An Introduction to the Philosophy of Art

(Marvins-Underground-K-12) #1
declining American pop singer who has fallen in with Terry and a few of his
acquaintances for a day or two. In thinking about them, she notices that

They were nice enough, that was the problem, they always were, but
dependency on others and, conversely, theirs on you, just had to stop. They’d
shown her something though, something useful and important, during those
last few days of drug-addled nonsense. Strange as it was, they cared. They
weren’t world-weary or blasé. They cared about things; often stupid, trivial
things, but they cared. And they cared because they were engaged in a
world outside the constructed world of the media and show business. You
couldn’t care about that world, not really, because it wasn’t yours and it never
could be. It was sophisticated commerce, and it just chugged on.^101
The schemie way of life is, despite its violence, sexism, and poverty, not a
world that just chugs on in sophisticated commerce. It includes spontaneity,
genuine sexual adventurism, fun, enthusiasm, and care, despite including in
the very same actions callousness, disrespect, crassness, escapism, and vio-
lence. All this comes out in the language and the thoughts of its principal
figures.
What are we to do in response to this world? How are we to feel about it?
Do Terry and Andrew and Carl and Billy live well? Irvine Welsh,Glue’s
author, does not, I think, know. We are estranged by the experience of this
book–we middle-class readers–from“our”ordinary way of life. We are
drawn into this novel’s sublimities of both language and experience, as well
as into its crudities. We see that gratitude for their lives is something that is
possible for some of these protagonists, at some moments, in certain ways,
and we can, for a moment, share in that gratitude. Yet their futures are
uncertain; their virtues are inseparable from their vices, at least as far as any
immediate course of action is concerned. Their culture and way of life are
what they are: both like ours and yet desperately different. And so we are to
do or feel what? How are we to improve our ethical understanding and
reflective deliberation based on our experience of this text?
My sense is that this novel is not one that calls for and contributes to
ethical understanding, where ethical understanding is conceived of as a
matter of arriving at the correct general theory and principles for the con-
duct of life. But we nonetheless see and feel in this closely attentive realist

(^101) Ibid., p. 433.
250 An Introduction to the Philosophy of Art

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