A Good Life

Philosophy from Cradle to Grave

Mark Rowlands

• Publisher: Granta Books
• Year: 2015
• Print ISBN: 9781847089502
• eBook ISBN: 9781847089519
• Topic: Philosophy
• Subtopic: Ethics & Moral Philosophy

Framed by the story of a son finding his late father's journal, a meditation on love, meaning, and morality by the author of The Philosopher and the Wolf. Myshkin was born on a certain day and died on a certain day—and some things happened to him in between. These things presented him with ethical questions, and this book is a record of his attempt to answer those questions. Discovered in 2054 by his son after Myshkin's death in the Florida Keys, A Good Life is one man's reckoning with the life he has led and the choices he made. It is at once a philosophical handbook for living and a page-turning narrative, following one man's life (birth, death, education, religion, morality, illness, and so on) told through a philosophical lens. It is a riveting examination of the ethical questions we face, and the decisions we must make, and a defense of the idea that at the beating heart of morality we find love. Sometimes profoundly funny, sometimes deeply serious, A Good Life is as readable as a novel and as provocative as the best philosophy. It is the finest work to date by a charming and brilliant thinker. "A lovely writer, funny and moving."— Observer

1

Words

Il n’ya pas de hors-texte.

Jacques Derrida, Of Grammatology

In my bedroom hangs a picture. It faces the foot of the bed, and so it’s often the first thing I see each morning, when l’aurore, de ses doigts de rose, ouvre les portes de l’orient et enflamme tout l’horizon.1 The picture is an old map of the world, framed in wood, and rendered in a faded patchwork of browns, yellows, greens and greys. It rests there, roseate, in the birth of the new light.

I have always been somewhere. At every moment since I came into this world, I have always been somewhere on this map. A peripatetic existence – some might call it restless – I have called many places home. But this morning I think: soon, I shall be nowhere at all. There is no place on this map that I shall be. I think this? No, not quite a thought: something in the vicinity of a thought, no doubt – a thought almost born, almost formed, but one that turns to smoke, slips through my grasping, intellective fingers when I try to think it. Rather than a thought, I am left with a formless and dizzying terror. I arm myself, a muttered ward to be turned against the horror: ‘It has been a good life’.

A good life: yes. In the end, it is not a man’s deeds that are good or bad, and not the rules or principles he believes in. It is not even the man who is good or bad. Only life. There is so much more to a person’s life than is contained within the spatial boundaries of his skin, and so much more than is immured within the temporal prison of his birth and death. It is only a life that can be truly good or bad. And the chances of it being wholly one or the other are negligible.

In his final years, long after he had become profoundly deaf, and when he had not written for a considerable time, Beethoven could be heard repeatedly humming a tune. People took this as a sign of his creative mutilation: a sad but certain indication that this greatest of masters had finally succumbed to time’s unforgiving arrow. The tune was jarring in its simplicity – a tune that would be mumbled by a child bereft of musical talent. That tune became the choral movement of the Ninth Symphony: something that, even if he had written nothing else, would eternally justify Beethoven’s existence. Moral rules, principles, doctrines and theories are the murmured motifs of the callow: on their own they are childish things, risible and easily refutable. But woven into a life, like overlapping strands of a musical composition, they can sometimes – just sometimes – become something more.

*

Literature is about seeing. Its goal is to enable you to see your own limitlessness in the life of another. As such, we might think of literature as the imaginative extension of compassion, one procured by detailed, painstaking methods. The enormous success of this art form speaks volumes about the strength of our desire to see. Consider the well-known ‘paradox of fiction’ that has exercised – one might say, embarrassed – philosophers for so long. How can we become emotionally invested in characters that we know, without a shadow of doubt, do not exist? Our emotional attachment is clear: a truly great novel can alter one’s mood for days, or longer. It might even ‘change one’s life’. We endure with fictional characters. We care about what happens to them. And we know, all the while, that these characters are not real. No one really knows why this is so: all attempts to solve this paradox are, I think it is fair to say, problematic. Literature can draw us so deeply into paradox only because it exploits the ability to see oneself in the other. That this invitation to compassion is difficult to decline, even though the object of this compassion does not even exist, is testament to literature’s colossal power.

It is true, of course, that philosophers issue their invitations too. But these are, in general, comparatively clumsy affairs – the graceless fumbling of a schoolboy asking a girl out on a date for the first time. Perhaps philosophy only becomes truly persuasive when it most closely approximates literature. Some of Schopenhauer’s invitations, for example, I find curiously compelling. But for the most part, the novelist’s invitation to see is so much more compelling than the philosopher’s invitation to think. The ideas dissected in philosophy are dead: items excised for inspection under the harsh light of the mortician’s table. In literature, the ideas are living, breathing, respiring, perspiring, woven into the fabric of a person’s life, in all of its limitless wonder, and unintelligible apart from that life. That is why literature has always been the more difficult and exacting discipline.

The novelist’s most compelling invitations are often not even clothed as such. Milan Kundera once told us that:

True human goodness, in all its purity and freedom, can come to the fore only when its recipient has no power. Mankind’s true moral test, its fundamental test (which lies deeply buried from view), consists of its attitude towards those who are at its mercy: animals. And in this respect mankind has suffered a fundamental debacle, a debacle so fundamental that all others stem from it.2

This passage masquerades as a statement, but is really an invitation. It invites you to put yourself, imaginatively, in the shoes of the powerless: to think back to all of those situations in which you stood in a position of power – over a person not as intelligent as you, a person not as strong as you, a person without your contacts or influence – and ask yourself: how did I do? Was I merciful, or was I not? Now I can see it, more compelling than any argument of philosophers’ devising: the case for compassion. And, after that, the case for extending this compassion to animals: the moral case for animal rights, as it is sometimes called – the case against eating them, the case for almost entirely changing the ways we treat them – I can see it. It is there in front of me, palpable. I find myself compelled to conclude, with Kundera, that mercy is the fundamental moral virtue and that here, in our dealings with those less powerful, we find the fundamental failing of humankind.

But suppose these words – these very same words – had appeared as part of a philosophical tract. Their force, I suspect, would have been substantially reduced. Perhaps nothing would have remained of it. The invitation works not because of what it says but because of where it is: it is woven into the life of two characters, Tomas and Teresa, and occurs shortly after the death of Karenin, their dog, whom Teresa loved with a purity she could not replicate in her love for Tomas. It is not an argument that led me here, but a life. I arrived at this point in moral space because this life issued an invitation that I could not resist: an invitation to see things in a certain way, to look at things in a certain light. True human goodness requires that its recipients have no power. And, of course, who is more powerless than the non-existent – the fictional – character?3

These nights that remain to me are littered with dreams. In these, it is me that is there – I know this – but the body in which I appear is unfamiliar. Even more telling: in the dream, this incongruence of my psychological and bodily identity is of no consequence. In fact, it is entirely anticipated. These dreams have almost faded by the time I find myself in front of the bathroom mirror. And yet the face that stares back is both unfamiliar and, at the same time, wholly expected. There is a suspicion that takes hold in some, and the older they get the larger it grows: gestating like a foetus, until one day it springs forth, in the magnificent birth of certainty. It has all been a dream – all of it. The house of memory can hold only so much. And a dream is just a life with too much in it. Soon I shall be nothing more than words on a page. But was I ever anything more than this?

Kundera thought that it is in vain that a writer will try to convince his readers of the reality of his creation. I object: on grounds of unfair burden of proof. I shall not try to convince you that I exist. Instead, try to convince me that I do not. Imagine: there are two characters, closeted inside an impenetrable fortress. This fortress is the past. The only access the world of today has to these characters is through their written pronouncements – diary-like entries, issued on a regular basis. These describe what is going on in the lives and minds of the two figures. However, you are informed – by an authority unimpeachable – that one of these figures is real and the other is merely his or her invention. There are two questions, one far more important than the other. First, how would you know who is the real figure and who is the fiction? The answer to this is simple. If the writer is sufficiently skilled, and any accompanying evidence sufficiently sparse, you need never know which is which. The second question is far more important and even more difficult: what makes one figure real and the other a fiction?

One is the creation of the other, you might say. Yes, but we are all, in our way, creations of others – of our parents and the others who shaped us. We are all dependent existences, stitched together and ejected into the domain of the real by a cosmically unlikely sequence of causes, sources and grounds. Nevertheless, you might insist: there was only ever really one person there. The fictional creation was never really there. But you merely offer me tautologies. Something was really there if it was both real and there. What it means to be real is precisely the question. And don’t get me started on the subject of there. Where, after all, is there?

‘Is this a dagger which I see before me?’ asked Macbeth. Apparently it was not. But what makes the dagger unreal? Sartre argued that the dagger’s unreality lies in its strictly limited number of appearances.4 Macbeth reaches for the dagger and his fingers find, precisely, nothing. The series of appearances that led Macbeth to question whether there was a dagger in front of him have come to an abrupt end. This is the defining feature of the unreal: they comprise a limited – strictly finite – series of appearances. The appearances of a real dagger would not abruptly end in this way. If Macbeth reached for the dagger, his fingers would find hard, cool steel. If someone else were to enter the room, they would see the dagger, could hold it. When a thing is real, there is no limit, in principle, to the appearances through which it shows itself.

Is that it? The difference between unreality and reality amounts to the difference between the finite and the infinite. But, if so, the case against my existence seems to rest on something no one really understands: infinity. Mathematicians can’t even agree if there is any such thing. Even worse, infinity on its own is not fit for purpose. Nothing lasts forever. A real dagger must be made and will eventually be destroyed, and it is difficult to see how it might manage to conjure up an infinite number of appearances in the finite intervening time. It is not infinity we are dealing with, but something even more obscure: infinity-in-principle. While a real dagger might not exhibit an infinite number of appearances, it can do so ‘in principle’.

What does this infinity-in-principle even mean? If I kept looking at the dagger for an infinite period of time, the appearances would keep coming? (But I cannot look at the dagger for an infinite period of time: fate has other plans for both of us. But, if I could?) Or, if there were an infinite number of people looking at the dagger, they would all encounter appearances of the dagger? (But there is not an infinite number of people. But, if there were?) It is not just infinity you need, it is counterfactual infinity: the infinity that is not but might be. Attempts to understand possibility – the counterfactual – have been, at best, salutary exercises in the inconclusive. And infinity – well, no one understands that. Your case against my existence, therefore, rests on a combination of ideas that no one understands and whose own existence is as doubtful as doubt can get. Forgive me if I don’t yet roll over.

Perhaps you might try to dispense with both infinity and the counterfactual. Perhaps finitude, concrete and actual, will serve your purposes just as well. The number of appearances that a real dagger can exhibit is greater – perhaps much greater – than the number of appearances that accompanies its illusory counterpart. This idea is not promising. Surely, there could be no greater gulf than that between the real and the merely imagined – a gulf that is vast and unbridgeable. But on this current suggestion, the difference turns out to be a relatively minor one: we are just talking numbers. You manifest n appearances – you are unreal. But n+1 appearances – congratulations, you have successfully jumped the chasm between the unreal and the real. If only the unreal – the reality-challenged – could just try a little harder, put themselves out there a little more, put in a few more appearances every now and then. This is, of course, nonsense: if there is a difference between the real and the unreal, it is not going to come down to numbers.

Perhaps you might look to science to build a case against me. Science, you might insist, is the arbiter of the real, and the reality of the dagger is, therefore, to be established through scientific investigation. Protons, neutrons, electrons and the like: real daggers have them, and unreal counterparts do not. Electron microscopes, mass spectrometers and the like: these are the instruments we have for discovering the real. They allow us to see the molecular or atomic reality of things, and if they were directed at me, they would find nothing.

We cannot, however, solve the question of reality by appeal to science. For what is it to see the molecular or atomic reality of the dagger? All this can mean is that there are further appearances – molecular or atomic appearances that now manifest themselves under the scrutiny of the electron microscope or other instruments. And if we go deeper and deeper into these appearances, venturing into the quantum level, then we are simply presented with further appearances: quantum appearances, quark appearances, spin, charm and charge appearances. The question of reality that arises at the level of ordinary objects also arises at the molecular, atomic and quantum level. The appeal to science – to molecular, atomic and sub-atomic reality – has not solved the pro...

Table of contents

• Cover
• Title Page
• Dedication
• Epigraph
• Contents
• Annotations
• 1: Words
• 2: Silenus
• 3: Animal
• 4: Lies
• 5: God
• 6: Symmetry
• 7: Personality
• 8: Nice
• 9: Subfusc
• 10: Lotophagus
• 11: Rich
• 12: Poor
• 13: Rules
• 14: Accidents
• 15: Love
• 16: Juicing
• 17: Crossroads
• 18: Olga
• 19: Confession
• 20: Limitless
• Acknowledgements
• Also by Mark Rowlands
• Copyright