Lila, by Robert Pirsig

There are few people who have not read Robert Pirsig's principal claim to fame: Zen and the Art of Motorcycle Maintenance. That I have read the book twice is not saying much. Even if some people have a copy on their bookshelves only for show, never having read the novel, that proportion must be small compared with the number of people who posess a copy of A Brief History of Time by Professor Stephen Hawking, although the pages of the book are as yet uncut. I doubt, however, that there is kudos associated with either owning or reading a copy of Pirsig's Lila, a sequel in several senses to Zen and the Art of Motorcycle Maintenance.

Lila uses a similar formula to Zen and the Art of Motorcycle Maintenance: a 'road trip' story interspersed with the advancement of a philosophical model of human experience.

On the positive side I found many valuable insights in Pirsig's text, the most illuminating being:

"If objects are the ultimate reality then there's only one true intellectual construction of things: that which corresponds to the objective world. But if truth is defined as a high-quality set of intellectual value patterns, then insanity can be defined as just a low quality set of intellectual value patterns, and you get a whole different picture of it.

"When the culture asks, 'Why doesn't this person see things the way we do?' you can answer that he doesn't see them because he doesn't value them. He's gone into illegal value patterns because the illegal patterns resolve value conflicts that the culture's unable to handle. The causes of insanity may be all kinds of things, from chemical imbalances to social conflicts. But insanity has solved these conflicts with illegal patterns which appear to be of a higher quality."

However, I feel suspicious about philosophy being presented inj the format of a novel. Despite the existentialists, such as Jean-Paul Sartre, Albert Camus and Friedrich Durenmat having presented and explored, or at least illustrated, their ideas in a fictional format (novels, novellas, short stories and theatrical plays), and probably being most popularly known for this, I question why someone who purports to have something new and substantial to say would choose a medium that requires the suspension of disbelief and literary sleights of hand, and would risk the message being ignored or thrown out because the literary quality of the work may be considered to be poor. The literary works of Sartre, Camus and Durenmat may not all be masterpieces, but they can be read at least adequately, and in many cases exceptionally well, without being required to engage with the philosophical exposition. Susan Hill's novels, such as In the Springtime of the Year, The Bird of Night, and I'm the King of the Castle, are typically each important psychological explorations that work well as novels. In none is Hill breaking new and contentious ground, and with each it would be possible to visit source material, for example with the novels listed: respectively bereavement, psychotic breakdown and sibling rivalry. I would feel uneasy were I to find that Hill was, in fact, presenting new, unsupported ideas about psychology and psychiatry through the medium of a novel.

[to be continued...]