This is part of a series of posts representing ideas from the book, Ishmael, by Daniel Quinn. I view the ideas explored in Ishmael to be so important to the world that it seems everyone should have a chance to be exposed. I hope this treatment inspires you to read the original.

This post covers Chapter THREE, when Ishmael extracts the beginning of the Taker story from Alan. Chapter 3 is presented in eight numbered subsections, beginning on page 47 of the original printing and page 51 of the 25th anniversary printing. The sections below mirror this arrangement in the book. See the launch post for notes on conventions I have adopted for this series.

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This is part of a series of posts representing ideas from the book, Ishmael, by Daniel Quinn. I view the ideas explored in Ishmael to be so important to the world that it seems everyone should have a chance to be exposed. I hope this treatment inspires you to read the original.

This post covers Chapter TWO, when the lessons begin. Chapter 2 is presented in seven numbered subsections, beginning on page 31 of the original printing and page 33 of the 25th anniversary printing. The sections below mirror this arrangement in the book. See the launch post for notes on conventions I have adopted for this series.

Views: 854

This is part of a series of posts representing ideas from the book, Ishmael, by Daniel Quinn. I view the ideas explored in Ishmael to be so important to the world that it seems everyone should have a chance to be exposed. I hope this treatment inspires you to read the original.

This post covers Chapter ONE, which introduces the protagonist/narrator (who we learn in later books to be named Alan Lomax) and the telepathic gorilla named Ishmael who is to be Alan’s teacher. The chapter is presented in eight numbered subsections, beginning on page 1 of both the original printing and the 25th anniversary printing. The sections below mirror this arrangement in the book. See the launch post for notes on conventions I have adopted for this series.

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Have I mentioned how important I think Daniel Quinn’s Ishmael is? I reread it recently for the first time in a while, and was again impressed with how many important modernity-challenging ideas are packed into one novel.

I would dearly love everyone to read it. It’s not that I hold it to be flawless—to be treated as a divinely-inspired religious text. But it’s hard to think of a more powerful place to start for seeding incredibly important conversations and shifting awareness. It often transforms its readers, whether teenagers or retirees.

Options for reading the book include library access (also an audio version recently out), purchase (I recommend bookshop.org, where go to an independent book shop of your choice), or a few sites (1, 2, 3) that somehow make the text available. Being trapped behind a commercial “paywall” seems counter to the entire message of the book, which explicitly encourages sharing the message broadly.

I also suggest that you visit the site ishmael.org for more related content and FAQ answers from Daniel Quinn (who died in 2018). A recent podcast series called Human Nature Odyssey, by Alex Leff, does a fantastic job of presenting key ideas from the book.

As a poor substitute for the entire book, what I’ll do is create a series here on Do the Math that offers a relatively comprehensive version of the themes in the book. It won’t be as masterfully crafted as the actual book—but perhaps will be good enough to generate similar patterns of thought, and inspire greater readership of the original work.

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I recently stumbled on a song from 1988 by the Talking Heads, called (Nothing But) Flowers. It’s hard to believe I would not have heard this song before. It caps off the “Best Of” album, after all. But, to be fair, a sampling of the album reveals that 8 of the 18 songs are unfamiliar to me. So, maybe it never hit my ears.

Anyway, listening as if for the first time, I’m captivated by the song. Although it’s not perfect, it hits themes that few songs do. What I’ll do is quote all the lyrics and intersperse comments. I’ll put my interpretive slant on the piece, which may or may not accurately reflect the intent of its creators. So it goes with these things. Sometimes the original intent isn’t even all that important or sacred. In this case, I don’t sense I’m far off the mark, but just want to be clear that I do not claim to have perfect knowledge of the creative intent, nor am I trying to achieve such.

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