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
Books
Culture
Language
Romance
6 min read

Jane Austen‘s most excellent fan club

The very fine authors who draw inspiration from Jane.

Beatrice writes on literature, religion, the arts, and the family. Her published work can be found here

A book cover with a handwritten title that reads: Jane Austen volume the first
Paolo Chiabrando on Unsplash.

250 years after Jane Austen’s birth, her stories are still an incredibly significant part of our culture. The annual Jane Austen Festival in Bath is gearing up to be bigger than ever; Winchester Cathedral is set to unveil a new statue of Austen later this year; and – perhaps most controversially – Netflix has announced yet another adaptation of Pride and Prejudice.  

Historically, there’s been an overwhelming focus on two elements of Austen’s writing: the Regency setting, and the romance plots. There’s nothing inherently wrong with enjoying these two aspects of her novels. I know I do. But this comes at the risk of underestimating the richness of Austen’s literary legacy. The internet is littered with listicles and blog posts in the format of ‘What to Read Next If You Love Jane Austen.’ Some of these lists will point you to other nineteenth-century literary classics. Others will home in on the romance element, recommending Helen Fielding’s wildly successful Bridget Jones’s Diary, Georgette Heyer’s Regency romances, or even Julia Quinn’s Bridgerton series.  

I’d like to share with you an alternative and more eclectic list of books that I’ve fallen in love with as a lifelong Austen fan. Only one of these books is set in the Regency era; some have a romance as a major part of the plot, others don’t; some share Austen’s realistic writing style, one borders on magical realism. But I think each of these novels or authors brings out a fascinating and often overlooked aspect of Austen’s literary inheritance.  

Anne Brontë’s The Tenant of Wildfell Hall (1848) 

Austen is regularly compared to Charlotte Brontë, who famously wrote Jane Eyre, but I think her younger sister Anne is a fairer comparison. Writing only a few decades after Austen’s death in 1817, Brontë’s style is closer to Austen’s realism than to her own sister Charlotte’s use of gothic tropes and supernatural themes. Like Austen, in The Tenant of Wildfell Hall – as well as in her other novel, Agnes Grey – she focuses on simple language and engaging dialogue. Austen and Brontë also share a deep concern for female education. In several of her novels, notably Pride and Prejudice and Emma, Austen critiques the reality that many young women from middle-class and upper-class families were being taught to value ‘accomplishments’ like dancing and singing over any other form of education, with the aim of attracting a rich husband. Similarly, in The Tenant of Wildfell Hall Brontë’s heroine Helen criticises society’s belief that boys and girls should be educated differently, with boys being taught about the dangers and vices of the world, and girls being kept in ignorance of them. Helen thinks that this attitude makes girls more vulnerable to suffering and disappointment; I suspect Austen would have agreed. 

Barbara Pym’s Excellent Women (1952) 

Now somewhat forgotten, many of Pym’s stories are considered ‘novels of manners’, that is, novels that detail the costumes and values of a particular sphere of society at a particular time in history: in Austen’s case, the middle and upper classes in Regency England; in Pym’s case, the parishioners of a typical Anglican community in post-World War II London. Like Austen, Pym’s writing style is incredibly witty, and both writers favour everyday stories about ordinary people. In fact, Pym took the title Excellent Women from a phrase used by Austen in her unfinished novel Sanditon. These so-called ‘excellent women’ perform seemingly unheroic, small duties for others, the kind that may well go unnoticed, but which are often indispensable in small communities. In Pym’s novel, the first-person narrator, Mildred Lathbury, spends her life between working at a charitable organisation and helping and helping the priest at her local Anglican church. Mildred’s work is often taken for granted, much like the heroine of Austen’s Persuasion, Anne Eliot, whose family are remarkably ungrateful for all the ways in which she eases their burdens. Novels like Pym’s rightly celebrate the quiet bravery of the women who devote their lives to serving others.  

P. D. James’ Death Comes to Pemberley (2011) 

Detective fiction is not the first thing that crosses my mind when I think about Jane Austen. And yet, in a 1998 talk to the Jane Austen Society titled ‘Emma Considered as a Detective Story’, novelist P. D. James made a compelling case that Austen should be considered a precursor to the genre. James argued that a detective novel isn’t defined by the discovery of a murder (nobody dies in Dorothy Sayers’ acclaimed Gaudy Night, for example), but by the unveiling of a mystery. In Emma, Austen scatters clues for us readers along the way but withholds enough information as to keep us – and Emma herself – in the dark. When it’s revealed that Jane Fairfax and Frank Churchill have been lying to hide their secret engagement for the entirety of the novel’s timeline, Emma realises how much she’s been deceived, and it’s this theme of deception that really links Austen’s novel to the detective genre. Yeas after her talk, James ended up writing a detective fiction sequel to a different Austen novel, Pride and Prejudice. Death Comes to Pemberley takes place six years after Elizabeth Bennet and Mr. Darcy’s wedding. A man is found dead on the grounds of Pemberley and Mr. Wickham is the prime suspect. I won’t say any more. It’s my favourite retelling of an Austen novel. 

Kazuo Ishiguro’s The Buried Giant (2015) 

The Buried Giant tells the tale of a Briton couple, Axl and Beatrice, as they set out on a quest to find their long-lost son in a post-Arthurian England where people struggle with the loss of long-term memories. Ishiguro blends a very realistic portrayal of the relationship between a married couple with magical elements such as the presence of a dragon whose breath causes forgetfulness. On paper, this is also not an obvious recommendation, yet memory is a crucial theme for Austen. Persuasion is centred around Anne Eliot’s memories of her broken engagement to Captain Wentworth, which simultaneously bring her happiness and suffering. Mansfield Park’s heroine, Fanny Price, has an equally complex relationship with her past. She often she misses her childhood home, yet part of her is glad that she was taken to be raised by the Bertram family at Mansfield Park, a place which she loves in spite of painful memories of being mistreated by her Aunt Norris. Fanny thinks of memory as the most wonderful faculty of human nature, as it can be at times incredibly ‘retentive’, at others ‘bewildered’ and beyond our control. Ishiguro would surely agree, as that’s precisely what The Buried Giant is about: the ways in which memory can both fail us and yet give us hope, recall suffering and yet brings us closer to those we love. 

 It’s hard to overestimate Austen’s impact on the literary world. And while she’s sparked a revival in literature set in the Regency era, it’s also fascinating to see how she’s influenced writers working in seemingly very different genres from her. Anne Brontë’s novels may be darker in tone, but they show very similar concerns to Austen’s, especially when it comes to virtue and education. Barbara Pym wrote Excellent Women over a century after Austen’s death, yet shared Austen’s interest in highlighting the joys and sorrows of ordinary life. P. D. James found inspiration in Austen despite her own background being in detective fiction. And Ishiguro, despite writing novels ranging from dystopian science fiction to magical realism, has mentioned Austen as an inspiration.  

If you’ve already read all of Austen’s novels, read them again – no one writes quite like her. But once you’ve reread them all, why not try one of these novels next? They may illuminate a side of Austen’s writing that you’ve missed before. 

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