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While its somewhat scattershot approach may not appeal to everyone, scene after scene unfolds in what becomes an increasingly distinct pattern. The book shifts through several decades and, for that matter, continents ... and covers ground as diverse as photography -- the initial unifying thread, with unexpected turns and twists -- theatre, roughing it in the bush, travelling in the Himalayas, 60's draft dodging and counter-culture, university politics and more, and more, and more. All of this is linked by several distinct, multi-faceted characters.
The joy of this novel is that it's written in a limpid and generous style that never alienates the reader, but which preserves up until the last pages a mystery of what exact "luminosity" the authors are describing. Unlike many books with flawed characters, we never get the sense the authors have anything but great affection for them. And the book ranges from fascinating technical details to delightfully extravagant experiences of spiritualism, possession and parasychology.
Occasionally as an avid feminist I'd become snarly about the treatment of female models through the eyes of the photographer, Breetz. "Context, context," I'd say to myself, and my willingness to keep going was quite justified.
I'd have preferred twice the length, as there were several people I'd have wanted to spend more time with. Individuals do appear and disappear a bit disconcertingly, and sometimes one or two of the multiple balls in the air vanish out of sight, some never to resurface.
This is certainly a book that I will reread several times, and I expect new facets and nuances will appear each time I do. If you can track down a copy, do so! After reading dozens of highly hyped, critically acclaimed, but flash-in-the-pan novels, to come across this book so unexpectedly gives me enough optimism to keep plowing through that unread pile. I doubt, though, that I'll find anything equivalent.
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The limited character of Machiavellian conquest of nature is the pivot of Masters's own thought. He sharply contrasts Machiavelli's limited conquest of nature, a conception that left ample room for political prudence, with the total conquest of nature that eliminated human contingency altogether. The latter view he attributes to Bacon and Hobbes, and other later moderns.
Masters's ultimate aim is to return to Machiavellian point in modernity which melded political prudence and science. In other words, it is an attempt to purify science with political prudence. Masters's own lifelong attempt to integrate science and politics, which he takes up in this work as well, should be viewed in this light. He wants to make those skeptical of scientific treatment of politics, like myself, reconsider the potential benefits of science, provided it is circumscribed by wisdom.
Indeed Masters is right that the difference between Machiavelli and Bacon, if it exists, is fundamental. But in my opinion the difference does not exist. A careful reading of works such as NEW ATLANTIS would have made Masters recognize that Bacon too wished to wisdom to rule over science (cf. Laurence Lampert, NIETZSCHE AND THE MODERN TIMES). As Jerry Weinberger and others have shown, Bacon did not subscribe to Baconian conquest of nature.
I would like to submit that my assertion of the convergence of Machiavelli and Bacon is at least as important as Masters's articulation of their difference. If Masters is right, there is salvation for science and our ills are simply the missteps taken by Machiavelli's disciples. If I am right, science cannot be redeembed by wisdom. It is an unruly demon that will instead enslave its human masters. The difference between my own and Masters's view seems to be also the difference between Leo Strauss and Alexandre Kojeve, in their legendary debate concerning the goodness of modernity.
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