ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
When you can’t see the wood for the trees
JOHN GREEN is dissatisfied with a book that fails to address the promotion of ignorance as a ruling-class strategy to maintain control
KNOWLEDGE FOR ALL: Wycliffe's Bible in the British Library - Jorge Luis Borges mentions Wycliffite Bibles in his short story The Book of Sand, where he calls it the ‘Black-letter Wyclif,’ in reference to the Blackletter script used to write the publication
SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
MICK McSHANE rubs shoulders with Mod legend Steve Craddock and joins in with the joyous Glasgow choir
DENNIS BROE sifts out the ideological bias of the newest TV series offerings, and picks out what to see, and what to avoid
Ignorance and Bliss – On Wanting Not To Know
Mark Lilla, Hurst, £18.99
MARK LILLA, Professor of Humanities at Columbia University, purports to investigate the contrary disposition to curiosity: the will not to know, the will to ignorance.
Certainly an interesting subject, but he treats it quintessentially as a disquisition from the ivory tower of academe. He takes us on a seemingly aimless ramble though the thickets of mythology, Biblical narratives and religious belief.
He begins by using the example of Oedipus, the most notorious case of someone whose ignorance determines their tragic fate, then races on through the mythological basis of fascism, to the role played by Christian fundamentalism in the historical self-narrative of the US, but in a very superficial way.
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Odysseus’s homecoming myth is treated as a factual story, with strong resonances for our contemporary world. This is an implicit anti-war film that has an urgent relevance, writes JOHN GREEN
