the moment of reading, they feel profound and fresh.

Calvino’s use of vivid space imagery takes you on a grand journey. These cliche themes are the same that one can find in all the great ancient stories. They only feel tired when done in modern stories. By creating his own mythology, Calvino is able to revisit these sorts of themes without embarrassment.

For the Year of Short Fiction, I do want to return to the question of: why short? In other words, does great short fiction have a genuine uniqueness to it, or is it essentially the same as a novel, just shorter?

I think here we can definitively say that this type of writing can only work in short stories. Even expanding one of these to a novella length would be too much. These stories each revolve around a conceit and a theme. The conceit would grow tiresome if done for too long. I cannot imagine a novella of jokes about everyone existing on top of each other. They would lose their impact.

What excites me about Cosmicomics is that this is the first thing I’ve read this year that I feel this way about. I could imagine the novellas I’ve read and even Cthulhu working as full novels. They wouldn’t be as tightly written, but they’d still work. The very nature of Cosmicomics is that they are short stories. I’m glad to have finally found this.

I should stipulate, though, that one can read the entire collection of stories as a novel: an autobiography of Qfwfq’s life and fictionalization of the history of the universe. This is also an interesting and unique aspect, because almost every short story collection I can think of has separate, unrelated stories. This full collection should be read together to get the best experience.

# Become a Patron!

I’ve come to a crossroads recently.

I write a blog post every week. It takes time. The last one was close to 2,000 words and required reading a book. For the past three years I’ve been writing full time, and so blogging can be a burden that cuts into this with no monetary rewards.

This blog is now over nine years old, and I’ve done nothing to monetize it. I think this is mostly a good thing. I do not and will not run any sort of advertisements. Even upon the release of my first book, I only did a brief mention and then no promotion afterward (and as far as I can tell, this converted to literally 0 sales).

I want this to be about the blog content. I do not want it to turn into some secret ad campaign to sell my work. I can think of many authors who have done this, and I ended up unsubscribing from them.

This brings me to the point. Putting this much work into something is not really sustainable anymore without some sort of support, so I’ve started a Patreon page. As you’ll see, my initial goal is quite modest and will barely cover the expenses to run my blog and website. But without anything, I will slowly phase out writing here regularly.

If this concept is new to you, Patreon is a site dedicated to supporting creative work. Patrons can pledge money to support people creating content they like. It can be as little as \$1 a month (or as many podcasters say: “less than a coffee a month”), and in return, you not only help the site to keep running, you’ll receive bonus content as well.

Because of the scattered nature of my posts, I know a lot of you are probably scared to support, because you might not get content of interest for the month. Some of you like the math and tune out for the writing advice. Some of you like the critical analysis of philosophy and wish the articles on game mechanics didn’t exist.

For consistency, I’ll only put out something that would be tagged “literature” for the vast majority of posts from now on. This means once a month or less and probably never two months in a row (i.e. six per year spread out equally). This “literature” tag includes, but is not limited to, most posts on philosophy that touch on narrative or language somehow, editing rules, writing advice, book reviews, story structure analysis, examining pro’s prose, movie reviews, and so on.

Again, the core original vision for the blog included game and music and math posts, but these will be intentionally fewer now. If you check the past few years, I basically already did this anyway, but this way you know what you’re signing up for.

I think people are drawn to my literature analysis because I’m in a unique position. This month I’m about to submit my fifth romance novel under a pseudonym. This is the “commercial” work I do for money, and it’s going reasonably well. I’ve come to understand the ins and outs of genre fiction through this experience, and it has been a valuable part of learning the craft of writing for me.

My main work under my real name is much more literary. I’ve put out one novel of literary fiction. Next month I’ll put out my second “real” novel, which is firmly in the fantasy genre but hopefully doesn’t give up high-quality prose.

These two opposite experiences have given me an eye for what makes story work and what makes prose work. All over this blog I’ve shown that I love experimental writing, but I’ve also been one of the few people to unapologetically call out BS where I see it.

As you can imagine, writing several genre novels and a “real” novel every year makes it tough to justify this weekly blog for the fun of it.

If I haven’t convinced you that the quality here is worth supporting, I’ll give you one last tidbit. I get to see incoming links thanks to WordPress, so I know that more than one graduate seminar and MFA program has linked to various posts I’ve made on critical theory and difficult literature. Since I’m not in those classes, I can’t be sure of the purpose, but graduate programs tend to only suggest reading things that are worth reading. There just isn’t enough time for anything else.

I know, I know. Print is dead. You’d rather support people making podcasts or videos, but writing is the easiest way to get my ideas across. I listen to plenty of podcasts on writing, but none of them get to dig into things like prose style. The format isn’t conducive to it. One needs to see the text under analysis to really get the commentary on it.

Don’t panic. I won’t decrease blog production through the end of 2017, but I’m setting an initial goal of \$100 per month. We’ll go from there, because even that might not be a sustainable level long-term. If it isn’t met, I’ll have to adjust accordingly. It’s just one of those unfortunate business decisions. Sometimes firing someone is the right move, even if they’re your friend.

I’ve set up a bunch supporter rewards, and I think anyone interested in the blog will find them well worth it. I’m being far more generous than most Patreon pages making similar content. Check out the page for details. The rewards involve seeing me put into practice what I talk about with video of me editing a current project with live commentary; extra fiction I write for free; free copies of my novels; extra “Examining Pro’s Prose” articles; and more!

I hope you find the content here worth supporting (I’m bracing myself for the humiliation of getting \$2 a month and knowing it’s from my parents). If you don’t feel you can support the blog, feel free to continue reading and commenting for free. The community here has always been excellent.

# Critical Postmodern Readings, Part 2: Finishing Lyotard

Last time we looked at the introduction to Lyotard’s The Postmodern Condition: A Report on Knowledge. That introduction already contained much of what gets fleshed out in the rest of the short book, so I’m going to mostly summarize stuff until we hit anything that requires serious critical thought.

The first chapter goes into how computers have changed the way we view knowledge. It was probably an excellent insight that required argument at the time. Now it’s obvious to everyone. Humans used to gain knowledge by reading books and talking to each other. It was a somewhat qualitative experience. The nature of knowledge has shifted with (big) data and machine learning. It’s very quantitative. It’s also a commodity to be bought and sold (think Facebook/Google).

It is a little creepy to understand Lyotard’s prescience. He basically predicts that multinational corporations will have the money to buy this data, and owning the data gives them real-world power. He predicts knowledge “circulation” in a similar way to money circulation.  Here’s a part of the prediction:

The reopening of the world market, a return to vigorous economic competition, the breakdown of the hegemony of American capitalism, the decline of the socialist alternative, a probable opening of the Chinese markets …

Other than the decline of the socialist alternative (which seems to have had a recent surge), Lyotard has a perfect prediction of how computerization of knowledge actually affected the world in the 40 years since he wrote this.

Chapter two reiterates the idea that scientific knowledge (i.e. the type discussed above) is different than, and in conflict with, “narrative” knowledge. There is also a legitimation “problem” in science. The community as a whole must choose gatekeepers seen as legitimate who decide what counts as scientific knowledge.

I’ve written about why I don’t see this as a problem like Lyotard does, but I’ll concede the point that there is a legitimation that happens, and it could be a problem if those gatekeepers change the narrative to influence what is thought of as true. There are even known instances of political biases making their way into schools of scientific thought (see my review of Galileo’s Middle Finger by Alice Dreger).

Next Lyotard sets up the framework for thinking about this. He uses Wittgenstein’s “language game” concept. The rules of the game can never legitmate themselves. Even small modifications of the rules can greatly alter meaning. And lastly (I think this is where he differs from Wittgenstein), each speech act is an attempt to alter the rules. Since agreeing upon the current set of rules is a social contract, it is necessary to understand the “nature of social bonds.”

This part gets a little weird to me. He claims that classically society has been seen either as a unified whole or divided in two. The rules of the language games in a unified whole follow standard entropy (they get more complicated and chaotic and degenerate). The divided in two conception is classic Marxism (bourgeoisie/proletariat).

Even if it gets a bit on the mumbo-jumbo side through this part, I think his main point is summarized by this quote:

For it is impossible to know what the state of knowledge is—in other words, the problems its development and distribution are facing today—without knowing something of the society within which it is situated.

This doesn’t seem that controversial to me considering I’ve already admitted that certain powers can control the language and flow of knowledge. Being as generous as possible here, I think he’s just saying we have to know how many of these powers there are and who has the power and who legitimated that power before we can truly understand who’s forming these narratives and why.

In the postmodern world, we have a ton of different institutions all competing for their metanarrative to be heard. Society is more fractured than just the two divisions of the modern world. But each of these institutions also has a set of rules for their language games that constrains them.  For example, the language of prayer has a different set of rules from an academic discussion at a university.

Chapters 7-9 seem to me to be where the most confusion on both the part of Lyotard and the reader can occur. He dives into the concept of narrative truth and scientific truth. You can already feel Lyotard try to position scientific truth to be less valuable than it is and narrative truth more valuable.

Lyotard brings up the classic objections to verification and falsification (namely a variant on Hume’s Problem of Induction). How does one prove ones proof and evidence of a theory is true? How does one know the laws of nature are consistent across time and space? How can one say that a (scientific) theory is true merely because it cannot be falsified?

These were much more powerful objections in Lyotard’s time, but much of science now takes a Bayesian epistemology (even if they don’t admit to this terminology). We believe what is most probable, and we’re open to changing our minds if the evidence leads in that direction. I addressed this more fully a few years ago in my post: Does Bayesian Epistemology Suffer Foundational Problems?

… drawing a parallel between science and nonscientific (narrative) knowledge helps us understand, or at least sense, that the former’s existence is no more—and no less—necessary than the latter’s.

These sorts of statements are where things get tricky for me. I buy the argument that narrative knowledge is important. One can read James Baldwin and gain knowledge and empathy of a gay black man’s perspective that changes your life and the way you see the world. Or maybe you read Butler’s performative theory of gender and suddenly understand your own gender expression in a new way. Both of these types of narrative knowledge could even be argued to be a “necessary” and vital part of humanity.

I also agree science is a separate type of knowledge, but I also see science as clearly more necessary than narrative knowledge. If we lost all of James Baldwin’s writings tomorrow, it would be a tragedy. If we lost the polio vaccine tomorrow, it would be potentially catastrophic.

It’s too easy to philosophize science into this abstract pursuit and forget just how many aspects of your life it touches (your computer, the electricity in your house, the way you cook, the way you get your food, the way you clean yourself). Probably 80% of the developed world would literally die off in a few months if scientific knowledge disappeared.

I’ll reiterate that Lyotard thinks science is vastly important. He is in no way saying the problems of science are crippling. The above quote is more in raising narrative knowledge to the same importance of science than the devaluing of science (Lyotard might point to the disastrous consequences that happened as a result of convincing a nation of the narrative that the Aryan race is superior). For example, he says:

Today the problem of legitimation is no longer considered a failing of the language game of science. It would be more accurate to say that it has itself been legitimated as a problem, that is, as a heuristic driving force.

Anyway, getting back to the main point. Lyotard points out that problems of legitimating knowledge is essentially modern, and though we should be aware of the difficulties, we shouldn’t be too concerned with it. The postmodern problem is the grand delegitimation of various narratives (and one can’t help but hear Trump yell “Fake News” while reading this section of Lyotard).

Lyotard spends several sections developing a theory of how humans do science, and he develops the language of “performativity.” It all seems pretty accurate to me, and not really worth commenting on (i.e. it’s just a description). He goes into the issues Godel’s Incompleteness Theorem caused for positivists. He talks about the Bourbaki group. He talks about the seeming paradox of having to look for counterexamples while simultaneously trying to prove the statement to be true.

I’d say the most surprising thing is that he gets this stuff right. You often hear about postmodernists hijacking math/science to make their mumbo-jumbo sound more rigorous. He brings up Brownian motion and modeling discontinuous phenomena with differentiable functions to ease analysis and how the Koch curve has a non-whole number dimension. These were all explained without error and without claiming they imply things they don’t imply.

Lyotard wants to call these unintuitive and bizarre narratives about the world that come from weird scientific and mathematical facts “postmodern science.” Maybe it’s because we’ve had over forty more years to digest this, but I say: why bother? To me, this is the power of science. The best summary I can come up with is this:

Narrative knowledge must be convincing as a narrative; science is convincing despite the unconvincing narrative it suggests (think of the EPR paradox in quantum mechanics or even the germ theory of disease when it was first suggested).

I know I riffed a bit harder on the science stuff than a graduate seminar on the book would. Overall, I thought this was an excellent read. It seems more relevant now than when it was written, because it cautions about the dangers of powerful organizations buying a bunch of data and using that to craft narratives we want to hear while deligitimating narratives that hurt them (but which might be true).

We know now that this shouldn’t be a futuristic, dystopian fear (as it was in Lyotard’s time). It’s really happening with targeted advertising and the rise of government propaganda and illegitimate news sources propagating our social media feeds. We believe what the people with money want us to believe, and it’s impossible to free ourselves from it until we understand the situation with the same level of clarity that Lyotard did.

# Difficult Subject Matter in 90’s Song Lyrics

I don’t want to make one of those click bait “the 90’s had the best music EVER!!” posts. One can find really terrible music and really excellent music in any decade. It would be a futile task to claim one decade had the best music.

I went down a strange rabbit hole the other day, though. I just put up a song on youtube and let the autoplay happen while I worked on some other things. It shifted into some sort of 90’s nostalgia playlist, and I kept hearing very surprising lyrics. They were songs I knew from living through the time, but they handled difficult subject matter in subtle and beautiful ways I hadn’t noticed.

I’d be surprised if songs like these could get on the radio today, but I distinctly remember hearing both of these songs on the radio in the 90’s.

Let’s start with “Round Here” by Counting Crows. First off, I’d like to point out that the song is through-composed, already something that could never happen today. The song appears to be about a depressed girl who attempts suicide. But it’s also about the disillusionment of growing up and finding out all those things you were told in childhood probably didn’t matter.

If you think it’s farfetched to have so much in one “pop” song, listen to it a few times. It’s all in there and more. A quick google search brings up wild, yet convincing, interpretations. This “universality” is the hallmark of great song art. Everyone listens to it and thinks it’s about their experience.

Here’s the opening:

Step out the front door like a ghost
Into the fog where no one notices
The contrast of white on white.
And in between the moon and you
The angels get a better view
Of the crumbling difference between wrong and right.

It opens with a beautiful simile. Sometimes pop songs have similes, but they tend to be funny or ironic. It’s hard to think of any current ones that do the hard work of writing something real. “Like a ghost into the fog” is such apt imagery for the point he’s making. Ghosts are white and ethereal. Fog is white and ethereal. A ghost that steps into fog loses all sense of self and no one else can see the person. They’re lost.

Then angels see a crumbling of the difference between wrong and right. This sort of moral ambiguity is another thing it would be hard to find in today’s lyrics. In the context of one of the interpretations I provided, this is probably in reference to how adults tell children right and wrong with clear certainty. As one grows up, one learns that it’s never that obvious.

The lyrics just keep getting better from there.

Next up is “Freshmen” by the Verve Pipe. This song hit Number 5 on the Billboard Top 100. Fifteen years ago, I thought I understood this song. Now I hear it from a totally different perspective.

Originally, I thought it was about a girl that broke up with the singer and then she killed herself over it. The singer is ridden with guilt. But the lyrics, when carefully analyzed, paint a slightly different picture.

Here’s the opening:

When I was young I knew everything
She a punk who rarely ever took advice
Now I’m guilt stricken,
Sobbing with my head on the floor
Stop a baby’s breath and a shoe full of rice

The singer is a typical Freshmen. He thinks he knows everything. This is part of what has changed for me in the song. I was pretty modest as a Freshmen, but now I can look back and it terrifies me how much I thought I knew. I’ve heard this feeling only gets worse as you age.

The key to the song is given right up front. “Stop a baby’s breath” is a reference to his girlfriend getting an abortion, and how this led to a fight and breakup. “A shoe full of rice” is about how they were even planning on getting married. Again, this is subtle imagery that blows by early on in the song. It requires careful attention if one is to understand the rest of the song.

I can’t be held responsible

This is something he tells himself, but he doesn’t believe it. This is a shift in voice, because it goes from narration of the story to internal thoughts. If one takes this line at face value without understanding this shift, one will misinterpret it. Here’s the chorus:

For the life of me I cannot remember
What made us think that we were wise and
We’d never compromise
For the life of me I cannot believe
We’d ever die for these sins
We were merely freshmen

Here’s another reference to his youthful arrogance. He thought he knew everything, and convinced his girlfriend to get the abortion. He refused to compromise and it destroyed their relationship. If you don’t know this song, it’s worth a listen to the rest. It progressively complicates as the guilt reverberates. He can’t hold other relationships out of fear of it happening again.

There’s something haunting about the reiteration of “we were merely freshmen” at the end of each phrase. When we’re young, we think we can do anything without much lasting consequence, but the singer learns the hard way that one devastating mistake can haunt you forever.

To wrap this up, I want to reiterate that it isn’t the difficulty of the subject matter that I find so amazing about these 90’s hits. Plenty of current hits have difficult subject matter. It’s the delicacy with which the lyrics handle the subject. It’s poetic and abstract so that the feeling comes through but the listener interprets it to apply to their own life.

# Critical Postmodern Readings, Part 1: Lyotard

I’m over nine years into this blog, so I think most readers know my opinions and worldview on many issues in philosophy. I roughly subscribe to a Bayesian epistemology, and in practical terms this amounts to something like being a rational humanist and skeptic.

I believe there is an objective world and science can get at it, sometimes, but we also have embodied minds subject to major flaws, and so we can’t experience that world directly. Also, with near 100% probability, we experience many aspects in a fundamentally different way than it “actually” exists. This puts me somewhat in line with postmodernists.

I believe there are valid and invalid ways to interpret art. This puts me in stark contrast to postmodernists. Postmodernism, as a school of thought, seems to have made a major comeback in academic circles. I’ve also written about the dangers posed by these types of ideas. For more information, search “philosophy” on the sidebar. These opinions have been fleshed out over the course of tens of thousands of words.

I first read famous postmodernists and proto-postmodernists like Baudrillard, Foucault, Lyotard, Derrida, Hegel, and so on as an undergrad (i.e. before this blog even existed). At that time, I had none of the worldview above. I basically read those philosophers with the reaction: “Whoa, dude, that’s deep.” I went along with the other students, pretending to understand the profound thoughts of continental philosophy.

I’ve never returned to them, because I didn’t think they were relevant anymore. I kind of thought we were past the idea of “post-truth.” Now I’m not so sure. This whole intro is basically a way to say that I want to try to tackle some of these texts with a more critical approach and with the added knowledge and experience I’ve gained.

I know this will ruffle a lot of feathers. Part of postmodernists “thing” is to dismiss any criticism as “you’re not an expert, so you just don’t understand it.” That’s fine. I’m going to make an honest effort, though, and if you love this stuff and think I’m misunderstanding, let me know. I’m into learning.

Today we’ll tackle Jean-François Lyotard’s The Postmodern Condition: A Report on Knowledge. This is arguably the most important work in the subject, and is often cited as the work that defined “postmodernism.” Since I’ve already wasted a bunch of space with the setup, we’ll only cover the Introduction for now. I recall having to read the Introduction for a class, and I’m pretty sure that’s the extent we covered Lyotard at all.

The Introduction is primarily focused on giving an explanation of what Lyotard means by “the postmodern condition,” and how we know we are living in it. There is something important and subtle here. The section is descriptive rather than prescriptive. Modern (liberal arts) academia tends to think in prescriptive terms. We’ll get to that later.

I guess I’ll now just pull some famous quotes and expound on them.

Science has always been in conflict with narratives.

I don’t think this is that controversial. He’s saying science is one narrative for how we arrive at knowledge. The narrative might be called the Enlightenment Values narrative. It’s based on empiricism and rational argument.

This narrative is so pervasive that we often forget it is a narrative. We usually equate science with knowledge, but these values didn’t always exist in the West. There is a substantial body of work from Descartes to Kant that had to make the case for rationality and empiricism as a foundation for knowledge. That’s the definition of a narrative.

The fact that science comes into conflict with other narratives should be readily obvious. There are science vs religion debates all the time to this day. Lyotard also points out another vital concept we often overlook. There are lots of institutions and political forces behind what we call science, and each of these has its own metanarrative that might come into conflict with forming knowledge.

I define postmodern as incredulity toward metanarratives. This incredulity is undoubtedly a product of progress in the sciences: but that progress in turn presupposes it.

This is a bit deeper than it looks, but only because I know the context of Lyotard’s writing. Taken with the first quote above, one might just think that he’s saying the progress of science has led to people questioning the metanarratives of their lives, like the religion they were brought up in.

Part of the reason Lyotard has chosen the term “postmodern” to describe this condition is because of the artistic movements known as postmodernism. The utter destruction of World War I and World War II brought a destabilization to people’s lives.

Technology created this destruction, and it was fueled by science. Not only did people question the traditions they were brought up in, but they began to question if science itself was good. Much of the postmodern art produced in the decades after WWII focused on highly disjointed narratives (Lost in the Funhouse), the horrors of war (Gravity’s Rainbow), involved utter chaos and randomness (Dadaism), or emphasized futility and meaninglessness (Waiting for Godot).

All these aspects overthrew narratives and traditions. They weren’t just radical because of the content, they often questioned whether we even knew what a novel or a play or a poem or a piece of music was. If we no longer knew what these longstanding artistic forms and narratives were, how could we trust any of the narratives that gave our life meaning?

And I’ll reiterate, there is a pretty direct link from the science that brought the destruction to this “postmodern condition” people found themselves in.

The rest of the Introduction gets pretty jargony.

Where, after the metanarratives, can legitimacy reside?

There is a danger that people will seize upon any stabilizing force once in this position. Authority figures can even ride this to power (we just watched this happen in the U.S.). They tell us stories that make sense and make us feel better, so we put them in power. This is an endless cycle, because once in power, they control the narrative.

How do we form truth and knowledge in such a society? That is the subject of Lyotard’s book and is not answered merely in the Introduction.

I’ll end today’s post by pointing out something very important. Lyotard seems to believe in truth and knowledge and science. He seems concerned by people’s rejection of these concepts due to the postmodern condition.

When people self-describe themselves as a postmodernist, they tend to mean they reject the notion of truth. They say that all we have are narratives, and each is equally valid. Maybe this is because Lyotard isn’t a postmodernist? He merely describes what is going on.

I think more likely it’s that this label has changed from descriptive to prescriptive. Current postmodernists think of the postmodern condition as being good. If science starts to dominate as a narrative, these people want to reject that. In some sense they see this as “liberation” from the “imperialist white capitalist patriarchy” that has dominated the West and caused so much suffering.

I’m very curious to see if these attitudes actually crop up in the writings of postmodernist philosophers or if the this view is some corruption of these thinkers.

# What is an Expert?

I’ll tread carefully here, because we live in a strange time of questioning the motives and knowledge of experts to bolster every bizarre conspiracy theory under the sun. No one trusts any information anymore. It’s not even clear if trusting/doubting expert opinion is anti/hyper-intellectual. But that isn’t the subject of today’s topic.

I listen to quite a few podcasts, and several of them have made me think about expertise recently.

For example, Gary Taubes was on the Sam Harris podcast and both of them often get tarred with the “you don’t have a Ph.D. in whatever, so you’re an unknowledgeable/dangerous quack” brush. Also, Dan Carlin’s Hardcore History podcast is insanely detailed, but every ten minutes he reminds the audience “I’m not a historian …”

Many people who value the importance of expertise think that the degree (the Ph.D. in particular but maybe an MFA for arts stuff) is the be-all-end-all of the discussion. You have the Ph.D., then you’re an expert. If you don’t, then you’re not.

The argument I want to present is that if you believe this, you really should be willing to extend your definition of expertise to a wider group of people who have essentially done the equivalent work of one of these degrees.

Think of it this way. Person A goes to Subpar University, scrapes by with the minimal work, kind of hates it, and then teaches remedial classes at a Community College for a few years. Person B has a burning passion for the subject, studies all of the relevant literature, and continues to write about and develop novel ideas in the subject for decades. I’d be way more willing to trust Person B as an expert than Person A despite the degree differences.

Maybe I’ve already convinced you, and I need not go any further. Many of you are probably thinking, yeah, but there are parts to doing a degree that can’t be mimicked without the schooling. And others might be thinking, yeah, but Person B is merely theoretical. No one in the real world exists like Person B. We’ll address each of these points separately.

I think of a Ph.D. as having three parts. Phase 1 is demonstration of competence of the basics. This is often called the Qualifying or Preliminary Exam. Many students don’t fully understand the purpose of this phase while going through it. They think they must memorize and compute. They think of it as a test of basic knowledge.

At least in math and the hard sciences, this is not the case. It is almost a test of attitude. Do you know when you’re guessing? Do you know what you don’t know? Are you able to admit this or will you BS your way through something? Is the basic terminology internalized? You can pass Phase 1 with gaps in knowledge. You cannot pass Phase 1 if you don’t know where those gaps are.

Phase 2 is the accumulation of knowledge of the research done in your sub-sub-(sub-sub-sub)-field. This basically amounts to reading thousands of pages, sometimes from textbooks to get a historical view, but mostly from research papers. It also involves talking to lots of people engaged in similar, related, or practically the same problems as your thesis. You hear their opinions and intuitions about what is true and start to develop your own intuitions.

Phase 3 is the original contribution to the literature. In other words, you write the thesis. To get a feel for the difficulty and time commitment of each step, if you do a five year Ph.D., ideally Phase 1 would be done in around a year, Phase 2 is 2-4 years, and Phase 3 is around a year (there is overlap between phases).

I know a lot of people aren’t going to like what I’m about to say, but the expertise gained from a Ph.D. is almost entirely the familiarization with the current literature. It’s taking the time to read and understand everything being done in the field.

Phase 1 is basically about not wasting people’s time and money. If you’re going to not understand what you’re reading in Phase 2 and make careless mistakes in Phase 3, it’s best to weed those people out with Phase 1. But you aren’t gaining any expertise in Phase 1, because it’s all just the basics still.

One of the main reasons people don’t gain Ph.D.-level expertise without actually doing the degree is because being in such a program forces you to compress all that reading into a small time-frame (yes, reading for three years is short). It’s going to take someone doing it as a hobby two or three times longer, and even then, they’ll be tempted to just give up without the external motivation of the degree looming over them.

Also, without motivating thesis problem, you won’t have the narrow focus to make the reading and learning manageable. I know everyone tackles this in different ways, but here’s how it worked for me. I’d take a paper on a related topic, and I’d try to adapt the techniques and ideas to my problem. This forced me to really understand what made these techniques work, which often involved learning a bunch of stuff I wouldn’t have if I just read through it to see the results.

Before moving on, I’d like to add that upon completion of a Ph.D. you know pretty much nothing outside of your sub-sub-(sub-sub-sub)-field. It will take many years of continued teaching and researching and reading and publishing and talking to people to get any sense of your actual sub-field.

Are there people who complete the equivalent of the three listed phases without an actual degree?

I’ll start with the more controversial example of Gary Taubes. He got a physics undergrad degree and a masters in aerospace engineering. He then went into science journalism. He stumbled upon how complicated and shoddy the science of nutrition was, and started to research a book.

Five years later, he had read and analyzed pretty much every single nutrition study done. He interviewed six hundred doctors and researchers in the field. If this isn’t Phase 2 of a Ph.D., I don’t know what is. Most students won’t have gone this in-depth to learn the state of the field in an actual Ph.D. program.

Based on all of this, he then wrote a meticulously cited book Good Calories, Bad Calories. The bibliography is over 60 pages long. If this isn’t Phase 3 of a Ph.D., I don’t know what is. He’s continued to stay abreast of studies and has done at least one of his own in the past ten years. He certainly has more knowledge of the field than any fresh Ph.D.

Now you can disagree with his conclusions all you want. They are quite controversial (but lots of Ph.D. theses have controversial conclusions; this is partially how knowledge advances). Go find any place on the internet with a comments section that has run something about him and you’ll find people who write him off because “he got a physics degree so he’s not an expert on nutrition.” Are we really supposed to ignore 20 years of work done by a person just because it wasn’t done at a University and the previous 4 years of their life they got an unrelated degree? It’s a very bizarre sentiment.

A less controversial example is Dan Carlin. Listen to any one of his Hardcore History podcasts. He loves history, so he obsessively reads about it. Those podcasts are each an example of completing Phase 3 of the Ph.D. And he also clearly knows the literature as he constantly references hundreds of pieces of research an episode off the top of his head. What is a historian? Supposedly it’s someone who has a Ph.D. in history. But Dan has completed all the same Phases, it just wasn’t at a university.

(I say this is less controversial, because I think pretty much everyone considers Dan an expert on the topics he discusses except for himself. It’s a stunning display of humility. Those podcasts are the definition of having expertise on a subject.)

As a concluding remark/warning. There are a lot of cranks out there who try to pass themselves off as experts who really aren’t. It’s not easy to tell for most people, and so it’s definitely best to err on the side of the degree that went through the gatekeeper of a university when you’re not sure.

But also remember that Ph.D.’s are human too. There’s plenty of people like Person A in the example above. You can’t just believe a book someone wrote because that degree is listed after their name. They might have made honest mistakes. They might be conning you. Or, more likely, they might not have a good grasp on the current state of knowledge of the field they’re writing about.

What is an expert? To me, it is someone who has dedicated themselves with enough seriousness and professionalism to get through the phases listed above. This mostly happens with degree programs, but it also happens a lot in the real world, often because someone moves into a new career.

I thought I’d get away from critiques and reviews and serious stuff like that for a week and talk about a cool (or scary) development in AI research. I won’t talk about the details, so don’t get scared off yet. This will be more of a high level history of what happened. Many of my readers are probably unaware this even exists.

Let’s start with the basics. Go is arguably the oldest game in existence. And despite appearances, it’s one of the simplest. Each player takes a turn placing a stone on the intersections of a 19×19 board. If you surround a stone or group of stones of your opponent, you capture them (remove them from the board). If you completely surround other intersections, that counts as your “territory.”

The game ends when both sides pass (no more moves can be made to capture or surround territory). The side that has more territory + captures wins. There’s no memorization of how pieces move. There’s no rules to learn (except ko, which basically says you can’t do an infinite loop causing the game to never end). It’s really that simple.

And despite the simplicity, humans have continued to get better and produce more and more advanced theory about the game for over 2,500 years.

Let’s compare Go to Chess for a moment, because most people in the West think of Chess as the gold standard of strategy games. One could study chess for a whole lifetime and still pale in comparison to the top Grand Masters. When Deep Blue beat Kasparov in 1997, it felt like a blow to humanity.

If you’re at all in touch with the Chess world, you will have succumb to the computer overlords by now. We can measure the time since Deep Blue’s victory in decades. The AI have improved so much since then that it is commonly accepted across the whole community that a human will never be able to win against a machine at Chess ever again.

A few years ago, we could at least have said, “But wait, there’s still Go.” To someone who doesn’t have much experience with Go, it might be surprising to learn that computers weren’t even close to winning against a human a few years ago.

Here’s the rough idea why. Chess can be won by pure computation of future moves. There is no doubt that humans use pattern recognition and positional judgment and basic principles when playing, but none of that stands a chance against a machine that just reads out every single combination of the next 20 moves and then picks the best one.

Go, on the other hand, has pattern recognition as a core element of the strategy. One might try to argue that this is only because the calculations are so large, no human could ever do them. Once we have powerful enough computers, a computer could win by pure forward calculation.

As far as I understand it, this is not true. And it was the major problem in making an AI strong enough to win. Even at a theoretical level, having the computer look ahead a dozen moves would generate more combinations than the number of atoms in the known universe. A dozen moves in Chess is half the game. A dozen moves in Go tells you nothing; it wouldn’t even cover a short opening sequence.

Go definitely has local sections of the game where pure “reading ahead” wins you the situation, but there is still the global concept of surrounding the most territory to consider. It’s somewhat hard to describe in words to someone unfamiliar with the game what exactly I mean here.

Notice how on the right the black stones sort of surround that area. That could quickly turn into territory by fully surrounding it. So how do you get an AI to understand this loose, vague surrounding of an area? One could even imagine much, much looser and vaguer surrounding as well. Humans can instantly see it, but machines cannot and no amount of a calculating further sequences of moves will help.

For years, every winter break from college, I’d go home and watch famous and not-so-famous people easily win matches against the top AI. Even as late as 2014, it wasn’t clear to me that I’d ever see a computer beat a human. The problem was that intractable.

Along came Google. They used a machine learning technique called “Deep Learning” to teach an AI to develop these intuitions. The result was the AlphaGo AI. In March 2016, AlphaGo beat Lee Sedol, arguably the top Go player in the world. It was a five game sequence, and AlphaGo won 4-1. This gave humanity some hope that the top players could still manage a match here and there (unlike in Chess).

But then the AI was put on an online Go server secretly under the name “Master.” It has since played pretty much every single top pro in the world. It has won every single game with a record around 60-0. It is now believed that humans will never win against it, just like in Chess.

More theory has been developed about Go than any other game. We’ve had 2,500 years of study. We thought we had figured out sound basic principles and opening theory. AlphaGo has shaken this up. It will often play moves that look bad to a trained eye, but we’re coming to see that many of the basics we once thought of as optimal are not.

It’s sort of disturbing to realize how quickly the machine learned the history of human development and then went on to innovate it’s own superior strategies. It will be interesting to see if humans can adapt to these new strategies the AI has invented.

# Those Words Are Different?

Here’s a list of words I routinely have to look up. Many of these I used incorrectly until quite recently, because I didn’t even realize they were different. A few others I’ve seen other people use incorrectly, so they were on my mind. We won’t rehash the to/too/two or there/their/they’re nonsense, because everyone knows those are different even if they mess it up sometimes. These are words many people don’t even realize are different words.

Lull vs Loll:

Lull means to put to sleep.
Ex: I lulled the baby to sleep.

This is easy to remember, because you can think lullaby.

Loll means to recline or dangle loosely.
Ex: The baby’s head lolled to the side as I lulled him to sleep.

The more common mistake seems to be writing “lull” when “loll” should be used.

Clamber vs Clamor:

Clamber means to climb up with all your body parts.
Ex: I clambered up the fire pole at the first sound of the alarm.

Clamor is an outcry or loud noise.
Ex: The protesters clamored their demands.

This distinction also has a trick. Climb has a “b” and so does clamber, so clamber means to climb. I’m not sure the error happens one way or the other more often, because it’s not clear to me most people even realize these are different words.

Pour vs Pore:

Pour means to dump a liquid, usually onto or into something else.
Ex: I poured myself a glass of orange juice for breakfast.

Pore means to gaze or study with much attention.
Ex: I pored over the photograph of a person pouring orange juice for a clue to the mystery.

I think the trick here is to remember that pore is a word. It seems to me most people use “pour” for everything without realizing the other one exists and is different. If you do confuse them, pour has a “u” just like dump and liquid.

Palate vs Palette:

Palate is the roof of your mouth.
Ex: You have a refined palate to be able to distinguish Merlot from Cabernet by taste alone.

Palette is the board you mix paint on.
Ex: Bob Ross sets up his palette carefully before he begins any painting.

I must admit that I wrote a whole short story about a painter where I accidentally used “palate” everywhere. I caught it upon revision, but I was alarmed at how unaware of this I was. I’ve yet to come up with an easy way to remember the difference, but this is probably another case of being aware that “palette” exists.

Flare vs Flair:

Flare refers to a bright light.
Ex: The motor on the boat died, so we used an emergency flare to signal help.

Flair refers to a talent or style.
Ex: My job as a server requires me to wear thirty-seven pieces of flair on my uniform.

The most common place I see this misused is in the expression: she has a flair for writing. Do not use “flare” in that case. Otherwise, I think people mostly know these are different words and what the difference is.

Cattle vs Chattel:

Cattle are bovine livestock, in other words, a group of cows.
Ex: I trained my dog to herd the cattle.

Chattel is mostly a legal term referring to movable possessions.
Ex: My cattle are my most valuable chattel.

Pretty much no one misuses cattle and pretty much no one has a need to use chattel, so you’re probably safe here. Various unsavory internet message boards can get them confused. For example, 19th century English Common Law had married women as legal chattel of their husband (this was called coverture). If you bring this up while arguing on the internet, it’s best not to use the word “cattle.”

For the record, they both derive from the Middle English “chatel,” meaning “personal property.”

Gantlet vs Gauntlet:

One “runs the gantlet” for punishment, and one “throws down the gauntlet” as a challenge. Let’s not dwell on this or argue over it. These are expressions, and the words are rarely used outside of those two expressions. And yes, the famous 1985 arcade game was misnamed.

All right vs Alright:

This is a trick! “Alright” is not a word. Always use “all right” when you feel yourself about to write “alright.”

I can think of a few more, but they fall more into the “I know they’re different but can’t remember which is which” category (born/borne, hoard/horde, tortuous/torturous, etc). I wanted to keep this to post to words many people might not realize are different at all.

# Year of Short Fiction Part 5: The Call of Cthulhu

Somehow I went my whole life without reading a single thing by H.P. Lovecraft. Since we’re still doing short fiction from the early 20th century, I decided to rectify that. I’m not much of a reader of horror, but there’s certainly a lot any writer can learn by studying the genre. And let’s face it, The Call of Cthulhu is one of the most important works of horror to every be written both from a literary and cultural perspective.

There is a joy in experiencing this story with little knowledge of the plot, so I’ll word things in a vague way to keep the secrets untold.

The first thing to jump out at me was the dense prose style. The first two sentences already indicate this is not your average pulp genre writing:

The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far.

I had to look up a few words in the first pages, though some of these might have been more standard back when it was written (e.g. bas-relief). These opening lines set up much to come. The main character has to piece together various found stories to get the full picture (i.e. “correlate all its contents”). Later we will get a scene set on infinite black seas. So these lines had full intention behind them to set up later parts of the story.

I was a little surprised by how real it was. One might say it is written in a hyperrealist style. The level of detail provided is almost distracting. At times, it was hard to remember the story was fiction instead of reading actual travel logs and notes by people. There are many names, and each of these people have precise degrees and jobs and even full addresses (7 Thomas St., Providence, R.I) associated with them.

In other places, we’re given exact coordinates of various sightings: S. Latitude 34° 21′, W. Longitude 152° 17′. This gives the reader precise information about the settings of various events, but at the same time, it’s kind of useless unless you pull yourself out of the story to Google it (as I did). These details mostly serve the purpose of making everything as real as possible.

This story really hits upon one of the things I wanted to encounter when I started the series. There’s close to a full novel’s worth of material in it, but it’s somehow packed tightly into a single short story.

This hyperrealism is part of what makes this possible. Instead of getting lots of lengthy “show don’t tell” descriptions that usually flesh out a single moment into a full short story, Lovecraft presents several detailed fragments that the reader must piece together on her own. In this way, we get years of events in a few pages, and it all feels natural since we’re just reading a few primary sources along with the main character.

This makes it hard to tell exactly what is happening, but this is done to give the reader the same experience as the narrator, who also doesn’t know what’s happening.

And now we’re in horror. It’s often said that the most suspenseful and horrifying things are those things we can’t see or understand. The structure of the story brilliantly puts you in the unsettled feeling of the unknown. It opens with a vague description based on a symbolic representation of the monster:

If I say that my somewhat extravagant imagination yielded simultaneous pictures of an octopus, a dragon, and a human caricature, I shall not be unfaithful to the spirit of the thing.

This cleverly lets the reader’s mind run wild over the first half of the story about what exactly this Cthulhu is. Lovecraft proceeds to add mystery upon mystery: sudden deaths, cults, people going mad, and conspiracy. It’s somewhat brilliant in how it continuously adds suspense without resolving earlier mysteries.

Lovecraft keeps you guessing with that unsettled feeling. Is the main character interpreting this correctly? Is he putting together a set of unrelated things? Is he going mad? Or maybe, worst of all, he’s right, and all of this has been hidden from the rest of us.

Overall, I think a lot can be learned from studying this story. The dense and flowing prose style is impressive on its own. I may have to do a whole “Examining Pro’s Prose” on it. Moreover, the tension and forward motion Lovecraft creates through mystery and hidden information is excellent. Lastly, he brilliantly packs in so much information through the use of non-linear structure.