Review
Books
Culture
Epistimology
Psychology
8 min read

The provocateur philosopher who wants to wean us off the junk food of popular science

David Bentley Hart serves up meat on mind and matter.

Isaac is a PhD candidate in Theology at Durham University and preparing for priesthood in the Church of England.

Two angels converse.
Cupid and Psyche by François Pascal.
Simon Gérard via Wikimedia Commons.

It will be immediately obvious to the reader of David Bentley Hart’s new book that the structure is quite different to most other titles on the philosophy of mind.  

Hart admits that in its original form it was in fact far longer than its substantial 500 plus pages, but, in a perhaps inspired move, it has undertaken a metamorphosis from the ponderous-tome genre of philosophical discourse to one much older: the dialogue. 

Instead of other such works which draw on an enormous and panoramic amount of literature presented in regular academic style with copious footnotes, Hart has opted for intelligibility in the mode of a dialogue between characters, historically most notably deployed by Plato. For this reason, it works well as an audiobook, as well as printed text. The downside to this format is that Hart has opted for a somewhat unfortunate weighting of three-on-one. Whilst this format makes the twist and turn of the at times obstruse argumentation more accessible, the impression can feel somewhat unbalanced. Hephaistos, one of those in dialogue, sometimes cuts a lonely and sympathetic figure, and his opponents sometimes are slightly too self-satisfied. This is not overwhelmingly so, but it is worth remembering that all voices are Hart’s.  

His choice of dialogicians is telling - four Greek divinities. Psyche (soul), the mortal woman made divine by love. Eros (love), the divine lover of Psyche, Hermes, Psychopomp (that is, the guide of souls in the afterlife). And the stolid Hephaistos, god of craft and manufacture, the main antagonist as the advocate of all things materialist and physicalist. Three characters signal Hart’s intent to guide the reader into a new realm beyond the mundane; the fourth is the mouthpiece of this mundanity. Together in a garden, prompted by a plucked rose, they discuss some the deepest questions of mind, matter, and life.  

The title, All Things Are Full of Gods, is a quotation attributed to the pre-Socratic philosopher Thales. Like Thales, Hart wants to argue that not only is the divine a reality but is in fact the ground of all things. The six days of dialogue cover the full gauntlet of metaphysical debate over the nature of reality.   

On day one, ‘Mind, Life, and Pictures of Reality’ the gods set up the groundwork of the reductionist materialist physicalism (RMP) perspective and the older pictures of classical philosophies. 

Day two, ‘Mind and Matter’, draws the battlelines between the qualitative difference between mind and matter. 

Day three, ‘Brain and Mind’, engages with arguments concerning how mind and matter relate. 

On day four, ‘Machine and Soul’, the place of mind in the body is deepened in the debates on computationalism and functionalism and a useful unpacking of the limitations of panpsychism, which is currently seeing a revival in philosophical circles. 

Day five, ‘Soul and Nature’, sees the dialogue broadened to nature itself, reconsidering the mechanical paradigm which presently dominates. 

Concluding, day six, ‘Nature and Supernature’, is where Hart delivers his final case, having thoroughly prepared the ground, arguing that mind characterises all of reality and that this is ultimately the only truly rational account of being.  

In an important ‘Coda: The Age of the Machine’ Hart addresses the problem of evil, something largely absent from the rest of the work. Hart has a good track record on this topic: The Doors of the Sea, written in light of the Boxing Day Tsunami, is essential reading for Christians and others who see the paradox between an all-loving, all-powerful God and the presence of suffering and evil. Readers will have to decide for themselves; it is not a topic on which one may enforce an opinion either way. The discussion concludes on the sixth day, “. . . and on the seventh day they rest.” (483) 

Whilst All Things is dialogic, it also appears to be something else: catechesis. Hart is a catechist. Theologian and philosopher also; linguist certainly; provocateur undoubtedly. But the intention of this book is to catechise the reader, to induct them into the mystery of mind and reality. This might be a somewhat dusty word to some, implying the rote learning of religious dogma. Others will be barely aware of such a word. In Christianity, catechesis is the process of instruction, usually conducted through question and answer.  

Hart is an Eastern Orthodox Christian, though in many ways an unorthodox one. His commitment to a form of perennialism, his belief that many of the major religious philosophies of the world (Vedic, Greek, Jewish, Christian, Islamic) share important and compatible insights into the nature of reality and God as the primordial ground of all things, is evident through the pages of All Things. This is unsurprising as he states that of all his writings All Things is the natural successor to The Experience of God: Being, Consciousness, Bliss (a deliberate allusion to the Vedic concepts of sit, chat, ananda) in which he sought to argue the rational coherence of a theism shared by a number of the great religions over and against the irrationality of modern physicalist materialism. It is worth reading and would certainly give the reader of All Things a primer for the extended discussion.  

But how is it exactly catechesis? Hart wants to wean the reader off the junk food of popular science with its tendency to not take questions about its philosophical basis very seriously, especially in how its epistemology, ‘what it knows’, produces its ontology, ‘what exists’. This deficiency, as Hart is keen to point out, means that often ontology secretly precedes epistemology. For instance, most scientist will take central place of mathematics within their discipline for granted, without acknowledging that mathematics is itself is groundless: it is epistemologically irreducible as it is not empirical, but is ontologically essential to the scientific method. Hart argues that it is in it’s very groundlessness and givenness to intelligibility, i.e. that the world can be understood at all, that means the world in fact shows itself to have rational mind-like structure, capable of being known. Many advocates for RMP will simply shrug and say that we’ve simply evolved to see structure which isn’t inherently there; Hart is here to pick a philosophical bone with them. His intention as catechist is that, even if one does not become a Christian at the end of this book, one can no longer remain in the comfortable and familiar philosophical milk of the dominant RMP paradigm but be stirred to hunger for the meat of reality. Although not an explicitly Christian book, there are certain hints. A number of Christian theologians recur, especially towards the end: Karl Rahner, Bernard Lonergan, Meister Eckhart. That the dialogue is set over six days “. . . and on the seventh day they rest” (483) ought not to be lost on the reader. 

His position in a nutshell is that all is mind or spirit (this linking of terms that are separate in English derives from their indistinction in the German Geist, used extensively in German Idealism, in which a lot of this debate has its origins in modernity). This is not a denial of matter (as in some forms of idealism), but that matter is a material manifestation or substrate of the principle of mind behind all reality: God. In many ways All Things is the extension of his previous book, The Experience of God: Being, Consciousness, Bliss, which he acknowledges in the ‘Introduction’. His position is argued in response to the currently most dominant intellectual paradigm, RMP: the idea that reality consists only of that which is matter or can be observed as a consistent mechanical attribute of matter (such as gravity).  

Hart’s argument rests on a number of fallacies in this paradigm; the most important of these and the one which recurs most frequently throughout the dialogue between the gods is the ‘pleonastic’ fallacy:  

No matter how many purely objective quantitative steps the supposedly mechanistic material order may have taken in the direction of mind, none of them seems as if it could have constituted that sudden qualitative transition from pure exteriority into an unprecedented inwardness.  

In short, quantitative accumulation cannot produce qualitative transformation. Mind is not another form of exterior reality, like the physical world; thought takes up no space and is of an entirely different, interior order. This is Hart’s principle complaint against both RMP and historical forms of dualism such as that of Descartes. The six ‘days’ of dialogue is essentially an account of the various arguments presented by the RMP paradigm to demonstrate that this fallacy is not in fact true. The most important of these concerns the trend in various sciences to speak of ‘emergence’: the appearing of qualities or realities such as mind which, whilst dependent upon a physical foundation for their existence, cannot be understood or explained by examination of their physical foundation; they cannot be reduced (explained) by the substrate. Hart draws the distinction between water’s property to extinguish fire, despite it being made up of the highly combustible elements hydrogen and oxygen, and the emergence of mind as a different order of reality from physical combination: 

Physical properties derived from other physical properties—no great problem there. So long as this is all that’s meant by “emergence,” then the concept is as inoffensive as it is obvious. But there’s a point at which vague talk of emergence is just another way of talking about something that you might otherwise justly call magic.

This is because water’s watery-ness is also a physical phenomenon, the product of the combination of these particular elements in this particular configuration. But this is still and exterior reality; mind on the other hand is not a property like the watery-ness of water because mind is an interior phenomenon, one which is entirely inaccessible except for the mind who is the mind in first-person perspective. To then argue that pure exterior accumulation quantitative of reality can produce this interiority is, to Hart, not only nonsensical but irrational. Part of his argument thus also turns upon the principle of Occam’s Razor: “if you have two competing ideas to explain the same phenomenon, you should prefer the simpler one,” as Chris Simms describes it. With some of the arguments from RMP approaching this almost ‘magical’ solution, Hart is at pains to argue that indeed the simplest explanation for the mind-like structure of reality is that it is indeed Mind. 

 I believe this to be a crucial book in the ongoing dialogue between philosophers and theologians on the one hand and the sciences on the other. The project of pointing out the philosophical problems with the dominant paradigm is a difficult when the other side rarely wishes to listen; Hart, however, is a voice that cannot be ignored. 

 

All Things Are Full of Gods: The Mysteries of Mind and Life, By David Bentley Hart, Yale University Press. 

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Review
Culture
Film & TV
Identity
Masculinity
10 min read

Wanted, not wasted: the older brother who couldn’t lead

In Peaky Blinders and House of Guinness, Steven Knight shows being needed—not being perfect—transforms

Will Fagan serves as a minister in the Episcopal Church in Birmingham, Alabama.

Dressed in Victorian clothes, two brothers raise their arms together.
Anthony Boyle and Louis Partridge in House of Guinness.
Netflix.

If you’ve watched House of Guinness recently, you’ll find show creator Steven Knight return to familiar territory: masterfully exploring complex dynamics between brothers, family legacy, and ambition – captivating themes he previously explored in his ever-popular Peaky Blinders. In the respective dramas, we find both older brothers struggling to fit into roles and living with the weight that often accompanies that struggle.  

In societal terms, we are not unfamiliar with the oldest son’s placement as the first in line of dynastic succession and head of the family. The Prince of Wales will succeed his father as King; Prince George will succeed his father and so on.  

This dynamic plays out, of course, in common lives as well. Throughout history, the oldest son, as a rule, inherited the family home, the landholdings, and the family business (even if its legal standing was murky at best): Santino became the Don (The Godfather, 1972), Josh Kroenke and Tony Kahn essentially run their respective fathers’ Premiership football clubs, and at some point in your family line, I bet a great uncle took over his father’s blacksmith shop, leaving his younger brother – your direct line – left to fend for himself. (You’re here, after all, so things must have worked out, anyway.) 

What happens, though, when the oldest son is not fit to assume this role in succession? How does he respond if he is passed over? And what happens when he’s actually needed by the younger brother, the successor?  

As Peaky Blinders opens in its first series, we are presented with a perspective that Arthur Shelby, the older brother, is the boss of the family bookmaking syndicate and racketeering operation only to soon discover that his smarter, more ambitious, and more capable younger brother, Tommy, leads the family. 

Being passed over naturally plagues Arthur, and his behavior consistently confirms why he isn’t fit to lead: he is quick tempered, demonstrates poor judgement, and goes on drug-induced benders. He is loyal when he is sober, and you can’t help but love him, but you wouldn’t hire him to run your company, either. By the opening of the show’s concluding series, he is shown passing his days in an opium shop, strung out and all-but-abandoned by his family.  

Knight revisits this theme within the Guinness family in his newest show, set in the 1860s and three generations after the founding of the brewery, the family well-established as the first family of Ireland and wealthy beyond measure.  

From the start, family tension and doubts about the brewery’s continued success are palpable. At the time of his father’s death, the oldest Guinness brother, also named Arthur, is frivolous, irresponsible, and debonair, having returned to Dublin for his father’s funeral after years of carousing in London. He is unkind, arrogant, and frankly does not care what happens with the company, so long as its sale finances the rest of his life. (You don’t root for him like you root for Arthur Shelby.) 

At the time of the reading of his father’s will, anticipating he would inherit the brewery and the bulk of the family property only to sell it, Arthur Guinness finds his father had other plans, haunting him from the grave. He learns that he and his younger brother Edward – responsible and having apprenticed at the brewery – would inherit an equal stake of the brewery and family wealth, but that Arthur would be entitled to nothing if he did not participate in the running of the business, something he neither wants nor cares to do. He wants to be the older brother to inherit but has less-than-no desire to lead the family. 

Saddled with expectations that he neither wants nor could succeed under, he continues his path of ruination – marrying for convenience, partying in unfit circles, and participating in election fraud, all bringing the family into public scandal and private torment. Moreover, and perhaps of greatest importance, he knows that he is the oldest son who cannot succeed, who was never built to, and that his father did not trust him. Thus, he pursues the only thing he is good at – willful self-destruction.  

Well, this is great saga material – one that we will undoubtedly follow in the Guinness family in the coming years – but for us poorer mortals, why care?    

I believe, and I don’t think this is an overstatement, that there is an older brother in all of us. We may not be the actual older brother ourselves waiting to be handed a family fortune only to not receive it, but odds are that at some point there was an expectation thrust upon us – or even one we placed on ourselves – to be a certain type of person or to achieve a concrete level of success, and that didn’t work out.  

Have you, for instance, taken a chance in bringing the antiquated family business into the twenty-first century only to watch it go belly up? Have you found yourself in a relationship for too long “for all the right reasons” because everyone wanted it but you didn’t? Did you want to study architecture at university but read law instead because your father and grandfather were called to the bar and now you find yourself drawing neo-classical designs in the courtroom?  

What happened, then, when that expectation or dream did not come to fruition? Have you, even to a small extent, arrived at the future and found you’re not who you thought you’d be? To not achieve that thing we were destined for, to not rise to the standard, as it turns out, can often leave us in the same state of the black sheep older brother – directionless, lacking a clear station in life and without a sense of worth. 

What is interesting and what is helpful, if I can go so far as to say, is that we find this dynamic at the moral heart of family and social relationships across millennia, a dynamic which is presented in the Christian understanding of relationships. 

Christianity’s understanding of relationships – with both God and one another – rests on two essential claims. The first is that humanity was created for one clear purpose – to love God and to live in perfect harmony with creation and fellow man. According to Genesis, the first book of the Bible, this was the expectation of our divine father, the role destined for all children of God. Yet Adam and Eve, the original children, failed to live righteously according to the standard God gave them and were viewed, thus, as guilty before God. All their descendants (which is to say all humanity) inherit that guilt because of what Christian teaching calls original sin.  

That may sound both celestial and like Sunday school at the same time, and you, by the way, don’t have to take my word for it. But if you were to say that you do live in harmony with God, creation, and fellow man perfectly, I might be compelled to ask, “How’s that really going?”  

When we look around and are honest, we are free to admit that things are not perfect, and we live with the weight of imperfection.  

How do we feel, for example, when we let someone else down? How does it feel when we wake up with a moral hangover? How does it feel when we don’t get the position because of an unexplainable gap in our CV, even though we think we’re fit for it? We can see quickly enough that sublime internal or cosmic harmony does not, in fact, exist in our lives or in any of the created realms. More so, we find that it’s not actually attainable.  

Are we left, then, to live lives with potential unrealized, spiritually incongruent, and unfulfilled? Will the black sheep part of ourselves – perhaps not evidently front and center but certainly left in the margins – become the core of who we are and how we interact with the world?  

As it pertains to Knight’s dramas, a curious occurrence happens to each of these older brothers during the arc of their respective shows, particularly in relation to their younger brothers.  

At some point in every series, Tommy Shelby realizes that despite everything, the one person he needs by his side is his older brother, Arthur. He needs him as he takes down crime boss Billy Kimber and expands the family business; he needs Arthur to be the one to end the vendetta with the American mafia, and, finally, to be his strength and support as Tommy faces his dark and uncertain future in the final series, telling Arthur in the darkness of a damp cellar, “You will change because I need you.”  

Similarly, in House of Guinness, faced with looming political trouble, wanting to expand the brewery, and to continue the family legacy of philanthropy in Ireland, Edward Guinness looks to his older brother Arthur – the only person he can – to fulfill the other half of the inherited partnership and to gain political ascendancy, their father’s MP seat, for the cause of good. He needs him.  

How do these older brothers—otherwise unfit for duty—respond?  

In each case, paradoxically, they don’t crumble under the weight of expectation, but heartily rise to the occasion, becoming the man who their younger brother needs them to be. They are able to do this, by the way, not because there was some secret unfulfilled potential inside them all along (clearly they are who they are), but because despite their self-destructive patterns, the older brothers actually step up when needed because the younger brothers treat them as though they are worthy of being needed.  

Put another way, having worthiness ascribed to them makes them feel worthy, and the result is that they change, they deliver, and their own self-worth changes with it. They each become, as it were, a new man. 

What are we to draw on from this?  

Returning to Christianity’s understanding of relationships – with both God and one another – we find its second essential claim: it is that God knows that our lives are not perfect and harmonious, that we do struggle, that we do have dreams and expectations unrealized, all of which can, depending on the severity, leave one quite weighed down and without a clear path forward.  

If there is good news that can be spoken into that state (and there is), it is that God is not a father with his arms crossed forever disappointed in his firstborn. He is a father who sees the whole picture, knows all the facts, and he has done something about it in the great narrative arc of the Christian story – the crucifixion and resurrection of Jesus. The result of which is that we flawed individuals are seen not as those who fail to love and obey God perfectly but as those who are worthy of being wanted.  

If we can learn anything from these brothers in Knight’s dramas, it is that we need not climb out of imperfection and into success to be unburdened. We find that being seen as worthy is enough. And that changes – as it does for Arthur Shelby and Arthur Guinness – everything.  

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