Peter Singer's critique of sociobiology as applied to ethics falls into the it's-okay-but-it-presumes-too-much school. Rather than rejecting Wilson's notions of altruism, Singer spends considerable time restating and defending the ideas of a genetic basis for kin selection, reciprocal altruism, and, to some extent, group selection. With homage to Dawkins, we hear again about the strategies of The Prisoner's Dilemma and other situations in which mutual altruism pays off better than pure selfishness. Only in the second half does Singer present his particular view, which is that moral behavior reflects the human ability to reason. As individuals and cultures mature, reason permits the extension of an ethical code to an ever-widening population. If this smacks of old-fashioned supremacy of Reason over Feelings, and concentric circles of morality (family, group, nation) in the Anglo-Saxon tradition, that is precisely what it seems. One should act with an impartial concern for all, Singer iterates, to promote the best interests of all. (He would, as he's written before, extend concern to other species as well.) He acknowledges that the abstract principle needs to be concretized in rules—to encourage some biological tendencies, to guide specific situations, to instruct the young, etc. However, his invoking of reason as the ultimate desideratum is in itself reductionist. He has nominated—if not reified—one special aspect of human behavior, arbitrarily dismissing religion as irrelevant and biology as inadequate. But what is Reason? Are there no conflicts of Reason? How does one encourage Reason to prevail? And should it always? Only in the last few pages does Singer aver "We must begin to design our culture so that it encourages broader concerns without frustrating important and relatively permanent human desires." Certainly sociobiology does not have the last word in ethics, but Singer's defense of Reason as the way out is unconvincing and similarly inadequate.
Pub Date: Jan. 15, 1980
ISBN: 0192830384
Page Count: 190
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 23, 2012
Kirkus Reviews Issue: Jan. 1, 1980
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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