Poirot: The Hollow

I recently read Agatha Christie’s novel, The Hollow.

It was, by my count, the twenty second Hercule Poirot novel, though there is a sense in which it is only sort-of a Poirot novel. In her autobiography, Agatha Christie claimed that she ruined the novel by bringing Poirot into it but I think that she was mistaken. The problem wasn’t that Poirot was out of place, but that she didn’t commit and really bring him into it. (spoilers follow.)

The main character of The Hollow is John Christow. In many ways this remains the case even after he is dead. He is one of those larger-than-life characters who is tremendously charismatic, but that was not the reason he was described as being so alive, by all of the characters he met. He was driven. He wanted things very deeply and, in spite of having decent manners, he let everyone else know what he wanted, too.

This is, weirdly, the sort of man that young women tend to deeply misread. When a man like this is good looking, young women tend to read him as strong, courageous, and principled. (There is, btw, a mirror condition where young men read a certain kind of young woman as far better than she is if she is beautiful.) John Christow was not all that strong, and he wasn’t particularly courageous, and he didn’t have much in the way of principles. In fact, John Christow was a very selfish man. He happened to also be intelligent and have talents which made him a good doctor.

Or at least he was a popular doctor. There was no real evidence in the book that was actually a good doctor. There are people who testify to it, but they never cite any successes that he had. In the beginning of the book we see a few patients who visit him and he’s sympathetic and says all of the right things and writes them expensive prescriptions that he knows won’t do anything except reassure them that no expense has been spared to try to help them. That might be useful, but there’s nothing noble or great about that.

He was also putting a lot of time into researching “Ridgeway’s Disease,” which Agatha Christie made up for the book. It is a progressive disease that is invariably fatal, and Christow is trying to find a cure, for which people regard him as great. The thing is, there’s no evidence that he’s made any meaningful progress. He’s tried a lot of things, but so do people who buy a lottery ticket every day. Oddly, many of the young women in the book give him credit for the success which he has not had. The only assurance that they have that he will have this success is his good looks and powerful personality.

This is where Poirot could have been used to very powerful effect. Poirot is not beautiful and Poirot is not young. But Poirot has an equally powerful personality to John Christow and also something which John Christow lacked: success. The contrast between the two would have been great. All John Christow’s powerful personality would have come to nothing against the equally powerful personality of Poirot and his automatic complete lack of being impressed would have shown Christow’s pretentiousness up for what it was.

Gerda Christow and Henrietta Savernake and even old Mrs. Crabtree, John’s favorite patient, all wanted John Christow to be a great doctor, so in their minds, he was. This is, ultimately, the problem with idolatry. The greatness of the object is always only in the mind of the worshiper. But there is a real potential for interesting reactions when the object of such worship is brought into contrast with something undeniably greater.

Predators Are Frequently Prey

I recently read Agatha Christie’s Hercule Poirot novel, Evil Under the Sun. It contains a very interesting observation about life which I would like to discuss. (This post is not a review of the book, I merely want to discuss one aspect of the story which I find very interesting. Note: spoilers follow.)

This observation is that predators are not, infrequently, prey, and one of the ways that they get caught is by luring them into thinking that they are catching something.

A good example of this in nature is the Iranian spider-tailed viper:

As you can see, the bird thought that it was catching a spider, but in fact the snake was catching it.

One of the curious themes that runs throughout the book is that the women think that Arlena can do whatever she likes with men because she’s beautiful, while Poirot insists that men will tire of her because she hasn’t got any brains. The women can’t believe that a woman’s brains matter to a man, while Poirot insists that, after a while, they’re almost the only thing that do. (To do him justice, he actually says the far more correct, “[The Arlena Stuarts of the world, their] empire is of the moment and for the moment. To count—to really and truly count—a woman must have goodness or brains.”)

What Poirot discovers through detection is that Arlena Stuart was predatory—she didn’t have the decency to leave men alone and loved the affirmation that they gave—but that she didn’t have the brains to be a really effective predator. People assume all virtues where they perceive physical beauty, but they can learn that it’s not true relatively quickly. The young learn this less quickly than the old, but that’s just because the young learn everything less quickly than the old. Men would quickly learn that Arlena’s only virtue was her beauty and tire of her.

Then she came across a predator who was willing to look like prey, so she became the victim.

This is a very real type; you can see it in the sort of fool who blithely says that he’d rather go to hell as the parties will be better there, or the sort of person who wants to throw off Christianity because they don’t like its restraints. Somehow these people always assume that they will be the worst member of their company—that they will be the apex predator. It’s a weird assumption, but perhaps it is an instance of the saying that pride goes before the fall.

David Suchet’s Murder on the Orient Express

I was recently watching the interesting documentary Being Poirot and was reminded of the very strange decision that the series which starred David Suchet made in their version of Murder on the Orient Express to cast Poirot as deeply angry at the killers and appalled by their lack of respect for the law which had failed to punish the murder of young Daisy Armstrong. What perplexes me is that this agrees neither with the book nor with Poirot’s general style.

In the book, Poirot propounds two solutions. The first is that Mr. Rachett was killed by an assassin who boarded the train, killed him an hour earlier than everyone thought because of an explanation having to do with clocks not having been changed for the time zone, and then who got off before the train got stuck in the snow.

After Poirot propounds this theory and explains away various objections that people have, Dr. Constantine objects.

Then everyone jumped as Dr. Constantine suddenly hit the table a blow with his fist.

“But no,” he said. “No, no, and again no! That is an explanation that will nto hold water. It is deficient in a dozen minor points. The crime was not committed so—M. Poirot must know that perfectly well.”

Poirot turned a curious glance on him.

“I see,” he said, “that I shall have to give my second solution. But do not abandon this one too abruptly. You may agree with it later.”

Then, after Poirot reveals the real solution, he gives it to M. Buoc, a director of the Wagon-Lit company, and Dr. Constantine, to decide which is the right solution.

Poirot looked at his friend.

“You are a director of the company, M. Buoc,” he said, “What do you say?”

M. Buoc cleared his throat.

“In my opinion, M. Poirot,” he said, “the first theory you put forward was the correct one—decidedly so. I suggest that that is the solution we offer to the Yugo-Slavian police when they arrive. You agree, Doctor?”

“Certainly I agree,” said Dr. Constantine. “As regards the medical evidence, I think—er—that I made one or two fantastic suggestions.”

“Then,” said Poirot, “having placed my solution before you, I have the honor to retire from the case…”

Does that sound like Poirot being deeply conflicted? It certainly doesn’t sound like that to me.

I do not understand the weird obsession that many TV writers have with trying to turn detectives into Javert from Les Miserables, obsessed with the law over justice. Even weirder, David Suchet suggested that for Poirot this was a conflict between his Catholic faith and his idea of what was right. But the Catholic faith, while it places a very high value on obedience to legitimate authority, does not hold civil law to be identical with justice, or that civil law is the highest good, or that the only right to justice in all cases  belongs exclusively to civil law, or that civil law must always and everywhere be maximally cooperated with, or anything necessary for this to be a fight between Poirot’s Catholic faith and his morals.

To be fair to him, David Suchet, though Christian, is not Catholic, so it is understandable if he is not sufficiently familiar with Catholic moral philosophy. Still, I can’t help but wonder where he got this idea. from.

It certainly wasn’t from the book.

Also, this was not the first time that Poirot decided that the blunt instrument of the police would do more harm than good if they knew all that he knew. He even made that decision while he was still on the Belgian police force (in The Chocolate Box, published in 1923, more than 10 years before Murder on the Orient Express).

Sherlock Holmes: His Last Bow

Though it was by no means the final Holmes story that Conan Doyle wrote, I think that it is reasonable to take His Last Bow to be the final story of Sherlock Holmes. Set on the second of August in 1914, just two days before England would enter World War 1, it was  published in September of 1917. This would turn out to be towards the end of the war, though with a year left to go, not so close as for the end of the war to be in sight.

As has been said, it’s more a spy thriller than a detective story, and it threads a very difficult needle by being a fictional story about an important real event. On the one hand, it is a contribution to the war effort to boost morale. On the other hand, it runs the double-risk of hurting morale by this benefit being fake (i.e. fictional), and it also runs the risk of seeming to steal the glory of the people who did real work. That’s nothing particular to this story; it’s true of all fictional stories tied to current events. Comic books were in an especially difficult place in this way regarding the 9/11 attacks on the twin towers—all the moreso because many of them should have been able to easily stop the attacks or else rescue far more people than were rescued in real life.

The ending particularly intrigues me, for reasons I shall get to shortly.

The two friends chatted in intimate converse for a few minutes, recalling once again the days of the past… As they turned to the car Holmes pointed back to the moonlit sea and shook a thoughtful head.

“There’s an east wind coming, Watson.”

“I think not, Holmes. It is very warm.”

“Good old Watson! You are the one fixed point in a changing age. There’s an east wind coming all the same, such a wind as never blew on England yet. It will be cold and bitter, Watson, and a good many of us may wither before its blast. But it’s God’s own wind none the less, and a cleaner, better, stronger land will lie in the sunshine when the storm has cleared. Start her up, Watson, for it’s time that we were on our way.

Holmes’ sense of tremendous change coming was not misplaced, and it extended even into detective fiction. I do not pretend that the changes to detective fiction were the biggest or most important changes, of course; they are merely the ones that interest me here.

The first world war was not, technically, the end of the Holmes stories. Conan Doyle would write another collection’s worth of short stories by 1927, but for all that it would not be many and a new crop of detectives was on its way. Hercule Poirot would emerge into the world during the Great War, though his first story would not find a publisher until 1920. Five years later, Lord Peter Wimsey would investigate his first murder in Whose Body? Poirot had something of a timeless element to him, but Lord Peter did not, and that’s what’s really brought to mind by His Last Bow.

Though Conan Doyle wrote Holmes stories until 1927, with the one exception of His Last Bow they were all set in the late Victorian period, and for good reason. Holmes was a creature of the Victorian period. It is unthinkable to have Holmes without his Victorian politeness—as exact as his deductions—but Holmes’ encyclopedic knowledge of bicycle tires and cigar ash could not really be sustained over more decades, too.

By contrast, Lord Peter was a creature of the inter-war period. His personality was defined by the trauma of the Great War followed by the emptiness of the Great War being over. He took up detection because he had nothing else to do and after his experiences in the war he could not do nothing.

Each detective was a creature of his time period in a more profound way, though. Holmes was a religious man in the style of English religion which would soon perish in World War 1; he was religious but far more preoccupied with the details of life. The Christianity of England in the Victorian period was salt that lost its flavor, and the question of with what will it be seasoned was soon to be asked. But it was not asked in that time. Lord Peter, by contrast, was a non-religious man. He was in some ways the embodiment of the answer that salt which has lost its flavor is good for nothing but to be trampled under foot. He did not even consider religion; as Dorothy L. Sayers put it, he’d have thought it an impertinence to believe that he had a soul.

But Lord Peter was a creature of the inter-war period not merely in his start, but also in his end. Everything in this world is temporary but Lord Peter was more temporary than most because he was an aristocrat and the aristocracy was, in his time, not long for the world. I don’t mean that it would literally end, but the social importance of dukes and the other minor nobility was drawing to a close. England never, itself, had a revolution, but the revolutions that happened elsewhere sufficed for it. Perhaps it would be more accurate to say that England a peaceful revolution instead of a violent one. That peaceful revolution was on its way during the interwar period, and it did not take a crystal ball to see it coming.

That said, even in Lord Peter’s time it was not really enough that he was a lord. He needed to be rich, too. The title helped him make useful friends, though.

All of this is one of the very interesting things about reading old books. It’s not merely that we can select from the best of what’s gone before us profiting from the work of a great many people in reading through the dreck to find that best, though that is of course quite helpful. It’s also not merely that we can benefit from the difference of perspective, taking for granted things we don’t and noticing what we take for granted, though that is enormously valuable too. It’s also that it’s interesting to see where people thought that things were going and what trends were important when we know what the correct answers turned out to be.

It can be amusing and interesting when they turn out to be wrong, but I think it’s even more interesting when they turned out to be right.

The Prestige of Linear TV

Streaming television is better in every way than linear TV (by which I mean broadcast and cable TV, i.e. where a show is on when it is on and you can only choose the channel) and it seems possible that one of those improvements will hurts TV’s cultural prestige.

The improvement I have in mind is that streaming TV shows allow you to watch them whenever you want to. I remarked before (in Watching On-Demand TV) how being able to watch a show whenever you want decreases the urgency of watching it and also gets rid of the weekly rhythm that broadcast TV gave. It recently occurred to me that TV also accidentally gained cultural prestige as an accident of that delivery mechanism.

In the days of linear TV, if you wanted to watch a show you needed to organize your life so that you would be available at the time that the show aired. In the 1980s VCRs made it possible to tape a show when it was on to watch it later, but at first this required one to be around, so you were still organizing your life around the show’s schedule. Later on there were programmable VCRs which could tape a show while one wasn’t home, but it was often easier to be present than to figure out how to program the VCR.

Organizing one’s life around something signals that the thing is important. Here’s the critical part: it doesn’t just signal this to others. It signals this to oneself. Thus television shows gained a double-benefit from people organizing their lives around them. First, we knew that these were the sort of things that millions of people organized their life around, so they had to be important. Second, we organized our own lives around them, so we had to feel them important or we’d be fools for organizing our lives around them. When you and everyone around you acts as if something is important, that gives it prestige.

This was not the only source of prestige, of course. Back in the broadcast days when there were only three television channels, the fact that many millions of people were watching the same thing gave it prestige. The fact that it was common but one of few made it seem select. The fact that it was transmitted over public airwaves gave it the imprimatur of the government, which was more respected back then than it is now. Those things faded with the era of cable TV, when dozens of channels got rid of the exclusivity and the cable itself got rid of the government imprimatur. But the fact of organizing one’s life around the airing of one’s favorite shows persisted.

Even if streaming hadn’t come about, the advent of the Tivo and other digital video recorders which were aware of show schedules and were easy to program and never missed an episode would have mostly ended this aspect of the prestige of TV shows. Streaming has killed it more completely, though.

It will take some time for this to fully play out, of course, and a loss of prestige is usually not the sort of thing one notices, because things without prestige are intrinsically less noticeable. It’s also been going on for a while, so I think we’re already seeing the effects of it. It’s likely that the bigger effects are going to be generational; people (like my children) who grew up with TV not having this prestige will just naturally think of it differently.

Murder She Wrote: Snow White, Blood Red

On the thirteenth day of November in the year of our Lord 1988, the Murder, She Wrote episode Snow White, Blood Red aired. It was the fourth episode of the fifth season, and it’s one of my all-time favorites. (Last week’s episode was Mr. Penroy’s Vacation.)

Jessica has come to the mountains in order to enjoy a ski vacation with her nephew, Grady, who has not yet arrived. (This is merely a setup; Grady is not in this episode.)

The episode starts out on a foreboding note. A figure in a red ski jacket (who turns out to be Jessica) is skiing down the slopes as opening credits and ominous music play, then another skier in a white jacket begins to follow her.

At the bottom we discover that it was only a friend of hers named Johnny.

There’s something charming about a ski scene on an indoor set with a picture of mountains behind the fake trees…

They joke a bit about Jessica being out of practice. (Johnny said she skied rather well, and, indeed, the stunt double we watched ski down the slopes did look to be in good practice.) It then comes up that there’s a big snowstorm expected the next day which will prevent all skiing, which Jessica takes relief at as she expects to pay for her heightened activity today. It’s a decent working-in of the upcoming plot point of the storm, but I’m not sure it’s really necessary. Storms, as acts of God, do not require foreshadowing in a mystery story.

It comes out that Johnny, as well as many other people present, are hopefuls for the US world cup ski team. There is one person present who has already made it, a fellow by the name of Gunnar Tilstrom. Johnny then excuses himself to help a cute young woman having trouble attaching her boots to her skis and the scene shifts to inside the pro shop.

Shoulder pads under the sweater!

The woman on the left is Anne. The man is Mike. They’re married and own the place. Mike is reminding Anne that she has to keep track of the inventory and she angrily replies that she made a mistake and asks how long he’s going to keep berating her. It’s an overreaction to his gentle tone, which suggests that she’s over-sensitive for some reason.

Jessica then walks in and witnesses a bit of the fight. She’s there to pick up something she ordered, which came in about an hour ago. As Anne gets the box, Jessica notices the crossbow on the wall:

Jessica remarks on it and Anne jokes that they use it to shoot beginners who clog up the expert course.

Jessica’s order turns out to be a blue ski suit she’s bought for Grady as a present, and remarks that the entire vacation is a present to him as she hasn’t seen him for three months.

The phone rings and Anne acts about as guilty as humanly possible, saying it would be better if the caller called back later. Mike comes over and takes the phone and asks if it’s Gunnar, but the person on the other end hangs up. Jessica asks if the coat can be put on her bill and high-tails it out of there, while Anne asks Mike how he could humiliate her like that and he replies that he was about to ask her the same thing. I guess we’ve found out why she’s over-sensitive to criticism.

We then cut to the bar, where we see Gunnar returning a landline telephone he borrowed to make the call.

Isn’t that more of a golf sweater Gunnar is wearing?

We then cut over to a young woman named Pamela who is about to join Gunnar, having watched his disappointment as he handed back the telephone.

This sweater feels almost Nintendo-themed.

“Pitty, Gunnar. The old Swedish charm’s beginning to fail you,” she purrs in a delightful posh British accent.

There is some banter, but it turns out that she represents a ski product company which has an endorsement deal with Gunnar that she negotiated, and she remonstrates with him because she’s heard rumors that he won’t compete in the world cup. He explains that he’s won plenty of things before now and is pushing thirty years old and could end up crippled like Mike and have to spend the rest of his years running a ski resort like Mike. (Interestingly, the actor, Eric Allan Cramer, was 26 at the time the episode aired, making this a rare case of playing older. Fun fact: five years later Cramer would play Little John in the Mel Brooks movie Robin Hood: Men In Tights)

Meanwhile, Gunnar still has some skills, such as attracting women, and he sees himself marrying a rich widow who hasn’t been too ravished by the passage of time. Pamela counters that she heard he doesn’t confine himself to widows, and offers as evidence the rumor that a month ago he had an adventure in Tahoe was with the wife of a vindictive gangster.

Gunnar tells Pamela, basically, that he’s sorry for her that she was enough of a sucker to believe in him but that doesn’t alter his plans. Pamela leaves, disappointed, while Gunnar smiles.

Next, after an establishing shot of the ski slopes, we meet Gunnar’s coach, Karl.

This episode has a lot of great sweaters. This may be my favorite.

He just spoke to Pamela and is concerned that Gunnar isn’t going to enter the world cup. They’ve worked together for two years on this! Gunnar says that he hasn’t decided what he’s going to do, but whatever it is, it will be without Karl. Karl grabs Gunnar’s arm and says, “You need me!” Gunnar shoves him to the ground and replies, “I need no one, least of all, you.”

I think we’ve got a decent number of suspects planted, now.

We now shift to evening in the hotel restaurant. Pamela is talking to a young skier named Larry McIvor.

I had a swear in those colors, though not quite that design, in the 1980s.

He’d love to endorse her products, but he wonders what she needs him for since she has a contract with Gunnar. She likens the business world to a downhill course laced with rocks. He’s her insurance policy in case something goes wrong. He golly gosh sure could use the money ma’am, and proposes that they sleep on it. When Pamela raises her eyebrows, he’s deeply embarrassed and tries to assure her that’s not what he meant. Pamela smiles at his naive wholesomeness and says that he really is a delight, and offers her hand. They shake and the camera moves on to a new couple who Jessica runs into.

They’re husband and wife. His name is Ed McMasters, hers is Sylvia, and they’re from New York City. He invites Jessica to join them for dinner, “if you don’t mind eating with a cop.” She replies, “Not at all. They’re some of my favorite people.”

They talk over dinner for a bit, then at the end of the song that was playing the lead singer welcomes everyone to the Sable Mountain lodge and then calls out some of the world-class skiers present. “I don’t have to tell you, they stand to win a few gold medals at the next world-cup meet.” I wonder if they would have had to pay money to be able to say, “the winter Olympics.”

Anyway, they put the spotlight on the various people that he calls out for applause, and this results in everyone seeing who Gunnar was having dinner with.

Anne makes the best of this, then the camera gives a closeup of Anne picking up a highly distinctive gold lighter. These kind of closeups tell us that the thing in the center of the camera is important, so take a good look.

She looks around and here eye catches her husband staring at her from right behind Jessica, who looks and sees it. He walks off and the scene changes to outside, in the morning at first light. The storm has started and the snow is falling, but Gunnar is going for a ski.

As he’s going down on the slopes we see a crossbow raised. We then see the view through the crossbow’s scope and the crosshairs take aim at Gunnar. Right as he jumps a small rise the bolt finds its way home and Gunnar falls. He rolls to a stop, dead.

The camera fades to black and we go to our first commercial break.

When we come back from commercial break, Jessica is looking outside as a weather report says that the storm is looking to be far worse than feared and roads are becoming impassible. She walks down into the crowded lobby with her suitcases and meets Pamela, who says, “welcome to Bedlam. They say it’s going to be an hour but I suspect it’s going to be a lot longer than that.”

They’re not explicit but I suspect that everyone wants to leave because the storm has made skiing too dangerous. I’m not sure if that’s really a thing at mountain ski resorts, but it is at this one.

The van to drive people down the mountain and into town has temporarily broken, btw, and the scene shifts to Larry trying to help Mike with it. He pronounced the fuel line frozen and it is possible that the pump has gone bad too. (I’m a bit suspicious of this diagnosis since since the freezing point of gasoline is around -100F.) Mike asks Larry if he can fix it and Larry isn’t sure. Then Johnny walks in and brings the news that Gunnar has been found, dead, by some dumb teenagers who were skiing in the storm.

The scene shifts to the pro shop where the crossbow and all of its bolts is missing. The glass was shattered and a uniformed security guard reports that the back door was smashed in. Mike says that they need to get the cops up here but Anne walks in and says that there’s no way that’s going to happen. All of the roads are closed and will be until the storm lets up.

The scene shifts to Jessica’s room, where Mike and Anne ask her to investigate the death. People are beginning to panic and the appearance of something being done will help keep them calm. Jessica points out that they have a policeman staying with them—Lt. McMasters. Anne shakes her heard. The McMasters left early this morning, driving off before the storm hit.

Jessica doesn’t know what she can do but to the great relief of Mike and Anne, she agrees that whatever it is, she will do it.

The scene shifts to her taking a look at the body.

The man standing with her is a doctor. Dr. Lewis. He objects that he is a gynecologist, not a forensic pathologist, but Jessica merely answers that necessity creates strange bedfellows.

Ed McMasters then walks in through the curtain and explains that they ran into a snow bank “about the size of the Chrysler building” and turned around. He looks at the body and asks Jessica for her opinion. Jessica tries to turn the case over to him but he demurs and agrees only that he will help her. He leaves, then Dr. Lewis asks if he can go and Jessica gives him permission.

She then begins to look through Gunnar’s jacket. She finds a room key, specifically room 301. She ponders the meaning of this as a mournful clarinet considers the question with her.

The scene then shifts to Jessica coming into the main room from outside. One of the things that’s done very well in this episode is visually suggesting the strength of the storm.

Still images only partially convey how inhospitable it is outside. Part of it is the difficulty people have in opening doors and the speed with which they come in and get the door closed again. The episode does a good job of showing how much everyone is at the mercy of the storm.

Anne stops Jessica and gives her a clue. After he left a phone message came in for Gunnar. “Urgent. Call me. (702) 555-0980. Vicki.” Jessica recognizes 702 as a Nevada number. She goes to her room and calls the number. A tough-sounding male voice answers and says, “Tartaglia residence.” Jessica asks to speak to Vicki and the voice replies, “Mrs. Tartaglia isn’t here at the moment. Who’s calling?” The tough voice is insistent on asking the question, “Who is this?” when Jessica doesn’t answer. Instead, she just hangs up the phone and picks up the room key that had been in Gunnar’s pocket.

We then see Mike go into a dark room and begin looking for something.

Jessica walks out and shows him Anne’s golden cat lighter. Mike assures Jessica that Anne didn’t kill Gunnar. He left around 6am and Anne left around 7am. Mike knows because he was in an empty room at the end of the corridor watching.

These are the facts salient to the mystery; there is some interesting characterization where Mike explains that he and Ann were engaged prior to the accident which crippled him and while Anne went through with the marriage, he couldn’t bring himself to believe that she really loved him for him, rather than for the athlete he had been. This drove them apart, and you can see that he regrets it, giving some hope for the couple.

The scene shifts to a bunch of young men who are all, I assume, hopefuls for the world cup team who are drinking and sharing raucous memories of Gunnar. Larry gets up and excuses himself because he can’t drink and be merry with Gunnar dead.

Jessica walks up to Lt. McMasters, who watched the scene, and asks him what just happened (she saw Larry walking off looking upset). He replies, “I don’t know. I think it’s an Irish wake.”

Jessica then asks him if he’s made any progress on the murder weapon, but he hasn’t. Anne isn’t keen on a room-by-room search since everyone is already on edge. Neither of them point it out, but it would be a bit far-fetched for the crossbow to be in someone’s room, anyway. When you have the great outdoors to hide something in, it’s a far more sensible choice than storing it in a place which is tied to oneself.

Jessica then spies Pamela and joins her.

Pamela wastes little time in saying that she barely knew Gunnar and had no reason to kill him. Backing off from the abruptness, this turns into a conversation about Gunnar and how the list of people who wanted to kill him was long, though he could turn on the charm when he wanted to. She runs off a list of Gunnar’s flirtations with women that made the tabloids, including the one where he took up with the wife of a mobster and barely made it out of town with his life. This catches Jessica’s attention. She then asks Pamela why she sounds so bitter and Pamela admits that Gunnar was about to ruin the $3M endorsement contract with his womanizing.

Then scene then changes to a storage room where ominous music plays as gloved hands uncover the crossbow and pick up an arrow, showing it off to the camera.

Then we fade to black and go to the midpoint commercial break.

When we come back from commercial break, pamela is working out on an exercise bicycle while larry is doing overhead press on a weight machine. After a few seconds of introductory noises to let people hurry back from the bathroom, Larry says, “Maybe I’m just a dumb farm boy, but where I come from people have respect for the dead.”

Pamela tries to comfort him, saying that they didn’t mean harm and tragedy affects people differently. He’s in no mood for it, though, an accuses her of being there to make sure he will sign the contract. She denies it and he walks off to the locker room. Then Karl the trainer walks in and drunkenly accuses her of murdering Gunnar and threatens to kill her if he finds out he’s right.

After this threat session, Pamela goes to the woman’s locker room where, to her surprise, she hears the shower running. She sees clothes on the ground and, going to inspect them, finds them soaked with blood. She then goes into the shower room and finds Larry’s corpse, dripping blood, hung by the neck with a rope tied to the shower head, the water running over him. As you might imagine, the music is extremely tense. This is probably the most dramatically tense scene that’s been in a Murder, She Wrote episode. The tension is especially heightened by the fact that the murderer had to be close by since there wasn’t much time for the crime to be committed.

Pamela does the sensible thing and screams as loud as she possibly can. (That’s not a joke. This is a situation for attracting as much attention as humanly possible.)

The scene changes to her in her bedroom with Jessica. She is distraught, wondering who could possibly want to have killed such a nice kid. Lt. McMasters then walks in and says that, as near as they can figure—the gynecologist is a bit outside of his field of expertise—Larry was knocked unconscious in the men’s locker room, dragged to the women’s locker room, stabbed with an arrow, stripped, and hung up in the shower. Jessica says that this makes no sense and McMasters replies that (of course it makes no sense) they’re dealing with a luny, a certified hazel nut.

Anne comes into the room to say that there’s more bad news—the phone lines are down. They can keep up internal communications with their generator, but they are completely cut off from the civilized world.

Jessica asks if Sylvia (Lt McMasters’ wife) can stay with Pamela for the time being. She saw a vehicle with a CB radio in it—red, with a Massachusetts license plate—and she thinks that they should try very hard to get in touch with the police. Anne says that she’ll try to find out who owns it. McMasters says that he’s going to talk to the Norwegian ski coach, who seems not entirely right in the head.

In the next scene Jessica and Mike Lowry go to the red vehicle and call the Sheriff. They manage to report the second murder, but the Sheriff says that the roads are impossible and the helicopter can’t fly in this storm. They’ve got to hang on. Then everything goes to static for some reason which isn’t obvious but doies at least get us out of the conversation.

Mike and Jessica retreat to the pro shop, where Mike laments that this could destroy their business, into which they invested every cent they had.

Jessica then notices the photograph of the last US World Cup team and asks if it was Mike’s idea to invite everyone up. The people in the picture are Gunnar, Larry, Johnny, and Mike (before his accident). Now two of the men in the photograph are dead. Jessica doesn’t know what it means, but there must be some reason for these killings.

Then they hear a crash and begin to investigate. As they do, Johnny comes through the door, his left arm bleeding.

In the next scene Johnny is in bed, the gynecologist tending to his wound.

At first blush the wound looks a bit low, but it could possiby be an attempt to stab Jonny in the heart. Johnny says that he was grabbed from behind and stabbed. Lt. McMasters says that they found another arrow nearby on the floor. Johnny didn’t see who it was, not even a sleeve. He fell to the ground and passed out, then woke up when he heard Jessica and Mike.

In the hall the gynecologist remarks that he used to think his practice was dull and repetitive, but has never been so eager to get back to his dull, boring routine in his life. He then quickly walks off.

Lt. McMasters remarks that he can’t blame the good doctor. It’s not much of a vacation to have some screwball going around trying to knock off the next world cup ski team.

Jessica is not so sure. The doctor said that the wound was superficial. Perhaps Johnny stabbed himself to divert suspicion?

McMasters thinks it unlikely. Jessica has done some checking up and Johnny is good but not that good; with Gunnar and Larry out of the way he’s got a much better chance of making the team. McMasters says that it’s a flimsy motive for murder, but Jessica counters that she’s heard worse.

Jessica then says that there is a third possibility—that Gunnar was the only real target. The killer probably planned to hit and run but got stuck in the snowstorm and had to create a smoke screen. McMasters says that this third one is a hell of a theory. Jessica replies that theories are easy to come by, the truth is much harder. She then says that they better hope that the weather clears up so that the police can come in the morning and take the investigation over from them.

The storm, however, rages through the night.

A few hours later Jessica, in bed, receives a call from a panicked Sylvia McMasters. With the sound of sleigh bells jingling in the background she asks if Ed is there with Jessica. Jessica, who was nearly asleep, says that he isn’t. Ed got a call a few minutes ago and rushed out. She doesn’t know who the call was from, but Ed took his gun. Jessica tells her to stay calm and that she’ll try to find Ed.

Jessica puts on her coat and braves the storm, looking for Ed.

She checks the ski shop but it’s locked. As she does Ed pops out from behind the building with his gun pointed at her and tells her to freeze. After she identifies herself he explains that some guy with a muffled voice called him and said to meet him outside the ski shop because he had information about the case. It sounded like a trap to him so he hid himself and waited.

As they talk a crossbow aims at them from the car barn and then fires, but misses, hitting the wall behind them. As they try to spot where the shot came from, the sound of a motor roars and a ski-mobile drives out of the car barn. McMasters orders the driver to stop, then fires three shots at him. The driver runs up a snow bank and topples over. They rush up and it’s Karl, the ski instructor, dead. Beside him lays the crossbow with two arrows left in its quiver.

The scene fades to black and we go to the final commercial break.

When we come back, Jessica is examining Karl’s ski jacket while Ed is telling Mike and Anne that he got the feeling, when Gunnar was pushing Karl around, that something was going to snap in the big trainer.

Mike says that it’s hard to believe, since Karl was like a father to them.

A phone call comes in with the news that the phone lines are back in operation. Ed is delighted by the news and looks forward to going home to NY. He says he’s going back to the lodge and asks Jessica if she’s coiming, but she’s nowhere to be found.

Outside Jessica is standing with Karl’s coat as the gynecologist comes running up. He begs her to promise that this is the last time she will press him into service as an amateur coroner. She asks if he got “them”, and he replies that he did. While surgery on corpses is not his long suit, he does believe that he extracted the bullets with a minimum of damage. Jessica looks at the bag he handed her and proclaims them two .38 caliber bullets, but did they come from the same gun?

The gynecologist doesn’t understand. He thought it was known that Karl was shot by Lt. McMasters. Jessica replies, “yes, but was he also shot by someone else?” The gynecologist looks confused, then horrified, then says, “You know, I’m afraid that if I ask you what you mean by that, you’re liable to tell me.” Without giving her the opportunity to say anything, he then very politely wishers her a good day and leaves, saying that he’s giving up skiing for something less rigorous, such as needle-point.

Jessica smiles, then goes into the car-barn and looks around. She then notices the jingle-bells on the wall next ot the telephone by the door.

Jessica then catches Sylvia on her way to meet Ed, who is warming up the car. Jessica says that they need to talk. Jessica is surprised that Ed wants to go home so soon and Sylvia explains that she’s anxious to get back to her cat. Ed then walks up and says that they have a busted fuel line, so will be stuck for a while. Jessica then invites Ed to have a seat, saying that there’s been a development.

Jessica then reveals that Karl didn’t kill anyone, he was murdered like the rest. There were two bullets in Karl, but only one of them struck him when he was alive. (If you recall the picture of his jacket, there was only one bullet hole with blood on it. Jessica then shows a second bullet hole in the jacket which we couldn’t see earlier because there’s no blood on it.) When the police check the ballistics, they’re going to find that both bullets came from the same gun. Moreover, they’re going to find that there is no Ed McMasters who works for the NYPD. Also, it was Sylvia who fired the crossbow at them; Jessica heard the sleigh bells in the background of the telephone call and didn’t think about it until she saw the sleigh bells hanging up next to the phone in the barn, but they place Sylvia not in her room, but in the barn. Also, another question is why, having killed Gunnar, didn’t the killer leave? The only people who tried to leave were the McMasters, who only came back because the road was impassable.

Jessica surmises that he was hired by Tartaglia to take vengeance on Gunnar and got trapped by the snowstorm. The rest of the killings were a cover-up when they couldn’t get away.

As the McMasters indignantly rise to leave we can hear the sound of a helicopter overhead and two security guards come out and detain the McMasters at gunpoint. When they clearly give up trying to escape, Jessica turns to Anne, who had just announced that the police have arrived, and we go to credits.

As I said at the outset, this is one of my favorite episodes. It’s tightly plotted with good characters and an intriguing mystery. By means of a powerful act of nature we have a closed cast of characters. The ongoing murders adds tension and makes the threat of the killer being loose present, while it also creates new clues as well as new things for them to fit into, creating satisfying complexity.

That is not to say that this episode is perfect. Like all the works of man it does have mistakes. For example, we see Jessica packed and ready to leave before Grady even shows up. It’s also a bit weird that Vicki left a message for Gunnar asking him to call her at a phone number that could easily get her husband. I’m not sure what her alternative would be since this was long before cell phones and she probably didn’t have a private phone line, but it’s still a bit unlikely. Also… actually, that’s about the only mistakes which comes to mind, and the first one doesn’t even matter because the plot only needed her to be in the lobby, which required no excuse anyway, and the second one could have been a slightly different message and serve the same purpose. This may be one of the reasons I like this episode so much.

Getting back to what this episode does well, we have a good setup which introduces a large but manageable cast of characters. I think that part of what keeps the large cast manageable is that they fall into several categories. We have the owners, the adjuncts to the ski team (the business woman and trainer), and some fellow guests. This is not the only approach, of course. The best alternative I know of is to give every character a hook to make remembering them easy. That said, this is an excellent approach and gives us manageable complexity.

Another great point is the economy of the setup. We get introduced to everyone, but we also have our corpse before we go to the first commercial break. This balance maximizes the mystery involved. If we were introduced to fewer people, we would have no scope for speculation. If we waited too much longer, we would need some kind of story that would compete for time with the mystery. This point is probably specific to the short-story form (which TV resembles more than it does novels), but it’s worth bearing in mind.

Next on the list of great things about this episode is the snow storm. It is a wonderful complication in the story, both helping and hindering the murderer and the detective alike. It brings in the eternal theme of how man is subject to nature, for all of our technological mastery. It also removes the possibility for modern forensic evidence, turning the mystery into more of a classic and making it more accessible. We all have wits, we do not all have forensic tools.

The gynecologist who is brought in to do the medical work has a real function but also brings in a touch of comic relief which balances out the threat of a killer on the loose who is willing to kill again. This is part of the general excellent pacing, where moments of examination and detection alternate with moments of tension and the killer acting.

The murderer is also well done in this episode. “Ed McMasters” pretending to be a New York City cop is a good way to divert suspicion from himself, but if you pay attention he does play it in a way that’s cagey and not comfortable with the role. He will happily drop the name of recognizable places (like the Major Deegan Expressway), but he mostly refuses to actually do anything that would require the knowledge of how to do real policework. Even when he does, he makes his actions ineffective. Tasked with finding the crossbow, he proposes a room-to-room search which he knows that Anne and Mike will object to and which wouldn’t do any good anyway, while looking like he’s trying.

The one part where he really slipped up in a way that doesn’t make a lot of sense to have slipped up was in actually shooting Karl’s corpse on the snowmobile. There was no reason for him to actually aim at the corpse and he had to know that a bullet which didn’t cause any bleeding would have had to be suspicious. There are two reasonable ways to explain this, though. The first is that he had to be aiming at approximately the right place because Jessica was watching him and he got unlucky and hit the corpse when he meant to miss it. It is not easy to put your bullets where you mean to with a handgun, so this could simply have been, as the kids these days would say, a “skill issue.” The other explanation is that he thought that the most convincing thing to Jessica would be method acting—to actually try to do the thing he was pretending to do—and he expected to fool her long enough to drive away once the roads were clear and then “Ed McMasters” would disappear and it wouldn’t matter that the coroner would discover that Karl was shot after he was dead. And to be fair to this second possibility, the only reason he didn’t escape was because Jessica was quick witted enough to examine the corpse and figure out what it meant.

This episode was just great from start to finish.

In next week’s episode we’re off to the mountains of West Virginia for Coal Miner’s Slaughter.

One, Two, Buckle My Shoe

I recently read Agatha Christie’s novel One, Two, Buckle My Shoe. It is the nineteenth novel to feature Hercule Poirot and was written during a very turbulent time. Published in November of 1940, it would have been written mostly during World War 2, or entirely if Christie had started it after the publication of Sad Cypress in early 1940.

It has some vivid, if not always pleasant characters, and among other things deals with the kind of revolutionary socialists who are the counterpart to the German ones who started the second world war. Her portrayals of human beings are at times almost painfully realistic and well done. I’m inclined to agree with the reviewer Maurice Richardson, who in his review in 1940 wrote:

The Queen of Crime’s scheming ingenuity has been so much praised that one is sometimes inclined to overlook the lightness of her touch. If Mrs Christie were to write about the murder of a telephone directory by a time-table the story would still be compellingly readable.

Agatha Christie’s style is so simple it might be easy to miss the subtlety of her observation of human nature in its varied forms.

All of that said, there does seem to be a pretty big plot hole in the story, which I find quite surprising because there are usually no plot holes in Agatha Christie’s work, not even small ones. (spoilers follow.)

I can’t see any way that Alistair Blunt could have arranged for a dentist appointment shortly before Mr. Amberiotis’ appointment which was right after Miss Sainsbury Seale’s appointment. And that’s assuming we were to grant the coincidence of the two men having the same dentist as Mabelle Sainsbury Seale, which seems difficult on its face since she was of a different social class than them. Oh, and also the same dentist as “Mrs. Chapman.” (Mabelle and “Mrs. Chapman” had to have the same dentist because the switching of dental records was an important plot point. [See the second update below for more.])

The coincidences are not insurmountable; coincidences do happen and when they merely shape the result rather than make it possible, it’s not disappointing.

But what I can’t for the life of me figure out is how Alistair Blunt (or “Mrs. Chapman”) ever found out about this coincidence. People—especially foreigners who are only visiting—don’t visit the dentist often enough that one would just call around to all of the dentists asking if they had an appointment for the victim. Even if this coincidence was known, how would Alistair Blunt then get an appointment for shortly before Mr. Amberiotis? Requesting it would be far too suspicious. Not to mention that setting up having been patients would take months, at least.

And there’s no way that the entire thing could be coincidence on the day of the murders, since the murders and switching of the dental records were planned ahead of time, as was the fake telegram getting the secretary out of the way.

I can’t help but wonder if there’s something I’m missing, because this is very unlike Agatha Christie.


UPDATE: A reader brought up the timing of Amberiotis’ making an appointment with the dentist. This, I think, was in advance of the day of his murder. I’m going to quote the section in full since it’s short.

At the Savoy Hotel Mr. Amberiotis was picking his teeth with a toothpick and grinning to himself.

Everything was going very nicely.

He had had his usual luck. Fancy those few kind words of his to that idiotic hen of a woman being so richly repaid. Oh! well—cast your bread upon the waters. He had always been a kindhearted man. And generous! In the future he would be able to be even more generous. Benevolent visions floated before his eyes. Little Dimitri… And the good Constantopolus struggling with his little restaurant… What pleasant surprises for them…

The toothpick probed ungaurdedly and Mr. Amberiotis winced. Rosy visions of the future faded and gave way to apprehensions of the immediate future. He explored tenderly with his tongue. He took out his notebook. Twelve o’clock. 58, Queen Charlotte Street.

He tried to recapture his former exultant mood. But in vain. The horizon had shrunk to six bare words.

“58, Queen Charlotte Street. Twelve o’clock.”

While the text is slightly ambiguous, I think the most natural interpretation of these words would be that Mr. Amberiotis already had an appointment with the dentist, which was why upon feeling the pain, he merely looked at his notebook and there was no mention of making a telephone call.

On the other hand, this text also makes it sound like Mr. Amberiotis had just had his conversation with the real Miss Sainsbury Seale but that had to have happened at least a week before, since that was the length of time that “Miss Chapman” pretended to be Miss Sainsbury Seale.

That said, if the goal is to figure out an interpretation of these words that resolves all plot issues, this section must describe Mr. Amberiotis merely considering the anticipated fruit of having been kind to Miss Sainsbury Seale over a week ago, and then suddenly, by poking the sore place in his mouth, recollecting the appointment he made a while ago with the dentist.


UPDATE: In checking up on something, I came across the fact that Mabelle Sainsbury Seale did, by coincidence, have the same dentist as Alistair Blunt and that’s how they met in London. Approximately three months before the murders, Mabelle was coming out of the dentist’s office as Alistair was going into it and she recognized him and said that she used to be a great friend of his wife’s. So that part was a coincidence which shaped how the murder later took place. Moreover, this coincidence was revealed less than halfway into the book. With the dentist of Miss Sainsbury Seale known three months before the murder, “Sylvia Chapman” had time to become a patient of the same dentist. So there’s no plot hole on how Sylvia and Mabelle had the same dentist in order to make the switch of the records possible.

One solution for how Mr. Amberiotis had the same dentist as Blunt and Sainsbury Seale would be what the ITV version of the story starring David Suchet did, which was to have Mabelle recommend her dentist to Mr. Amberiotis. I don’t remember this being in the novel, but neither was there anything which contradicted it.

This still does not explain how they found out about Mr. Amberiotis’ appointment in order for Alistair to get an appointment on the same day. The fake Mabelle’s appointment does not require an explanation since the dentist, himself, said that it was made the day before as an emergency appointment. But how on earth did they know for which day Mr. Amberiotis had an appointment?

Speaking Ill of the Dead

It is a very old aphorism that one should not speak ill of the dead. According to Wikipedia, it dates back at least to Chilon of Sparta. To the degree that justification is given for it, it’s usually that the dead are not here to defend themselves from accusations. Like many aphorisms, it has some wisdom to it, but it can be taken too far.

The main thing to say for it is that, in the ordinary course of life, the wicked deeds of the dead are no longer relevant. The obvious practical exception are when the dead leave behind them some means to give restitution for their wickedness; if a man stole a horse and dies, the horse should be given back to its owner, and establishing this will necessarily entail some speaking of the fact that the horse was stolen. But, leaving aside this kind of restitution, whatever bad deeds a man did while alive, he no longer has the power to harm anyone, so there is no benefit to be gained.

Not often spoken about but also relevant is that anyone who valued something good about the dead man will have that tarnished by accusations against him. There is, generally, nothing gained by diminishing their ability to enjoy what good the dead man did.

The more common reason given—that a dead man is not around to defend himself—does also have some merit to it. The dead man would usually be in the position to give the strongest defense of himself, so any such accusations will have the suspicion attached to them that they could not have stood up to defense.

So much for it.

There is a place, however, where it is clearly inapplicable: when the dead man has published things which are still read/watched/have influence. A good example is Christopher Hitchens. He was an atheist popular among atheists in the first decade and a half of the third millenium. He is still often quoted, though like most people his influence has diminished after his dead. It has diminished, but it has not gone away. People still quote him, and find him inspirational in their rejection of religion. And the problem is that it his personality that attracts people, not the quality of his arguments. In fact, so far as I know, he never made arguments. All he ever made was impassioned rhetoric. (See my video, Christopher Hitchens Isn’t Serious: No, Heaven Is Not A Spiritual North Korea. In at least one place I break up his flow just to show that, absent his voice carrying one through, his conclusion in no way followed from what he said before it.)

Impassioned rhetoric is a kind of argument, though mostly an implicit argument. It rests upon the premise that the one who is impassioned has a reasonable cause for the passion in his rhetoric. That is, the man himself is one of the premises in his argument. This is not unreasonable, but it does mean that the man must be examinable if his argument is to be considered. Since Christopher Hitchens’ impassioned rhetoric had, as its premise, the correctness of his judgement, we must be free to examine whether his judgment actually was correct. And there we get to the fact that it was not. Hitchens was, in fact, a habitual drunkard who didn’t think that anything he talked about so passionately when drunk was worth bothering about when he was sober. That is, the passion in his rhetoric came not from his own good judgement, but from a bottle.

The reasons why one should not speak ill of the dead do not apply here, for several reasons. In the first case, the man is still doing damage, so it is relevant to work to end that damage. In the second case, this is counteracting the man’s bad work, which itself gets in the way of people privately remembering him for whatever virtues he might have had. In the third case, death is not a free pass to cause as much harm as one can, and in the special case of Christopher Hitchens he very candidly admitted to being a drunk, so there’s no question of defending himself anyway.

The inexpensive written word (since publishing, and especially since digital distribution) and even more so video have created a new context which requires some revision to this ancient heuristic.

Taleb Contra IQ

I just ran across an interesting article where Nassim Nicholas Taleb writes about the problems with IQ. Like everything he writes it is hard to read because of his tone. I suspect that he would be far easier to have a conversation with while walking with him or eating a meal with him than he is to read in text. That said, he makes a really interesting point about IQ in this article which I haven’t seen before.

(Quick note: my own position on IQ is that it makes a great metaphor for talking about comparative intelligence and, in the real world, I’ve heard it’s among the best predictors there is for how people will do on IQ tests. That is to say, its only use is as a metaphor for certain specialized conversations.)

The point that Taleb makes is that IQ will always produce strong statistical correlations because it does strongly detect severe learning disabilities. Or, more simply, people who are bad at everything are also bad at taking IQ tests.

He gave a striking example which makes it very clear. Suppose that you have a test which you administer to 10,000 people, 2,000 of which are dead. Dead people have a 0 IQ and will also score 0 on any performance metric. If there is no correlation whatever among the living people, standard statistical methods will give the result that this total population has an IQ-to-performance correlation of 37.5%.

To the best of my knowledge, psychologists don’t give IQ tests to corpses, but the same thing holds for less severe impairments than death, which is why the psychologists keep getting strong statistical significance for the correlation of IQ tests with… anything else.

Money Is Spiritual

A lot of people are confused about whether money is real or imaginary because they don’t realize that it is a spiritual, rather than material, thing. Before I go on, I need to make clear that a thing is neither good nor bad for being spiritual rather than material. Food is material and revenge is spiritual; both angels and demons are pure spirit. I am only talking about what the thing is, in so doing I’m not saying that it’s either good or bad (except in the trivial Thomistic sense that being is good considered differently).

Another misconception I need to get out of the way before I can actually say what I mean is that “spirit” is not merely “a different kind of matter.” For various reasons, a lot of people seem to think that spirit is basically glowing matter that has the ability to move through ordinary matter. That’s not spirit, that’s a TV ghost. When I say that something is spiritual rather than physical, I’m saying that it is not any kind of matter.

OK, with those common misconceptions cleared out of the way, we can finally get down to business.

It is fairly straight-forward to see that money is spiritual instead of material; the easiest way is to consider what happens when you get rid of the matter.

Suppose I lend you ten dollars, in the form of a ten-dollar bill. Then when you repay me, you repay me in the form of ten one-dollar bills. You have given me back exactly what I lent you, but the matter is completely different. This is not possible with material things, it is only possible with spiritual things. The bills are merely physical signs which point to the spiritual thing.

This is true of any money, by the way, not merely of fiat currencies. Suppose I lend you a pound of (pure) gold. Suppose you return to me some other pound of (pure) gold. Despite the matter being completely different matter, you have perfectly repaid the debt. The thing lent was not specific gold, but merely a quantity of gold. The thing returned was the same quantity of gold. Yet the matter is completely different.

You can observe the difference if I lent you a gold statue. If you merely returned to me the same quantity of gold but in the form of coins you would not have repaid what you owed me, because what you owed me was the specific statue.

That money is spiritual rather than material is why so many disagreements arise about it. Because we are a hybrid of spirit and matter, we recognize the spiritual, but in general we do it through the intermediation of matter. That is, we see the effects of spirit on matter and infer the spirit. You can see this even with where spirit got its name from—breath. Aside from on very cold days when we can perceive condensation, we do not see people breathe. We see their chest move, we hear their voice—we perceive various things from which we infer the breath. Or again consider the wind in the trees. We see the tree move and infer the wind, we don’t see the wind itself. These things are analogous to how we perceive spirit by its effects.

Because of this, we create physical signs to point to the spiritual thing we call money, though if you want to get extremely accurate the thing we call money is the same concept as debt (in the moral sense). These physical signs can be anything, since they are not the thing but merely a thing which points to the thing. At one time they might be records on a clay tablet or a stick, at another quantities of metal, at another pieces of paper, and at another records in a computer.

Like all signs, it is possible to lie with signs. You can see this in forgery and also when governments inflate fiat currencies in order to pretend that they have more money than they really have. None of these things make money unreal, they only make the signs pointing to the money unreal.

Recognizing this solves a great many problems around money, such as in this tweet:

Atheist Creation Myths for Religion

Quite frequently the quarrelsome atheists one runs into online are very poorly educated; in many cases they’re basically fundamentalist Christians who swapped the bible out for a biology textbook as the holy book that they don’t read. This seeming lack of knowing anything that would normally be learned by reading books lends itself to them coming up with some really weird creation myths for the existence of religion. Consider this recent one left in a comment to my post You Can’t “Believe In Science”:

Regarding experimentation, science requires observation, not experimentation as such. Paleontology is observational science, like astronomy. Simples. But anyway, the difference between science and religion is that scientific ideas are tested against observation while religious ones are not. Science rejects hypotheses which don’t agree with observation; religion keeps them and adds excuses. The Problem of Evil should have done away with the “everything was created by a perfectly good God” hypthesis, but religion has kept it and added excuses: Free will/God is impossible for puny humans understand/Best of all worlds/Etc. The flaw here is that adding excuses to a failed hypothesis doesn’t make it more likely, it makes it less likely.

While I’ve seen similar creation myths for religion from atheists, I’ve never seen this exact one. According to this myth, people first came to believe that God exists and created all that is, and reasoned out that He is perfectly good, then later discovered evil and invented the idea of free will and the concept of the world being too complicated for us to understand in detail in order to explain away this new discovery.

I doubt that the fellow who wrote this actually believes it; based on previous experience with him I doubt that he really believes anything at all; he seems to be a rhetorical thinker who just types stuff that happens to sound good at the moment. That’s pretty typical of the type, which is why I’m using it here for illustration. (Btw, rhetoric, on a technical level, is generally a micro-narrative or series of micro-narratives. Understanding this will make it easier for me to talk about it.)

You can see the basic flow of the rhetoric in the quoted paragraph. He started off with a story of how science is about observation. I wouldn’t be surprised if this was largely based off of pictures he’s seen of people looking through telescopes and microscopes. (It’s too much to go into here, but in many ways the “scientific revolution” was really the avalanche of knowledge gained when lens-making technology got good enough to make telescopes and microscopes, rather than any change in methodology.) From that mental image, now called Observation, he proceeds to try to distinguish Religion from Science using this. That is, he goes on to tell the story of how Science uses Observation. Since Science uses Observation, Religion must not use Observation. What story to tell?

Well, here he runs into a problem, since obviously in any normal sense of the word “observation” which isn’t code for “looking through a telescope or microscope” looking at a man heal a cripple or walk on water or feed 5000 people when there was only a few loaves of bread and a few fishes would be “observation.” So merely observing things can’t be the story of Observation he wants. However, with falsificationism being a popular idea among atheists, he brings it in as the backbone of the story he’s going to tell. So in Science, Observation allows you to falsify theories, which Scientists heroically do. This is in contrast to Religion, where Observation is not used to falsify theories. He doesn’t bother coming up with an example of scientists rejecting a theory based on observation, probably because this would be far more difficult than he consciously realizes. (It would be far easier to come up with examples of scientific theories being retained in the face of contrary observation. E.g. Newtonian mechanics, the inability of quantum mechanics and relativity to be reconciled, the Standard Model being kept despite observations indicating dark matter, etc. etc. etc.)

He then needs to tell a story of Religion ignoring observation. It would not work for his rhetorical purpose, however, to simply appeal to the fact that Religion (he really means Christianity; this is less true of non-Abramic religions) rests on testimony rather than observation. And this is not because virtually no one actually conducts scientific experiments for himself and relies on testimony. It’s because the narrative flow must be the ignoring of observation. So he comes up with the astonishing idea that there were people who were ignorant of evil that came to believe in God for unspecified reasons, then discovered the existence of evil and rather than rejecting their idea came up with a rationalization for it. It’s dumb as the proverbial solid waste from a dog, but it does have the correct narrative flow.

Now, while these micro-narratives have nothing to do with reality to an impressive degree, they do feature a common theme I’ve seen frequently from this kind of atheist: they get really offended when people don’t take their judgment to be the final word on a matter. They will identify something that they perceive to be a problem and get mad when people don’t instantly change their minds, but instead offer an explanation. This would be nonsensical unless the atheist were infallible, which I think gives some insight into the psychology behind it. Somehow or other (and I suspect there are many possible causes) they have come to be their own authority.

It is unpleasant for anyone to see an authority which they respect being disrespected.

The Purpose of Ornamentation

A friend brought this tweet to my attention and part of what’s interesting about it is the large split in reactions to the video it contains between males and females:

(Since links break on the internet, it’s a video of a woman showing off her standing desk which has a large number of color-coordinates things on it, including jars of keycaps, miscellaneous cute charging gizmos, etc.)

A friend said it reminded him of how I’ve advanced the theory that women are more given to the direct ordering of the material world while men tend more toward helping women in this role; left to their own men tend to be interested more in the abstract such as tools and how things work while women, left to their own, get a lot of satisfaction out of imposing rational order upon spaces. (note: this is not the same thing as liking cleaning; very few people like cleaning, it’s more about how much stress one feels at things not being clean.)

This video—or, more specifically, the reactions to it—are really more about the practice of ornamenting spaces, though. Though a lot of people are inclined to interpret ornamentation (or decoration) as a purely aesthetic subject, like painting or sculpting, it actually serves a practical purpose. Ornamentation exists to indicate that a space has been rationally ordered according to a function.

For example, in a kitchen, neatly folded towels with decorations on them and a row of decorated jars for flower, sugar, etc. are indications that the kitchen is clean (oriented toward food safety) and organized (oriented toward efficiently making food). Similar things apply to a bathroom, where organized flat surfaces allow one to rapidly inspect for unhygienic contamination. Decorations such as a soap shepherdess or a porcelain figure of a child in a bath serve to exclude using these flat surfaces for things that would more readily hide unhygienic contamination. (If you haven’t lived with young children, you have little concept of all of the strange places that can become contaminated and require cleaning to ensure hygiene.) Small towels with pictures of waterfowl embroidered on them laid on top of the towels which can actually dry hands off will get disturbed with use and hence act a bit like the seal on a pill bottle to assure the user that the thing to be used is fresh and clean.

In healthy femininity, the ornamentation is subordinate to the function of the space whose ordering it signifies. In toxic femininity, the function of the space becomes subordinated to the ornamentation. In extreme examples of this kind of disorder, spaces can become effectively forbidden from use lest the ornamentation be disturbed.

In the context of the desk in the video I linked above, much of what people are objecting to is (I suspect) the ornamentation. The ornamentation is there to signal that the desk has been rationally ordered to its function of getting work done. The ornamentation is not, however, part of that function. Thus people can easily perceive the ornamentation as getting in the way of the function (and thus being toxic femininity).

This is going to especially be the case for people who do not understand ornamentation, which population will tend to skew heavily (but not exclusively) male. Not having an instinct toward ornamentation of spaces (as distinct from the ornamentation of tools), they will tend to assume that there must be some practical function to the ornamentation, which they don’t understand, and thus must either figure out or reject as a mistake. This confusion costs mental effort to resolve (whichever way it is resolved), and hence is perceived as getting in the way of the function of the space.

This is a specific case of the more general principle that people find anything that they wouldn’t do mentally taxing because they do not effortlessly understand why it was done.

This is why there is the commonality (with many exceptions) of males finding a mess harmless while women find it stressful. The males will simply memorize where all of the useful things are and ignore the rest, so long as it doesn’t require moving out of the way to get at the useful parts of the space. This memorization of where the useful things are means that the mess becomes almost literally invisible to the person who knows where all things are. The females, by contrast, will not see a rational ordering, nor will they see the markers of an ordering that they don’t (yet) understand, and so will be stressed by how the space is meant to be lived in but is not optimized for its function.

When you put these two things together, they are a big part of why most of humanity throughout time and space has found it expedient to have separate male-controlled and female-controlled spaces, and for each sex to stay out of the other space or else when entering it to treat it as a foreign country and to just observe the mysterious customs of these foreigners so as not to give offense. Hence, for example, the stereotype that the same woman whose scolding of how the kitchen was left when a male made a sandwich for itself is taken meekly will be chased out of the male’s tool shed when she has the temerity to say something about its organization. (This, by the way, also tends towards a division of labor, as it’s just easier for everyone if the person who understands the organization of the space is the one who uses it, as they will both be most efficient and also least disturb this organization and thus create the least amount of work for the person who imposes that organization.)

This separation of domains is a thing, by the way, that young couples often have to learn. Each assumes that the other has no organization and does things at random, and they gradually learn that they’re wrong as they see the other reliably accomplish things. It also takes a while for the male to learn that he can’t make the female not stress over mess, while it takes the female a while to learn that she can’t make the male appreciate the function of ornamentation.

Eventually they come to learn to compromise. Eventually the female will recognize that the space is rationally ordered if everyone knows where the important stuff is and the mess is confined to only some mostly harmless places and is periodically dealt with so that there becomes an equilibrium where it does not grow like a cancer to take over the space. Eventually the male learns to tolerate ornamentation as something which makes the female happy for some reason, and that’s good in itself because one of the many purposes of his life is to help her to be happy, and that it is not too much of a waste of time to beat back the mess even when not absolutely necessary.

Obviously I’m painting with a several-foot-wide brush, here, but for all that it is a very common human pattern. Young couples fight because they are different but don’t realize it; older couples (who are wise) get along because they are different and do realize it—and make allowances for it. But you can’t make allowances for things you don’t know exist.

Of course in practice no one gets this perfectly right and it is usually done to excess (on both sides). There are also plenty of exceptions to the generalizations above, with fastidious men and slovenly women. As always, treat each person as themselves and not merely a particular local instance of a generalization. Etc.

But, even with all of the necessary caveats, this is a common pattern of you know how to look for it.

Mr. Holmes, They Were the Footprints of a Gigantic Hound

I recently realized that I had only seen the Jeremy Brett version of The Hound of the Baskervilles but never actually read the story, so I remedied that immediately. I really enjoyed it. As often happens in Conan Doyle’s novels it drags a little in the middle, but not to nearly the degree of A Study in Scarlet or The Sign of Four, and for me it verged on a page-turner despite my already knowing the story. It’s also, by the way, a brilliant detective story.

Spoilers will follow, so if you haven’t already read it, go do so now.

(As an interesting aside, as I was explaining what sort of story it was to my thirteen year old son in order to try to interest him in it, he ended up asking if it was basically Scooby Doo for adults. After thinking about it for a bit, I came to the conclusion that he was fundamentally correct, though of course it would be more accurate to say that Scooby Doo was The Hound of the Baskervilles for kids.)

On the whole I think that there is a very good balancing in the story of the supernatural setup and the murder mystery. The story having been published in 1902 and set in 1889 meant that everyone took the supernatural rationally, which is to say, seriously but as one part of the world and therefore possibly an explanation and possibly not an explanation. This made the story so much more interesting than it would be in a typical modern story. None of the characters defiantly state their unwavering faith in materialism. You have none of that stuffy, “I am a man of science! I will not believe in the supernatural no matter how much evidence there is for it!” which makes so many modern stories which deal with the supernatural, boring. That everyone is open to the possibility of the supernatural explanation makes the story so much more interesting because they are actually considering the evidence that they have and their tentative judgment varies as fresh evidence comes in.

This is where the line I quoted in the title of this post comes in. In the first chapter Dr. Mortimer left his cane and Holmes took it as an occasion for a little competitive deducing with Watson, then the man arrived and there was a bit of comic relief. In the second chapter we start with a lengthy exposition of the family curse of the Baskervilles and how it started with the wicked Hugo Baskerville in the late seventeenth or early eighteenth century. (The short short version is that he raped a made and hunted her down with dogs when she escaped onto the moor, at which point he was killed next to her dead body by a giant hell-hound with glowing eyes, etc. and this beast continues to exact vengeance from Hugo’s descendants.)

We then get a reasonably detailed description of the recent death of Sir Charles Baskerville, the short short version being that he died of a heart attack while strolling on his property next to the moor. Finally, at the end of the chapter, Dr. Mortimer reveals that he had discovered a piece of evidence he did not give at the inquest, because he did not see what good it could do, but he would not withhold it from Sherlock Holmes. He found footprints by the gate to the moor. When Holmes asked whether they were a man’s or a woman’s, Dr. Mortimer replied, “Mr Holmes, they were the footprints of a gigantic hound.”

This is an excellent turn of events in the story because it introduces the first piece of evidence that there may be some truth to the legend. Centuries-old family stories are easy to dismiss. Direct evidence with no obvious explanation is very different.

At this point Dr. Mortimer is inclined to the supernatural explanation, but he is not committed to it. When Holmes asks why, the phrasing of Dr. Mortimer’s reply is interesting:

Since the tragedy, Mr. Holmes, there have come to my ears several incidents which are hard to reconcile with the settled order of Nature.

Chief among these is that several people saw a gigantic glowing hound upon the moor. They are all reasonable people and the testimony of independent witnesses which agrees is hard to ignore.

“Why should he not go to the home of his fathers?”

“It seems natural, does it not? And yet, consider that every Baskerville who goes there meets with an evil fate. I feel sure that if Sir Charles could have spoken with me before his death he would have warned me against bringing this, the last of the old race, and the heir to great wealth, to that deadly place. And yet it cannot be denied that the prosperity of the whole poor, bleak countryside depends upon his presence. All the good work which has been done by Sir Charles will crash to the ground if there is no tenant of the Hall. I fear lest I should be swayed too much by my own obvious interest in the matter, and that is why I bring the case before you and ask for your advice.”

Holmes considered for a little time.

“Put into plain words, the matter is this,” said he. “In your opinion there is a diabolical agency which makes Dartmoor an unsafe abode for a Baskerville—that is your opinion?”

“At least I might go the length of saying that there is some evidence that this may be so.”

“Exactly. But surely, if your supernatural theory be correct, it could work the young man evil in London as easily as in Devonshire. A devil with merely local powers like a parish vestry would be too inconceivable a thing.”

In The Adventure of the Naval Treaty, Holmes remarked that nowhere is deduction so necessary as in religion, and that it’s an exact science. Here Holmes is showing that this is sincere. He is setting theology against superstition. It’s a thing the Church has done for millenia; people get lazy and forget to think. This is, interestingly, a theme of the Homles story. He sees what other men sees, but he observes what they ignore.

After this, the mystery gets underway fairly quickly, with curious incidents happening to the new heir to the Baskerville title and estate as soon as he arrives from America. The story proceeds in a satisfyingly twisting way with the evidence mounting for both the natural and supernatural explanation. It’s extremely well done, though I think it would be hard to pull off in a modern story because so many people are so irrational about the supernatural.

The Problem With Watson

Within the Sherlock Holmes stories, Watson has the invaluable role of being the chronicler of Holmes’ adventures. This does introduce a minor problem, though, which is that it’s utterly at odds with Holmes’ assurances of discretion to his clients.

This is not every case, of course; there are cases where Holmes has no duty of secrecy to anyone. A Study in Scarlet does not bring about this problem, and I doubt that The Sign of Four does either (the only person to whom Holmes might owe discretion, there, became Watson’s wife and was thus available to wave her rights to confidentiality). But as soon as The Adventures of Sherlock Holmes begin we run into a problem with A Scandal in Bohemia.

I know that the King said that in two years it wouldn’t matter who knew that he had had an affair with Irene Adler but it is none the less hard to imagine that he would take it kindly to his affair with Adler being made public for no reason other than the publicity of Sherlock Holmes. Mr. Jabez Wilson was, perhaps, not owed any great duty of discretion, so we can pass on the Red Headed League.

The Case of Identity was, I think, a bit cruel for Watson to have published, since it would have created much embarrassment for the woman who came to Holmes. This, however, could be dealt with by Watson changing the names. Few people would be over-likely to recognize the original in the story if her name, as well as the name of her stepfather, and also of the places and businesses were changed.

None of this will work for The Boscombe Valley Mystery. Here, Holmes promised a dying man that for the sake of his daughter he would not reveal the dying man’s former life as a highway robber and murderer. The whole point was to keep from his daughter what her father was. Even if the names had been changed there could be no mistaking who the story was about, especially since she was the one who had called Holmes into the case. There can be no excuse that the case happened many years before, as she was a young woman during the story and would still have been a young woman at the time of publication. (Further, since The Sign of Four took place before The Boscombe Valley Mystery (since it refers to Watson as a married man, and he married in The Sign of Four) the earliest the latter could have taken place would have been about 1887, and The Boscombe Valley Mystery was published in 1891.)

This was by no means the only such case. The Adventure of the Naval Treaty seems equally harmful to ever publish, even with names altered, as does The Adventure of the Second Stain. In both cases the preservation of someone’s reputation requires that no one ever find out what really happened, and the details are utterly unmistakable.

These are just the cases where Holmes either implicitly or explicitly promised to never reveal the damaging secrets to anyone, and Watson’s chronicling them is an inarguable breaking of that promise. Probably the majority of cases Watson chronicles would constitute a violation of privacy and trust to the people concerned.

Stranger still, more than a few people who come to Holmes have heard about his adventures as published by Watson and nevertheless come with a hope of discretion on the part of Holmes.

Ultimately, I don’t think that there’s any solution to this. Just pick up any book trying to reconcile the chronology of the Holmes stories and you’ll discover that Conan Doyle clearly didn’t worry about the details. When Watson’s wife—Mary Morstan—became inconvenient, Conan Doyle basically just forgot about her. (It’s more complicated than that, but not tremendously more complicated).

So, what are we to make of Watson’s chronicling of Holmes’ cases being a contradiction of Holmes’ duty to his clients?

I think that one clue to why this was the case can be found in the titles of most of the Holmes stories. The majority of the stories began with “The Adventure of.” These were not really detective stories in the sense of how the genre would evolve in the 1920s. Conan Doyle obviously thought that the science of deduction was interesting but he equally obviously didn’t think of it as something that the reader would be doing.

(I’m still not sure when the idea of the mystery story being a game between the reader and the author began or, more importantly, when it became commonplace. It was certainly well established by the time of Fr. Knox’s Decalogue, but that was published in 1929. You can see some of this in G.K. Chesterton’s advice on how to write a detective story, which was published in G.K.’s Weekly in October of 1925.)

Since these are adventure stories where the science of deduction is meant only to be interesting but not something where the reader is trying to solve the mystery before the author, I suspect that Conan Doyle did not expect the reader to pay attention to details in the same way that later mystery authors would expect that. I suspect that this is why he was not bothered by the conclusion of a story making it impossible for Watson to have published it.

(Incidentally, I think that the contradictory chronology is more an effect of the stories being written many years apart and Conan Doyle simply having forgotten what he wrote early. I’ve faced this problem in writing my own detective stories. The result is I started keeping a file for all of the miscellaneous facts such as birthday, height, weight, age, siblings, siblings’ age, etc. Annoyingly, I had to re-read my own books in many cases to find out whether I wrote down such details before, though now I mostly can write them into the file whenever I invent a new one. Conan Doyle wrote Holmes stories over the course of nearly forty years; if he was not making a conscious effort to be rigorous about details it would have been shocking for him to not mis-remember things he had written decades before.)

You Can’t “Believe In Science”

If you go to the right places you will see colorful signs that proclaim a creed which contains among its dogmas, “science is real.” Online, you will see many people arguing over “science” and “what science says.” It’s interesting that people proclaim their faith in, and debate about, something which they cannot define and which cannot be coherently defined.

The idea of “what is science” was debated throughout history, but very hotly in the late 1800s and early 1900s. It was called the “demarcation problem,” and it proved to be a failed endeavor. It is simply not possible to define “science” in a way that includes things that clearly are sciences and excludes things that clearly are not. (I will only give a brief sketch of why not, since it’s a big topic that justifies more than a little reading of books on the subject.)

First, we can dispense with the “scientific method” frequently taught in schools because (depending on how you interpret it) it either is generally not what scientists do or else describes what everyone does in all attempts to study the natural world. (See There Is No Scientific Method.) People who want to figure out how to read bird entrails1 make observations, form a hypothesis, and conduct experiments to test the hypothesis. Paleontologists who study bones don’t conduct experiments2.

As Lee Smolin put it in The Trouble With Physics, it can’t be that Science uses a method. Witch Doctors use a method. It can’t be that Science uses math, astrologers use math.

There have been many attempts at the demarcation problem, but I think that the two greatest efforts are Verificationism and Falsificationism. There have been various forms of these, but since this is a sketch I’m going to treat each as just one thing, since all of their forms have the same problem.

Verificationism defines science as those studies of the natural world whose theories can be verified. Falsificationism defines science as those studies of the natural world whose theories can be falsified.

The problem with both is that outside of some very simple investigations into the natural world which have already been done, you run into an infinite recursion problem in trying to decide what is a verification or what is a falsification of a theory. I’ll use another example from Lee Smolin’s book The Trouble With Physics, since it was so well chosen.

Suppose I have a block of marble and present the theory that there is a marble head trapped within it. I propose to test this theory by using a hammer and chisel to clear away the marble of the block from around the marble head. I do so, and lo and behold, there is a marble head. I made a prediction and then what I predicted came to pass. Did I verify my theory?

But suppose that I struck too hard with the hammer and the marble crumbled to dust. There is no marble head to be seen, only a pile of marble rubble on the floor. Has my theory been falsified?

(Another example of how falsificationism doesn’t work is the error in the orbit of Uranus. In theory, when Uranus wasn’t where it was supposed to be, Newtonian mechanics should have been falsified and the theory discarded. Except it wasn’t; if there was a Neptune-sized planet in Neptune’s orbit, that would also explain why predictions of Uranus orbit weren’t correct… and there turned out to be Neptune. So the falsification turned into an even better verification. The same thing with Neptune led to the discovery of Pluto, except that was by accident because the problem was actually with the estimates of Neptune’s mass, not the influence of another planet.)

Both verificationism and falsificationism fail, ultimately, because there is no way to instantly and certainly know that the verification or falsification means what one takes it to mean. There is always the possibility of experimental error, interpretational error, or some unknown factor which is influencing the experiments in unknown ways. Of the three, the unknown factor is the biggest theoretical problem, but I think that the issue of interpretation is the biggest problem in practice.

To see what I mean, consider things that used to be considered prestigious science which are now in disrepute. IQ studies that prove that white people are superior to everyone else, for example, or skull-measuring in order to classify races, or identifying criminals by the shape of their face. All of these considered themselves to be sciences. They all methodically measured things. They tested their theories and found their theories stood up to those tests. The problem, of course, is that they were grading their own tests.

But this is a problem everywhere. Physicists don’t call biologists in to decide whether their experiments legitimately give support to the theory they’re testing. Chemists don’t call in phrenologists to decide whether their experiments really show what they think they show. Biologists don’t ask electricians to judge their interpretation of fMRI data in brain activation. Physicists ask physicists, and phrenologists ask phrenologists, just as astrologers ask to be judged by other astrologers. This is what peer review means; it means that people who do not question the assumptions of a field judge particular ideas, experiments, observations, etc. under the lens of these shared assumptions. All peer review tells you is whether the work is, roughly, on par with the rest of the work in the field. It intrinsically can’t tell you whether the field is any good.

There are a great many people who are willing to grade their own tests and give themselves high marks; which of these people can we trust?

Well, that’s the problem. There’s no way to tell. All you can do is to look at their observations, experiments, interpretive framework, and judge for yourself. (Or you can find people you trust who will do this looking and judging, and have them tell you their conclusions. The number of people who do this out of the goodness of their hearts, rather than out of the desire for money or attention, which will bias their evaluations, is annoyingly small.)

So to come back to where this post started, it is simply not possible to hold that “science is real.” No one can say what the science is that might be real or fake. The word “science,” in that sentence, simply has no referent.

It would have been much better if the sign had simply said what it actually meant, which, IIRC, would have been, “anthropogenic climate change is real and is bad no matter what that change is because the climate is currently perfect.” That may be true or false, but at least it’s meaningful for those words to be put in that order.


1 I mean from scratch. Most bird-entrail readers, like most people who can administer a pH test to determine acidity, do so according to how they were taught by others with no attempts at observation or experimentation, but only following instructions that most couldn’t explain. But if someone wanted to resurrect the lost art of bird entrail reading, they’d begin by making observations—looking at bird entrails and also at what happened. Then they’d make guesses about what the bird entrails mean, then slaughter some more birds and see if these guesses were confirmed by fresh events. If they were, they’d gain confidence in their theories about what the bird entrails mean.

2 People will occasionally try to shoe-horn paleontology into this shoe by claiming that the “experiments” they do are predicting intermediate forms of animals then looking for them. The thing is, they don’t. They dig wherever there are bones and find what they find. Also, since the preservation of any given animal is overwhelmingly unlikely, the absence of anything in the fossil record is never taken to mean anything other than “we haven’t found it yet, if it’s there to be found.”

Taking the Lord’s Name in Vain in Fiction

I was recently asked on Twitter:

As a Christian and and a writer, what are your thoughts on depicting characters using the Lord’s name in vain? I’m curious because in Chesterton’s The Man Who Was Thursday someone exclaims “God blast it!”

Here was my reply:

The first thing is to get straight the meanings of taking the Lord’s name in vain. One major division:

  1. Invoking God’s name to support a lie in court
  2. Invoking God’s name to support a lie elsewhere
  3. Invoking God’s name irreverently
  4. Invoking God’s name trivially

In court is generally the worst because of the effect that it has; it is using God’s name in order to support a lie to wreak injustice. This is not to say similar things can’t be achieved out of court, but usually court has the greater effect and thus is worst.

Invoking God’s name irreverantly, I’m hesitant to give an example of, but to sketch it out, attributing some sort of vice to God, such as, say, lust, would qualify. Bad, but not so bad as is using God’s name to convince people of a lie.

The example you gave is of the forth kind. The thing is, properly speaking, a prayer, but one that is not, in fact, meant. It’s invoking God trivially, since it’s done without thought. (The idea behind it, which is only being invoked by repetition and without intent, is that the “it” is some injustice, and so God is being petitioned to right this injustice.)

The morality of portraying this in fiction will depend very greatly on exactly how it’s done. If it’s portrayed in such a way as to portray it as good, that is, as something for the reader to aspire to, this would be to tempt people into sin and is bad.

If it is portrayed neutrally, it is likely to be harmless or so close to harmless that there are almost certainly bigger pieces of wood to worry about removing from one’s eye before the delicate operation of getting this mote out.

If it is portrayed in a negative way, e.g. as a habit of the villain or a moment of weakness in a hero, then it could even be positive, since there is benefit to be gained from error being shown to be wrong in fiction.

(The same basic analysis will apply to recognizable modifications, such as “gol-durn” or “dagnabbit,” skewing more toward harmless than in the originals.)


† This would consist of things like “I swear to God that I saw this man stab the victim,” or, “as God is my witness, I saw this man stab the victim” or “I saw this man stab the victim and may God strike me down if I’m lying,” where the man invoking God to support the truth of what he was saying was lying. In so doing he is making God a party to his lie, or at least trying to.