BOOK
REVIEW
GENESIS
(IDOLATORY BOOK 1)
Genesis is a novel written by Quent Cordair. It
shows struggles of a sculptor and his loved ones, in early Byzantine
culture. At a more abstract level, the novel indirectly touches a very
important subject. Role of art in development of cognitive methods.
Epistemological and aesthetic literature which we know of, this role of art is not very clear. At
best we have philosophical treatises in aesthetics like Ayn Rand's The Romantic Manifesto, or Artistotle's Poetics, or more recently portions of The DIM Hypothesis by Dr. Leonard
Peikoff. There is also a book which I have not read, Metaphysics in Marble by Mary Ann Sures, which looks to be more
relevant in the context of this novel.
There are clues in these
books, and it should be possible to develop more comprehensive theories by also
including material from Introduction to
Objectivist Epistemology and Objectivism
: The Philosophy of Ayn Rand. "Concepts of Consciousness" chapter
from the former, and section on emotions from the latter. Overall, answer to
the question "How exactly do artistic creations inspire men to
think?"; the answer is a greenfield with lots of potential.
The book can play an
important part in actualizing this potentiality. Digression on deeper
philosophical meaning apart, let me now move on to primary purpose of this
review, the synthesis and analysis of important aspects in this work of
fiction.
“Pursuit of Happiness” is no
longer just a narrow slogan. It is the phrase that has built a nation, and
America has transformed the world. The subset of this phrase can be “role of
art in pursuit of happiness”. From readings of the book, and also Idolatory Book 2, this role of art is the
emphasis that stands out.
What differentiates Book 1
from Book 2 is the subject. While in Book 2 we have Businessmen, Journalist,
Philosophers, and other people, using art to gain joy. In Book 1 the
connection is more direct. Here we have mainly artists, using their artworks to
gain emotional fuel for their life.
In short, the theme of this
novel is – Role of art in the pursuit of
happiness, mainly for artists.
PLOT-THEME
Quent Cordair has chosen
sculpting as the art form to convey theme. Medieval age, just after the
fall of Roman Empire forms timeline. A small town in Byzantine Empire forms
the primary location. Alexandria and Thebes in Egypt, and a southern Greek town
very briefly, are secondary locations where the plot moves.
True to theme, main emphasis
is the pursuit of positive goal, to complete ideal sculpture. This involves
internal as well as external struggles. Internal struggles are for gaining
artistic clarity, and span across decades. Courage to pursue sculpting, despite
the growing influence of Christian fanatics, constitutes the external struggles
of the main sculptor.
So the plot theme can be
summarized as - Pursuit of sculptor to
gain artistic clarity and then build great idols, amidst Christian culture
increasingly hostile to such creations.
PLOT
The plot-theme connects
various plot elements, unified to convey how sculpting impacted the lives of
key characters. Various plot elements are as follows:
1.)
Development of sculpting
sensibilities: This
involves artistic growth of main sculptor Apollonius, and his adopted son
Myron. While primarily self-driven, the growth secondarily also includes
various sources, which form remaining plot elements.
For Apollonius, trajectory includes surveying
existing artifacts like Egyptian statues and the Greek modello, making
prototypes using clay, studying history of sculpting, reading philosophy and
literature in general, building relationships with toolmakers and potential
clients, and collecting suitable raw material. Most importantly, it
includes time spent with Kheimon, and time spent in her recollections, to
develop inspiration for magnum opus.
For Myron, learning curve involves watching
Apollonius work, practicing with first old and then new tools, observing
animals and artifacts in Constantinople trip, helping Apollonius in his
commissions, talking to the modello etc. Like Apollonius with Kheimon, Myron also finds his inspiration in Sira.
Considering his age, the conflict Myron faces is significant. This involves pursuing sculpting with limited access to tools and materials, and not having sufficient verbal ability to convey his interest to Apollonius.
2.)
Struggles of Apollonius in
increasingly antagonistic Christian culture: Struggles range from intellectual and
material, to outright violence. Intellectually in this culture, artistic
highlighting of human attributes is discouraged. Idol creation is considered
bad, because it elevates man to the level which Christians reserve for God.
This intellectual rebellion against the pagans has
material implications for Apollonius. He is not able to find enough clients, or
suitable material like bronze. So at times he has to do masonry to make ends
meet. He is able to overcome intellectual challenge by studying ancient Greek
literature, and material challenge by persisting for decades.
Apollonius faces violence multiple times for being a
sculptor. In his native of Southern Greece, in his travails to Alexandria, in
Alexandria itself, and in the Byzantine town he settles for later on. In
Alexandria and the town, he spends years to build a career and business. But
while the process is mostly enjoyable despite material and intellectual
struggles, each time he faces a bitter end. The escape from violence of
Alexandria has a big emotional cost. And it takes lively spirit of Myron for
Apollonius to recreate his aesthetic sensibilities.
Myron witnesses this aspect of struggle only in the climax.
3.)
Development of Apollonius-Myron
relationship: When
Apollonius discovers sculpting genius of Myron, he takes him to Constantinople
for seeing variety of sculptors. He also starts involving him in commissions
like the Fountain.
Apart from the fact that Myron learns sculpting from
Apollonius, there is parent-child relationship. Apollonius gives sensible
lessons to Myron. Like teaching him what to do in emergency situation, or how
to deal with the conflict involving possibility of separation with Sira.
Apollonius deeply thinking about Myron’s future in sculpting and his probable
struggles, this shows how highly the boy is valued.
Master’s goal being made his own reflects Myron’s
immense respect for Apollonius, the reciprocity in professional and personal
reverence.
4.)
Development of Apollonius-Kheimon
relationship: Their
actual interactions mainly involve discussing disagreements in philosophy. Apollonius
being Aristotelian looks at greatness in man, but Platonism of Kheimon stops
her from focusing too much on earthly attributes. In their second close
interaction, they also open up about their troubled past.
Kheimon starts off as a knowledgeable teacher to
Apollonius, of various sciences. After the time spent in Thebes, she becomes
love interest of Apollonius. When she is killed and Apollonius has to flee
Alexandria, her memory remains constant source of inspiration for Apollonius. Whether
it’s her pagan sensibilities, her intelligence, or her body structure;
Apollonius thinks about each aspect very often.
Apollonius actualizing his vision of hers in Fountain sculpture forms the climax of relationship. The depth of his love is
realized when he bids final goodbye to her sculpture.
5.)
Development of Myron-Sira
relationship: It’s
the case of love at first few sights. In the initial glimpses itself they
realize how joyous and mutually compatible each other’s sensibilities are. Given
the constant proximity of Sira’s family, they get very little time alone. But
they make the most of those lonely moments, and their courtship progresses
swiftly.
The extent of their affection is realized when Myron
worries about probability of separation, and Sira in turn agrees to elope. If
they had ended up together, it’s clear that Sira would have been perfect spouse
for Myron. Motivating him to sculpt and also handling business aspect of
sculpting…!
6.)
Climax: All these five plot elements converge in the climactic scene, which takes place near the Fountain and in the Workshop of Apollonius. Apollonius’ and Myron’s primary motivation for sculpting, former’s reverence
towards Kheimon, latter’s desire to pay tribute to master by actualizing the
full version of Modello, and how much they value modello is depicted. These and few more value judgments form emotions that drive action in the climax.
Rationalizations and brutalities of Christianity, which are used for crushing
Idols and Apollonius are also vividly demonstrated.
Under siege from Bishop, prefect, soldiers, and even
his neighbors, moral certainty and courage of Apollonius are the main highlight
of this climatic scene. Rational actions of Myron, derived from lessons learnt
from Apollonius form final part of the closing chapter. Sira’s passion for
Myron and what he stands for is also dramatized in this final act.
1.)
Apollonius: Very gifted in his craft,
extremely focused, and hard working. Strong willed to the extent of making his
profession the “central purpose of his life”, against all odds dominating the
culture. Purposefulness reflected in all his actions, big or small.
He buys and transports good quality marble stones at
high cost. Preserves deeply aesthetic model from ancient Greece along with
those marble stones, until he is able to clearly visualize what he wants to
create. He makes Myron his apprentice when he realizes that Myron has
cultivated exceptional talent for sculpting.
He deeply values Myron even though adopted. These
value judgments are also reflected in his concerns when Myron is in his
teenage. And also how he prepares him for contingencies.
Though emotionally he becomes bitter over time, due
to traumatic memories of violent experiences. But his intellectual and artistic aspects
remain intact till the very end. This bitterness still had an impact on his
artistic goals. And only after many years, when Myron starts showing promise, does
he regain benevolent sense of life completely.
Another aspect of Apollonius is visible in his
conversations with Kheimon, when he was sculptor in Alexandria. These show deep
influence of Aristotle, resulting consequence being love for this-worldly. His
admiration and love for Kheimon also shows deep respect for rational and
philosophical thinking, even if the thoughts and their products are sometimes
flawed (Platonic in Kheimon’s case).
To conclude, all his actions are determined by centrality of purpose, and central purpose of life comes from being a deeply
rational valuer.
2.)
Myron: He has very joyous
sensibilities and extraordinary gift for sculpting. He developed the talent,
initially by observing Apollonius work, and then by experimenting secretly. The
dexterity in craft can be inferred from the rabbit and hunting fox he secretly
created, which Apollonius mistakes for being real. Plus his creation of
Antelopes and Elephants, based on very little observation.
His love for Sira shows different aspect of his
joyous sensibilities. He is attracted to her beauty filled with innocent
exuberance. And like in sculpting, he acts decisively once his passion is confirmed.
He pursues courtship, and later elopement, with great clarity of purpose to
pursue values.
3.)
Sira or Siranush: Deep Romanticism, depicted
when the novel begins, forms her essence. Like Apollonius and Myron, she too
has Aristotelian sensibilities. It is clear from her dealings with Aristocratic
lady, that she is quite energetic and extremely good in selling various
household items.
On seeing Myron and the Fountain, her romantic
sensibilities are objectified. She falls in love with Myron from the beginning.
Like Myron, she too is committed to pursue her values (realized only as
passions at her age). Clarity on importance of various relationships motivates
her to elope, even though she has just met Myron.
There is an element of tragedy in where she ends up,
but that is negligible compared to the attraction one feels every time she
enters the scene.
4.)
Kheimon or Hypatia: Kheimon is the nickname with
which Apollonius calls her. Real name is Hypatia, and her fictional character
is derived from the actual historical figure of Alexandria. She comes off as a
conflicted intellectual. Her philosophy is Platonism, but it is in conflict
with her pagan sensibilities and interests.
Unlike Apollonius who studies the details of Thebian statues, she is studying their location with respect to sun. She has good knowledge of history of sculpting, as is clear from her conversations about ancient sculptor Phidas. Her knowledge of philosophy of Ancient Greeks is also demonstrated from her conversations. She often co-relates her view of God and man to the sculptures she sees.
Her political leanings against the rising tide of Christian cult leads to her violent death.
5.)
Peter: Villain in the novel, he
comes across as manipulative demagogue. Using Christian scriptures to justify
his destructive agendas. Glorifying original sin and suffering to crush the
joyous in man. Joyous here symbolized by Apollonius, Myron, and their
masterpiece sculpture.
As is clear from his violence driving past,
scriptures for him are just a means to justify malicious actions.
6.)
Valerius, patron of
Apollonius: Valerius
was a retired governor from Roman province. He discovered talent of Apollonius,
when restoration of his villa was being done. He funded the Fountain, because
he wanted the lasting legacy. Most importantly, he gave free reign to
Apollonius for choosing subject.
STYLE
Primary challenge here was
recreating details of people and cities almost 2000 years old. Getting into the
depth of sculpting methods and its logistics was another challenge. Connecting sculpting
artifacts to wider philosophy and history was the third challenge.
Description of tools, materials,
and processes show the hard work of sculptors we rarely realize. Integration of
craftsmanship to heroism is done through philosophical conversations, and
demonstrates aesthetic professionalism.
The sculpture of Fountain is
described in a very tender way, creating a perfect image in reader’s mind. Quent
Cordair shows deep knowledge of motivations, methodologies, art, and philosophy
in general. Whether it’s in introduction of Apollonius through Sira, his
conversations with Kheimon, in development of his ideas and sculptures, or in
discovery and training of Myron in sculpting; in each of these parts the depth
of knowledge of sculpting is clearly visible.
The Byzantine, Egyptian, and
Greek towns are described with sufficient details. This gives good imagery of
era we are not very familiar with. Author’s understanding of Christian
scriptures, and understanding of psychology of Christian fanatics is also very comprehensive.
The quotations of Peter show how supernatural worldview in essence is
antithesis of earthly and joyous.
CONCLUSION
Evils mentioned in the novel
are not just ancient history, but are coming back in different form. It is
important to understand these and their essence, in order to fight them. Concretization
of Medieval Christianity and Platonism gives this understanding.
However, primary takeaway
should still be positive. As I mentioned in the beginning, role of art in
building cognitive methods is not very clear. What is quite clear is one fact. Across
history art has acted as ante-room for philosophical theories which impact our
lifestyle today. Old Testament, mainly a collection of stories, led to more
philosophical New Testament. While Quran is considered to be dominant influence
in Islamic culture, methods of interpreting it have changed across ages. Al-Ghazali’s
11th century philosophical treatise gives faith based interpretation,
which is very dominant. So powerful is his influence, that educators in current
Pakistan interpret even Chemistry texts using his faith based techniques. The
stories of Quran and Hadith acted as aesthetic motivation for Al-Ghazali.
Like Quent Cordair,
Apollonius, and Myron, the New Intellectuals should always look for the Best
within us. Study of evil should be limited, just enough to keep it away from
hindering pursuit of goodness and greatness. Aristotle’s and Ancient Greek
thought process in general was inspired by Homer’s Illiad, sculptures like those in Parthenon, and plays like those by Sophocles. Foundations of Ayn Rand’s own
thought process are also artistic. She was deeply inspired by works of Victor
Hugo. As she gained clarity of her heroic vision, her philosophical ideas also
matured. Development process of Howard Roark and John Galt in that sense is not
very different from the approach of Apollonius and Myron. One can imagine her
talking to Galt while writing the speech, the way Myron talked to Modello.
Aesthetics as ante-room for
Epistemology, I think is some steps away from role of art in pursuit of
happiness. In contemporary world best illustration is provided by two individuals.
Both very intelligent and extremely hard working for decades. Only major difference between the two being that one person was deeply moved by art in
particular and philosophy in general, the second was too focused on engineering and did not give sufficient attention to art or philosophy. First ended up becoming
greatest innovator of all times, building pioneering products like Macintosh,
iPhone, iPod, and iPad. The best achievements of Bill Gates are Windows, a
more open variation of Macintosh. Xbox, a reengineered playstation. Lotus
Notes and eDirectory inspiring Microsoft Exchange and Microsoft Active
Directory respectively. All his innovations are incremental in bigger scheme of
things, compared to The Fountainhead nature of Steve Job’s achievements.
Intellectuals and artists
can become what they ought to be, if likes of Quent Cordair keep developing
such astonishing works. From what I have read of Idolatory Book 2 ”The New
Eden”, political, legal, and economic elements are added to the theme. Plus the
events are mostly contemporary. I
will be really interested to know how this new book ends, and how ambiguous
ending of Book 1 turns out to be.
Four stars reflect my slight
disappointment with incomplete ending, in what is otherwise a consummate piece
of literature.
(Complete book available here.)
