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As in the previous book, Books Do Furnish a Room, Widmerpool continues to embody the Peter Principle in his endless fall upwards, no matter the cruelty that his wife (or Anthony Powell) can bring to bear on him. While I do not find Widmerpool a character with which I can emphathize, I do find myself wincing at his discomfort in much the same way that I can hardly stand to watch sitcoms like "Seinfeld" where people are shown in embarrassing or humiliating situations.
I'm anxious to finish off the series, and made a summary statement about it, even though the first book is lost in the hazy memory of a year ago.
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1) God is concerned only with "legal" marriages - those recognised by the state. But as a marriage in one country may or may not be recognised in another, this does not address the issue of which country's law is to be followed.
2) Decisions on divorce are effectively left to the local church. The church should seek to resolve marriage conflicts through the Matt 18 process of conflict resolution. If the decision of the church is not accepted then they get to expel the person who disagrees. Mr Evans then applies Lev. 18v29 to suggest that being cut off from your people brings your marriage to an end. This raises more questions than it answers. Can a group of disgruntled divorcees set up a church with an attitude to divorce that they find favourable, and how does their authority differ from others whose church takes a different line?
3) Mr Evans also believes that an illegitimate divorce leaves you still married, but it is by no means clear which church's decision should be treated as legitimate if they disagree, and what the effect is on future marriages.
4) He suggests all capital crimes are grounds for divorce, as the person responsible should have been killed and that would have freed their partner. However this ignores the example of David and Bathsheba. David had committed adultery, a capital offence - but his marriages, kingdom and everything stayed in place - God did not suddenly pretend that David was really dead when he was actually alive.
5) He suggests the church can determine where there has been "spiritual death" and that this constitutes grounds for divorce.
6) He suggests that a conversion gives Christians a new life and so previous marriages and divorces do not restrict them from future marriage.
Overall Mr Evans uses an over-ambitious method of interpretation which treats modern disputes between spouses as part of early church discipline and which relies on sticking pieces of the Bible which refer to divorce together with parts which have nothing to do with it. It is not clear why the Bible has any rules about divorce if the church has such absolute sway, and it is unclear which church is right when they conflict. Mr Evans approach takes the final decision about many divorces away from the Bible and gives it to the church. You will not find absolute answers in the Bible, as the church has the final say, which is of course the opposite of biblical doctrine on where we get our authority. It is bad theology, as well as being completely impractical, but it is 64 tiny pages, and should not take you long to read, although it may take you longer to work out why the Moody Press found themselves capable of printing it.
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The book is a collection of essays that Sassen has published elsewhere between 1984 and 1997. Except for the introduction, there is no new material here. Furthermore, in many cases the content of one article is reproduced in another article in the book. Rather than reinforcing important arguments, it seems clear that Sassen is trying to get as much mileage possible out of her work. It doesn't work.
The book contains hundreds of endnotes (in many cases they contain the most important information) which should have been incorporated into the text. Furthermore, she offers no conclusion to her analysis and the last chapter itself is quite unsatisfactory.
In short, this book is poorly written, tedious, and unoriginal.
Sassen's biggest contribution to the theorization of globalization is her attention to the global city, which she posits as a site of the physical infrastructure that enables the more diffuse projections of the world market. In these cities (like New York, L.A., Tokyo, London, Rio, etc.), high-wage, white-collar workers brush against the low-wage, largely immigrant diasporae that keep the global city running; immigrants form blocs that see a certain degree of enfranchisement and force adjustments in transnational immigration law; and globalization marches on. It's interesting stuff, but it's not new. Sassen's own book on "The Global City" scoops these chapters. And that's pretty much true of the rest of the book.
The two chapters on gender and globalization are much more valuable (and more recent) here, as she starts in on what she calls "the unbundling of sovereignty," the appropriation of political punch from nation-states and the relocation of it into the hands of NGOs and the global market. Unfortunately, while she opens up a great area of inquiry, she doesn't take it very far at all, "since the effort here was not to gain closure but to open up an analytic field." As they stand, these chapters are frustratingly suggestive but ultimately not very thorough or useful. Hopefully she'll revisit the theme later.
The stylistic question is a thorny one; several reviewers have already blasted Sassen for the way she writes. She's certainly not the easiest read, and her incessant neologisms are annoying. ("Operationalizing"? Can we not say, "making operational"?) You can fault her for that. But you can't fault her for writing like a sociologist, and that is largely how she writes. It's dry, there are charts and facts and figures, but the prose is economical and fairly clear (fake words aside!).
By and large, though, this isn't a must-read. If you're really interested, check out her books, "The Global City" and "The Mobility of Labor and Capital." They treat the same subjects, but in more useful detail.
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If I had a choice of less than one star .....
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Notice a connection there?
In this volume, it is about 1958, and narrator Nick Jenkins is a full-on academic, attending a conference in Venice, reflecting on travelling professors' statuses as "Temporary Kings." It isn't long before Pamela Widmerpool arrives in the story and sucks all the air out of the other characters. They all meet while gazing at a painting featuring another King, a scene that Lady Widmerpool finds entirely too relevant.
For good measure, there's a couple of Americans tossed in. There's a movie director/race-car driver, and then the introverted would-be biographer of Pamela's late lover. Between the art and the horde of characters that show up in the seemingly casually strung together episodes, Powell continues to bring humanity to his characters, all the while killing them off more quickly and methodically than Jason dispatches errant campers in a Friday the 13th movie.
Still, the messy humanity of these characters is the driver for the story. In this way, the characters in this step of The Dance are much like the Osbournes on TV. Despite all the fabulousness granted to these literary, political, academic, or artistic elites, they're still naked under all their clothing. And their getting older, while realizing that they've reached the primes of their adult lives, and their friends are beginning to die of natural causes, and none of it is that unexpected at all.