"Why atheists erect monuments to honour freedom and reason"

Political Theory | William Morris 

(The School Of Life) 

(ver aqui também)

Kant’s Aesthetics by Alain de Botton’s 

“School of Life”

PESSIMISTAS

  

Alain de Botton poderá não ser o mais fulgurante intelectual contemporâneo dedicado à divulgação de temas filosóficos, literários e artísticos mas tê-lo visto e ouvido, há catorze anos, em Amesterdão – a ocupar a primeira parte de um concerto no qual os Magnetic Fields apresentariam 69 Love Songs –, monologando em modo-"stand up comedy", acerca do seu recém-publicado livro The Consolations Of Philosophy, obrigou a encará-lo, se não de uma forma mais “séria”, pelo menos, francamente simpática. Entretanto (depois dos assaz recomendáveis The Art Of Travel e The Pleasures And Sorrows Of Work – ficaram ainda onze na "to do list"), ler as respostas que deu a uma espécie de questionário de Proust que, em 2009, o “Independent” lhe enviou, não só contribuiu para o estreitar de uma espécie de afinidade virtual como ajudou a vê-lo-lo ainda sob outro ângulo. Por exemplo, à pergunta “qual a pessoa que o faz realmente rir?”, respondia “Arthur Schopenhauer. É profundamente pessimista e o pessimismo é divertido. Disse, uma vez, que ‘todo o homem deveria engolir um sapo pela manhã para ter a certeza de que não irá encontrar nada mais repugnante durante o resto do dia’”. 

Mas foi a reacção à interrogação imediatamente anterior (“qual o último álbum que comprou?”) que me fez prestar mais atenção: “Ophelia, de Natalie Merchant. Estou apaixonado pela voz dela e, portanto, por ela própria”. Merchant não faz, de todo, o género da "pin-up" pop capaz de pôr as hormonas de cavalheiros de meia-idade em ebulição. Porém, se não se encontraram antes, tê-lo-ão feito na passada 5ª feira, no Shoreditch Town Hall de Londres para conversar sobre o último álbum de Natalie. E o pessimismo poderá ter sido um óptimo quebra-gelo já que Merchant confessa abertamente “Sou extremamente pessimista e cínica. Mas, ao mesmo tempo, consigo ser optimista em relação a pessoas e situações específicas”. Natalie Merchant, o disco, não é, realmente, nenhum convite para uma festa de hedonistas militantes: viagem interior agri-doce feita de tensas melancolias orquestrais e recolhimentos folk-acústicos, lugar de perdas e desistências (“Giving up everything, see the cold magnificent emptiness”), é coisa sofrida, magoada, dorida. À pergunta “qual a melhor invenção de sempre?”, de Botton respondera “painkillers”.

LET'S TALK ABOUT WORK 

(Peter Conrad) 

Once in my Australian childhood, during an election campaign, I asked my father how he was going to vote. He replied with a thump of his meaty fist on a nearby table. "We're workers", he said, "so we votes Labour". I've never forgotten the way he defined himself, if only because it made me determined to clamber out of the working class and to shake off its bullying solidarity. My father painted houses for a living; he would have thought it effete and futile to paint canvases. Since I went on to get paid for writing and for discussing books with students, he probably considered I didn't know what work was. Nor, in his sense, do I: for me, it has always been a pleasure, indistinguishable from play. But my father was a child of the Depression, who grew up with a ragged tribe of siblings in the backblocks in the 1930s. A job, when he finally found one, was a personal validation and a means of anchorage to society. It seems odd to me now that he should have thought of work, which he actually hated and retired from early, citing a spurious war wound, as a stalwart proof of virtue and virility.

Modern Times - real. Charlie Chaplin, 1935

In earlier times, our culture treated work as a curse or at least a lowly, shaming necessity like defecation. Adam and Eve spent the time in Eden cultivating their garden and were only condemned to earn a living after their expulsion from the good, happy, idle place. Christianity made work a consequence of the fall and for that reason afflicted women with what are penitentially known as labour pains. The Greeks took an even more disdainful view of work, which for them was beneath the dignity of a true human being. The 12 labours of Hercules, which include cleaning mucky stables, a job fit for desperate members of the underclass, were tasks imposed by the gods to demean the uppity hero. This lofty classical attitude took for granted the existence of slaves, who were the equivalent of our labour-saving gadgets - not people but appliances to be worked to death and then thrown away. The world we recognise as modern began by revoking the curse on work. As Alain de Botton argues in his new book The Pleasures and Sorrows of Work, ours is the first society to believe that work should make us happy, "even in the absence of a financial imperative". (texto integral aqui)

(2009)