Originally published on September 13, 1999
KUBHLAI: Like me, he is markedly unimpressed with the intellectual sincerity of Man. Where he immediately impressed me was by identifying precisely that there is a distinct duality between *Worldview* (''weltanschauung'') and *Philosophy* or supposedly objective human reasonings in general. Now I have never clearly made this distinction between philosophizing and worldviewrather leaving it as an assumption I suppose, that thought (along with other attitudinal modes) is but the building bricks of the total Worldview. In Hulme however, they are at odds from the very start; philosophizing (by which is meant human thought and judgement in a wider sense) lays claim to the humanist value of ''Reason'', but all the while the Worldview, which is defined as the grand picture we have of where our "satisfaction" lies, is exerting a gravitational force tempting us to construct complex arguments which, by an amazing coincidence' as it were, arrive at a point which is ''satisfying'' , which provides an apparent justification for the often crude and simplistic desires which were there a priori.
GABRIEL: Here is an interesting piece I found somewhere under a napkin not of my own choosing, a piece quaintly reviewing Kundera's TESTMENTS BETRAYED: "Kafka, Stravinsky, Rushdiethe modern artist confuses and often outrages critics looking for the clarity of orthodoxy. Kundera, whose talents as a literary and music critic almost match his formidable gifts as a novelist, defends the artist against obtuse or perverse critics, disciples, and allies. Thus he rescues Kafka the artist from the embrace of disciples who want to remake him into a thinker. Likewise, he brings the genius of Stravinsky out from under the shadow of the misguided criticism of a close friend. Similarly, Kundera reclaims Rushdie's Satanic Verses as an imaginative work from progressive intellectuals who have never read it but have claimed it as a political symbol of the need for a free press. Discipleship, friendship, and comradeship can all turn into betrayal. Against such betrayal, Kundera insists upon the creative autonomy of the novelist and the composer, whose works live in an ambiguous sphere outside of all history except the capricious history of human creativity. Though he offers keen insights into music and literature, it is in his celebration of humor in the European novel that Kundera's genial brilliance burns most brightly."
The writer steps down from the podium.