A Love Letter to Inertia, Spite, and Self-Sabotage
Dostoevsky’s Notes from Underground is less a novel and more a spiritual colonoscopy — invasive, squirm-inducing, and uncomfortably revealing. The narrator? A prickly, obsessive proto-incel with a superiority complex and the emotional range of a trapped mole. But good god, he’s brilliant.
Audio: NotebookLM podcast on this topic.
The first half is all grandiose spleen-venting — a scorched-earth takedown of reason, utopia, and the basic idea that people want what’s good for them. The second half, though, is where the magic happens: watch a man humiliate himself in real time and then monologue about it like it’s a TED Talk. By the time he’s insulting Liza while simultaneously begging her to save him, you don’t know whether to laugh, cry, or throw the book across the room. I did all three.
If you’ve read Tolstoy’s The Death of Ivan Ilych, you’ll see the contrast. Tolstoy’s man realises too late that his “good life” was a sham; Dostoevsky’s never even gets that far. He knows from the start, and that’s the tragedy. The one dies of repression; the other lives by gnawing on his own leg.
Having just finished Never Let Me Go by Kazuo Ishiguro, I’ve now cracked open my first taste of Cioran—History and Utopia. You might reasonably ask why. Why these two? And what, if anything, do they have in common? Better yet—what do the three of us have in common?
Audio: NotebookLM podcast on this topic.
Recently, I finished writing a novella titled Propensity (currently gathering metaphorical dust on the release runway). Out of curiosity—or narcissism—I fed it to AI and asked whose style it resembled. Among the usual suspects were two names I hadn’t yet read: Ishiguro and Cioran. I’d read the others and understood the links. These two, though, were unknown quantities. So I gave them a go.
Ishiguro is perhaps best known for The Remains of the Day, which, like Never Let Me Go, got the Hollywood treatment. I chose the latter, arbitrarily. I even asked ChatGPT to compare both books with their cinematic counterparts. The AI was less than charitable, describing Hollywood’s adaptations as bastardised and bowdlerised—flattened into tidy narratives for American palates too dim to digest ambiguity. On this, we agree.
What struck me about Never Let Me Go was its richly textured mundanity. That’s apparently where AI saw the resemblance to Propensity. I’m not here to write a book report—partly because I detest spoilers, and partly because summaries miss the point. It took about seven chapters before anything ‘happened’, and then it kept happening. What had at first seemed like a neurotic, wandering narrative from the maddeningly passive Kathy H. suddenly hooked me. The reveals began to unfold. It’s a book that resists retelling. It demands firsthand experience. A vibe. A tone. A slow, aching dread.
Which brings me neatly to Cioran.
History and Utopia is a collection of essays penned in French (not his mother tongue, but you’d never guess it) while Cioran was holed up in postwar Paris. I opted for the English translation—unapologetically—and was instantly drawn in. His prose? Electric. His wit? Acidic. If Ishiguro was a comparison of style, then Cioran was one of spirit. Snark, pessimism, fatalistic shrugs toward civilisation—finally, someone speaking my language.
Unlike the cardboard cut-outs of Cold War polemics we get from most Western writers of the era, Cioran’s take is layered, uncomfortably self-aware, and written by someone who actually fled political chaos. There’s no naïve idealism here, no facile hero-villain binaries. Just a deeply weary intellect peering into the abyss and refusing to blink. It’s not just what he says, but the tone—the curled-lip sneer at utopian pretensions and historical self-delusions. If I earned even a drop of that comparison, I’ll take it.
Both Ishiguro and Cioran delivered what I didn’t know I needed: the reminder that some writers aren’t there to tell you a story. They’re there to infect you with an atmosphere. An idea. A quiet existential panic you can’t shake.
I’ve gotten what I came for from these two, though I suspect I’ll be returning, especially to Cioran. Philosophically, he’s my kind of bastard. I doubt this’ll be my last post on his work.
Chapter 5 of Yuval Noah Harari’s Nexus feels almost unlistenable, like polemic propaganda, painting cherry-picked anecdotes with a broad brush for maximal effect. If I hadn’t agreed to read this in advance, I’d have shelved the book long ago. It is as though Harari has never set foot on Earth and is instead relying on the optimistic narratives of textbooks and travel guides. His comparisons between democracy, dictatorship, and totalitarianism are so heavily spun and biased that they verge on risible. Harari comes across as an unabashed apologist for democracy, almost like he’s part of its affiliate programme. He praises Montesquieu’s separation of powers without noting how mistaken the idea as evidenced by modern-day United States of America. Not a fan. If you’re a politically Conservative™ American or a Torrey in the UK, you’ll feel right at home.
A Trivial Freedom – At What Cost?
Harari ardently defends the “trivial freedoms” offered by democracies whilst conveniently ignoring the shackles they impose. It’s unclear whether his Pollyanna, rose-coloured perspective reflects his genuine worldview or if he’s attempting to convince either himself or his audience of democracy’s inherent virtues. This uncritical glorification feels particularly out of touch with reality.
The Truth and Order Obsession
Once again, Harari returns to his recurring theme: the tradeoff between truth and order. His obsession with this dynamic overshadows more nuanced critiques. Listening to him defend the so-called democratic process that led to the illegal and immoral US invasion of Iraq in 2002 is nothing short of cringeworthy. Even more egregious is his failure to acknowledge the profound erosion of freedoms enacted by the PATRIOT Act, the compromised integrity of the offices of POTUS and SCOTUS, and the performative partisanship of Congress.
The Role of Media and Peer Review
Harari cites media and peer review as essential mechanisms for error correction, seemingly oblivious to the fallibility of these systems. His perception of their efficacy betrays a glaring lack of self-awareness. He overlooks the systemic biases, self-interest, and propaganda that permeate these supposed safeguards of democracy.
A Flimsy Narrative
Whilst many Modernists might uncritically embrace Harari’s perspective, his argument’s veneer is barely a nanometre thick and riddled with holes. It’s not merely a question of critiquing metanarratives; the narrative itself is fundamentally flawed. By failing to engage with the complexities and contradictions inherent in democratic systems, Harari’s defence feels more like a sales pitch than a rigorous examination.
Final Thoughts
Harari’s Chapter 5 is a glaring example of uncritical optimism, where the faults of democracy are brushed aside in favour of a curated narrative of its virtues. This chapter does little to inspire confidence in his analysis and leaves much to be desired for those seeking a balanced perspective.
Philosophics 