Jung’s Red Book, Liber Novus, is like listening to drunk friends ramble

Jung’s Red Book, Liber Novus, is like listening to your drunk friends ramble; there are endless non-narrative, disconnected passages, and this one is representative:

I find myself again on the desert path. It was a desert vision, a vision of the solitary who has wandered down long roads. There lurk invisible robbers and assassins and shooters of poison darts. Suppose the murderous arrow is sticking in my heart?

The whole thing reads like that. Another, much later passage:

Just as the disciples of Christ recognized that God had become flesh and lived among them as a man, we now recognize that the anointed of this time is a God who does not appear in the flesh; he is no man and yet is a son of man, but in spirit and not in flesh; hence he can be born only through the spirit of men as the conceiving womb of the God.

Word salad or profundity? You be the judge. Jung didn’t intend to publish this book and I’m guessing he knew what he was about when he made that choice. I started it due to the reference in “Jung and the Trumpian Shadow.” Don’t repeat my error.

Jung is an interesting writer and figure, especially for narrative artists, but the Red Book is a poor introduction to him and his work. I don’t know what the best introduction is, but it isn’t this. Suggestions welcome.

The Red Book has 100 pages of introductory material and translators notes as well, which is rarely a good sign.

It is very hard and maybe impossible to predict what the future will value

In one of Tolkien’s letters he writes, after The Lord of the Rings has been an unexpected success:

the appearance of the L.R. has landed me in the pincers. Most of my philological colleagues are shocked (cert. behind my back, sometimes to my face) at the fall of a philological into ‘Trivial literature’; and anyway the cry is: ‘now we know how you have been wasting your time for 20 years’. (238)

But of course those philological colleagues are long dead and forgotten; philology itself has been mostly pushed out of most academic language departments, which are now focused on literature and literary criticism. Still, the larger and more important point is that it’s very hard to and maybe impossible to predict what the future will value; all a person and especially an artist can do is try to follow their instincts and interests. Tolkien’s led him in a direction contrary to what his peers thought valuable, and in this case he turned out to be right. Our peers’ judge of value, especially in public settings, is a pernicious guide to action.

What people really want and really are interested often differs from what people say they want and what they want others to think they are interested in.


Who cares when it was released?

A reader asked how I find books like Rapture and why I write, seemingly at random, about older books. The “finding” answer is hard: books get found from all kinds of sources, including other writers, blogs, newspapers, friends, browsing (rarely, but sometimes), essays, and tweets (rarely). A great essay will get me to read a book more effectively than anything else apart from a friend or reader who knows me well; a great essay led me to Lonesome Dove, for example, and in my mind I imagine other people finding this blog and using it to find the right book at the right time.

The “why” answer is also pretty simple: I don’t really care when a book (or movie, or album, or whatever) was released; I care about whether it’s good and whether it should be read. If it’s good I want to read it, regardless of when it was published. Publishing companies may work on marketers’ schedules, but readers don’t have to and shouldn’t. If you know something I should read, send that email.

Briefly noted: The Weight of Ink — Rachel Kadish

The Weight of Ink invites comparison to A. S. Byatt’s , and after I’d read about half of The Weight of Ink I was inspired to re-read Possession, which is amazing and one of the best books I’ve read, ever. In the beginning of Possession I noticed this; the protagonist, Roland, is studying a fictional Victorian poet named R. H. Ash, and his supervisor is Blackadder:

Blackadder was discouraged and liked to discourage others. (He was also a stringent scholar.) Roland was now employed, part-time, in what was known as Blackadder’s “Ash Factory” (why not Ashram? Val had said)…

That re-use of “Ash,” from “Ash Factory” to “Ashram” (which sounds a lot, intentionally, like ass-ram) gives a lot in a short space: about Blackadder’s drudgery; Roland’s feelings towards Blackadder and the work; and even about Val’s witty personality, which is weighted by material circumstances and her shriveling relationship with Roland. We get a lot of material in three sentences that later resonate throughout the novel as a whole. For a while I spent time trying to find something analogously clever in The Weight of Ink, and failed. It’s impossible to prove a negative, but most of the book feels a little dull by comparison.

In The Weight of Ink there are too many sentences like, “He knew that whatever her reputation—and her staunch defense of departmental requirements, her insistence on diversifying the list of acceptable qualifying languages, and a half dozen other hard-fought battles over the years had earned her a fierce reputation—Helen Watt did not make scenes.” As far as I can tell this is meant as straight comment, not as a joke, and the obvious question—who gives a damn?—isn’t asked. People who have actually fierce reputations don’t have them from university department teapot politics. In Possession academic politics are the joke, for good reason, and human needs are at the humane center of things. The Weight of Ink misses this basic philosophical point and feels silly for it.


Had Aaron Levy chosen to study Shakespeare’s Catholic roots, it would have been different; that field had been blessed relatively recently with the astonishing gift of fresh evidence—a religious pamphlet found in the attic of Shakespeare’s father. That single document had upended and revitalized that arena of Shakespeare studies, leaving young historians room to work productively for years to come.

Perhaps the real answer is, “Go study a field that is vital and important?” Unfortunately, the modern-era scholars don’t, or can’t. Aaron has the same problem in his personal life. He yearns for a woman he had a one-night stand with, right before she left for Israel. Solution: Go find someone geographically proximate and available, like everyone else. In Possession, scholarly and romantic problems beautifully mirror each other; here, they grind against each other and the reader’s patience.

I gave up about halfway through. The re-read of Possession was great, though. Don’t believe the comparisons. They’re superficially right but in terms of depth totally off.

Brief Priority Classic Plus bike review

I’ve been riding a Priority Classic Plus bike and it’s been great, especially for the money. The most important part of the Classic Plus is the belt drive, which replaces the typical chain used to transfer power from pedaling to wheel with a carbon fiber belt. I can’t remember where I first heard about the company, but it may have been from “How Priority Bicycles Made a ‘Maintenance Free’ Bike For Under $400.” Priority’s bikes are meant for urban riders and they naturally compete with inexpensive single-speed bikes like those from State.

There isn’t much to write about because the bike is fun to ride, light (the frame is made of aluminum), and quiet. The largest frame size may still be a bit small for me, but I’m out on the right side of the bell curve distribution for height so that may not be too surprising. The front stem and seat post are highly adjustable, so I didn’t need to add a stem extender. I ordered a rack, which dramatically improves cargo capacity. Now I’m looking at panniers, which may prove to be a cost that’s sizable compared to the overall bike.

The bike retails for $469, but by the time I got add-ons, tax, and assembly, it was a little over $600. The next-least-expensive carbon-fiber drive bike I’ve seen is over $1,000, so the the Classic Plus is still a substantial improvement. At $469, it’s also in the same price ballpark as many hybrid city bikes. For a belt-driven bike, that’s impressive.

The Classic Plus is not a single-speed model and if this bike were made as a single-speed I’d have picked it. While I don’t know this for sure, I’d guess that the three-speed version adds minimal weight and cost, so choosing it may make more sense for the company and for riders.

There is no chainguard, or rather belt guard, and that may be a problem in lousy weather; I’ll report back on whether this actually matters. My last bike had one, but I don’t know if it needed one or if it the guard was only there for psychological prophylactic purposes. Still, not even offering the option to buy one is a strange oversight, given their ubiquity on city bikes.

It’s hard to understand why belt-driven bikes are more fun to ride without riding one, so I’ll suggest finding a bike shop and trying. You’ll likely notice that peddling feels smoother. Over time, chains also tend to work themselves out of whack and become noisy; belts should remain very quiet for the life of the belt. Maintenance time and costs should also be lower. Belt-drive bikes are supposedly more popular in Europe, where more people commute via bike.

Priority also makes a bike called the Continuum Onyx, which comes with a wider gearing range, disc brakes, fenders, a built-in light that recharges from peddling (a very cool feature) and possibly some other stuff I missed. Fully configured it would likely still be about $500 more than the bike I have, and the cheaper one will be less painful to lose via theft, if theft happens.

I wouldn’t be surprised to see the Classic Plus become the go-to, default urban bike. It’s got a lot of advantages and few disadvantages compared to chain-driven models. I don’t know how the company managed to get belt-drive bikes down to such a low price, but I’m glad it did.


Briefly noted: Deep Thinking — Garry Kasparov

If you’ve read Average is Over you’ve gotten enough of Kasparov’s book to skip it; the abstract lessons from the second section of Average is Over are similar to Deep Thinking‘s. Still, human-computer play remain underrated and also remains a key metaphor for what human-computer interaction will look like in the near future. Computer-assisted driving is maybe the most familiar aspect right now, and that sort of dynamic will likely increase as time goes on and as the number of transistors that can inhabit a given area continues to increase.

Deep Thinking is most interesting about halfway through when Kasparov describes in detail the conditions under which he played the famous 1997 Deep Blue match. Before and after there is some interesting material but less than one would like. Maybe I’m just a sucker for narrative, and the middle section is primarily narrative. Still, the more I read of Kasparov the more I think I should read more, and his writing about Putin and Russia is consistently insightful. If you want a conventional review of Deep Thinking, Robin Hanson’s “Grandmasters vs. Gigabytes” is good.

There are few aesthetically beautiful sentences but still some useful observations. For example:

Connections between chess skill and general intelligence are weak at best. There is no more truth to the thought that all chess players are geniuses than in saying that all geniuses play chess. In fact, one of the things that makes chess so interesting is that it’s still unclear exactly what separates good chess players from great ones.

That last sentence is true of novelists and other writers too. “Good” and “great” can be felt and the critical faculty can be honed over time, but specific definitions remain elusive. Oddly, though, two pages later Kasparov returns to notions of greatness in a way that almost contradict the quote above:

When Der Spiegel asked me what I thought separated me, the world champion, from other strong chess players, I answered, ‘The willingness to take on new challenges,’ the same answer I would give today. The willingness to keep trying new things—different methods, uncomfortable tasks—when you are already an expert at something is what separates good from great. Focusing on your strengths is required for peak performance, but improving your weaknesses has the potential for the greatest gains.

So there is an answer to what separates good from great (“The willingness to try new challenges”) or there isn’t? Both sections are interesting and both might be true, but this is the sort of internal contradiction editors (or Kasparov’s ghost writer / assistant, Mig Greengard) are supposed to find.

Then there are sentences like, “It’s a privilege to be able to focus on the negative potential of world-changing breakthroughs like artificial intelligence. As real as these issues may be, we will not solve them unless we keep innovating even more ambitiously, creating solutions and new problems, and yet more solutions, as we always have.” Everyone else seems to be for innovation, making me tempted to come out as anti-innovation simply to be contrary.

But there are very useful sentences too, like the last one here:

How professional chess changed when computers and databases arrived is a useful metaphor for how new technology is adopted across industries and societies in general. It’s a well-established phenomenon, but I feel that the motivations are underanalyzed. Being young and less set in our ways definitely makes us more open to trying new things. But simply being older isn’t the only factor that works against this openness—there is also being successful. When you have success, when the status quo favors you, it becomes very hard to voluntarily change your ways.

Success is never final. Yet we, collectively, never seem to know that. Peak performance sustained over a lifetime may have to incorporate this idea.

Killers of the Flower Moon: The Osage Murders and the Birth of the FBI — David Grann

People who like true crime stories will love Killers of the Flower Moon, but I’m not one of them and find it unmoving, though the scope of the conspiracy it describes is fantastical, and the third part is amazing. Like The Name of the Rose, it seems to be a story of detection and reconstruction: who killed Anna Brown? Brown’s sister, Mollie Burkhart, worried about Brown, though Brown “had often gone on ‘sprees,’ as her family disparagingly called them.” But this wasn’t a spree and what seems to concern one murder, at first, turns out to concern many more.

One can see Killers of the Flower Moon in other ways than a story of detection: as parts of government wrangling with other parts of government; as how demand for government leads to greater supply of government (“For years after the American Revolution, the public opposed the creation of police departments, fearing that they would become forces of oppression”—whether they have is left as an exercise to the reader); of how bureaucracy organizes itself to solve problems; of how feudal or rural systems of justice and law enforcement give way to larger modern structures. There is something for people who want to read about ghastly murders and something for people who like Albert Hirschman. Not many books overlap in that venn diagram! There are many sentences about bureaucratic wrangling, like “Because of [x’s] power, a federal prosecutor warned that it was ‘not only useless but positively dangerous’ to try him in the state legal system” (this occurs late in the book and I removed the person’s name to prevent spoilers).

Large-scale conspiracies are so rare that when they do occur they fascinate (think of my post, “The power of conventional narratives and the great lie“). Imagined conspiracies are much more common than actual ones.

At times Killers of the Flower Moon reminds one of a Western like Lonesome Dove:

[Tom] White was an old-style lawman. He had served in the Texas Rangers near the turn of the century, and he had spent much of his life roaming on horseback across the southwestern frontier, a Winchester rifle or pearl-handled six-shooter in hand, tracking fugitives and murderers and stickup men. [. . .] Even when dressed in a stiff suit, like a door-to-door salesman, he seemed to have sprung from a mythic age.

The West as imagined today is built on myth, and so, too, is the FBI—which, in this telling, springs from the Rangers and from similar sources. Which I hadn’t realized. Maybe you hadn’t either. This book is not for me but it may very well be for you. Very few of the sentences stand out as truly excellent, and that to me is a key metric in a book.

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