This is an extraordinary book with a very good translation, but a terrible cover.

There is violence and violence. One is more brutal than the other.

Mankind easily forgets: the savageries that pursued us a week ago seem normal to us tomorrow.

The death of Socrates had no impact on Athenian history whatsoever. Maybe it only benefits the improvement of the city's reputation.

There is no human death that is as important to the future as the literature written for it.

This book offers profound insights into various aspects of human nature, history, and the significance of different things. The translation allows readers to easily understand the author's ideas. However, the cover fails to do justice to the quality of the content inside. It's a pity that such a great book is marred by a less-than-ideal cover. Nevertheless, the power of the words within still shines through and makes it a must-read for those interested in exploring these thought-provoking topics.

Aristotle and Rembrandt, two figures from different eras and fields, are presented here in a historical depiction, along with the histories of Athens and Amsterdam.

At times, the narrative is quite funny, yet it is also very disjointed. It's an odd combination, but somehow enjoyable.

The main focus seems to be on displaying the universals of human society, namely greed, power, and ego. In short, it's about politics, which is described as the "Great Destroyer of order" and the "Shiva of the ballot box."

However, I must admit that I can't actually remember reading this book. It seems rather forgettable, despite its interesting and somewhat unique approach.

Perhaps it's the disjointed nature that makes it difficult to retain in memory, or maybe the humorous elements didn't quite land for me.

Nonetheless, it does offer an interesting perspective on the universals of human society and the role of politics within it.

It makes one think about how these themes have persisted throughout history and how they continue to shape our world today.

Overall, while it may not be a book that I'll remember vividly, it did manage to hold my attention for a short while and provide some food for thought.

“As the world progresses, the strong exercise their power as they please, while the weak endure the hardships they must.”

Rembrandt's painting Aristotle Contemplating the Bust of Homer serves as the inspiration for Heller to create a strikingly cynical assessment of history and its implications for the present day. This book delves into Greek wars, Greek philosophers, and Rembrandt.

“We will completely disregard what is fair or what is right or wrong, because you are just as aware as we are that what is just and fair is only determined in human disputes between powers of equal strength.”

Heller presents an erudite and cynical perspective on life, which is both engaging and disconcerting, and replete with lessons that remain unlearned even today. For example,

“Do not wage war in a hostile and distant land unless you have the intention of residing there.

The local population will outnumber you, your presence will cause alarm, the government you establish to maintain order will fail to do so, and victory is unattainable if the people continue to fight. In the face of determined local military resistance, only genocide can be considered as a means of dealing with it.”

This is truly the most astonishing book I have ever come across.

From the very first page, it had me completely captivated. The author's writing style is so engaging and unique, making it impossible to put the book down.

The story is filled with twists and turns that keep you on the edge of your seat, constantly guessing what will happen next.

The characters are well-developed and relatable, each with their own distinct personalities and motives.

I found myself emotionally invested in their lives and rooting for them throughout the entire book.

Bravo to the author for creating such a masterpiece! This book is a must-read for anyone who loves a good story.

This remarkable book truly whetted my youthful appetite for art, history, and philosophy all together.

It opened up a whole new world of exploration and discovery for me. The vivid descriptions of various artworks made me feel as if I was standing right in front of them, marvelling at their beauty and intricacy.

The historical accounts provided a context that deepened my understanding of how art and philosophy have evolved over time.

I found myself completely engrossed in the stories and ideas presented, eager to learn more.

This book has had a profound impact on my intellectual development,激发了我对这些领域的浓厚兴趣 and setting me on a path of lifelong learning.

It is a treasure trove of knowledge and inspiration that I will always cherish.

Imagine starting to read a work by an author whose previous novels you had considered excellent.

Imagine that the author in question has an extremely unique voice - deliciously satirical, ironic, and witty - which you long to immerse yourself in again.

Imagine further that the synopsis of the volume of the work you propose to read describes it as being composed of the thoughts and considerations of the painting "Aristotle Contemplating the Bust of Homer" by Rembrandt van Rijn, which somehow comes to life and makes comments on the events it witnesses.

Now imagine that little or none of the "verve" and sharp humor of the author is present on the pages of said work and that it seems to be just a more or less random compilation of historical events among which the author insists on establishing somewhat forced connections with the sole intention of suggesting that the motivations and progress (or regression) of the human being and the various nations of the world remain the same regardless of the century we refer to.

Imagine further that, contrary to what is promised by the synopsis of the book you have in your hands, the considerations of the painting in question hardly appear on the pages of the book and that this work, both in language and structure, resembles a kind of poorly planned and organized historical essay, written by an aspiring fiction author.

Imagine my disappointment in reading this novel, amateur historical essay or whatever this work is supposed to be.

Imagine that I couldn't even finish reading it...

Originality without purpose and structure. At least in my eyes, at least now.

It seems that in this chaotic world, there are many things that claim to be original but lack a clear direction and framework.

Originality should not just be a random act or a fleeting thought. It needs to have a meaningful purpose, something that can bring value and make a difference.

Without structure, originality may become a jumble of ideas, difficult to understand and appreciate.

We should strive to combine originality with purpose and structure, creating something that is not only unique but also coherent and useful.

Only in this way can we truly stand out and leave a lasting impression.

If you've perused Catch-22, you'll have a fair idea of the narrative style to anticipate.

Here, you'll encounter the life of Aristotle and other Greek philosophers, presented alongside the life of Rembrandt as told from the perspective of his painted Aristotle. This account is intricately embedded within the history of western civilization, and it's related with a healthy dose of wit, irony, and sarcasm.

The most disconcerting aspect is that, despite being penned in 1988, a significant portion of what the author mocks regarding the mismanagement of past societies eerily mirrors what's currently transpiring in our own country.

It's as if time has played a cruel trick, and the same mistakes are being repeated. This realization forces us to look at our present situation with a more critical eye and perhaps learn from the past before it's too late.

Amazing!

Here is a book that delves into a painting by Rembrandt and unfolds the captivating story behind it. It is not just a simple recounting of events. Instead, it offers a vivid description of the life conditions in both the 17th century Netherlands and Ancient Greece.

The book makes references to numerous paintings by the Grand Master, which instantly piqued my interest and made me eager to view them in the great and accessible gallery of Google.

Moreover, parts of philosophers' views, mainly those of Socrates, Plato, and Aristotle, are seamlessly intertwined within the narrative. Additionally, parts of Plato's dialogues are sometimes utilized. At least, as far as I can recognize, the beginning and end of Fedon are incorporated.

Interestingly, it does have the power to motivate one to read the real sources such as Metaphysics by Aristotle and others. Heller's sense of humor and irony add a unique charm to the book. Sometimes, they make me burst into laughter, while at other times, they highlight the tragic aspects of life.

What's more, it is all written in such a way that one can't help but think it is about contemporary Poland (and when it was written, perhaps also about the USA).

In conclusion, this is truly a masterpiece!

Rembrandt is painting a remarkable tableau that represents Aristote. In this painting, Aristote is looking at Rembrandt who is in the process of painting him.

Meanwhile, Rembrandt is living his life, dealing with debts. As he is painting, Aristote begins to recount the destiny of Socrate.

Told in this way, it may seem disjointed and lacking a proper beginning or end. However, when one takes the time to read and truly understand it, it is simply divine. The combination of Rembrandt's artistic vision, Aristote's narrative, and the underlying themes create a work that is both captivating and thought-provoking.

It makes one wonder about the connections between art, history, and the human experience. It invites us to look beyond the surface and discover the deeper meanings that lie within.

This unique piece of art has the power to transport us to another time and place, allowing us to engage with the past in a whole new way.

"You will learn nothing from history that can be applied, so don't kid yourself into thinking you can." This statement presents a rather bold view on the value of history. However, it is important to note that while history may not always provide direct solutions to contemporary problems, it does offer valuable insights and lessons that can inform our decision-making and understanding of the world.

Joseph Heller, on the other hand, brings a unique blend of humor and erudition to his works. His satires on history, such as in "Picture This," offer a fresh and often comical perspective on the glorification of history. By delving into the lives and surroundings of the people involved in Rembrandt's famous painting, Heller creates a vivid and engaging narrative that challenges our assumptions about the past.

Reading Heller's works is truly a joyous experience. His ability to combine humor with deep intellectual insights makes his books both entertaining and thought-provoking. While I would say no more about the specific content of "Picture This," I highly recommend it to anyone interested in history, art, or simply a good read.

In "Picture This," Joseph Heller employs Rembrandt's portrait of Aristotle with a bust of Homer as a means to剖析avarice and empire, journeying from ancient Athens to mercantile Amsterdam and all the way into the present day.

Using his trademark style, Heller crafts a repetitive, layered narrative, much like a painter's brushstrokes, to illustrate his central theme: power stems from cruelty.

However, there isn't a strong narrative to support this thesis. We do witness scenes of Rembrandt in his workshop, applying and removing paint as he contemplates how to evade his creditors. But much of what Heller presents is a synopsis, selections from the Greek classics such as the trial of Socrates, the plague of Athens, and the siege of Melos. He uses these historical fragments, like a lawyer constructing a case, to argue for the essential futility of the human condition.

Heller tells us that warmongers profit while innocent people are massacred, enslaved, and exploitatively forced to toil. This has always been the case and will continue to be so.

Yet, in sketching this pattern, Heller is drawn to the outliers. Take Rembrandt, for example. The painter is a crude man who squanders his children's inheritances, impregnates his housemaids, and takes on debts he'll never repay. He stitches old canvases together to make a quick buck from frustrated patrons. And yet, he is exquisite in creating the gilt of gold or using a few brushstrokes to evoke the contours of lace.

There is something inexplicable about Rembrandt, a touch of the divine, even though he never reaps the benefits. Instead, he dies bankrupt while his paintings appreciate in the hands of counts and wealthy widows.

Socrates too is unique. The philosopher opts out of the striving and cruelty of his ancient home. He walks away from a dictator's orders, accumulates nothing, and has his wife dump a chamber pot on his head. Put on trial for blasphemy and corrupting the youth, he defends himself, arguing that he deserves a pension from the state for his work. He refuses compromise, contrition, escape, and exile,坚守 his principles... along with a large glass of hemlock.

As Heller notes, it's worth remembering that Socrates risked his life for Athens, taking up arms multiple times as a common soldier on the city's behalf. These actions were pointless - everything seems pointless to Socrates, at least in Heller's telling - but he did it anyway. Socrates suggests that one has to serve the empire one is born into. In this service, one can easily see a parallel to John Yossarian in "Catch 22" and Heller's own combat experience in World War II.

Like most of Heller's books, "Picture This" contends that the world is senseless, arbitrary, and often cruel. In transforming history into fiction, it also argues that history isn't truly knowable. Many of the paintings attributed to Rembrandt are forgeries. Socrates' words are passed down to us through Plato, who was only a child when many of them were spoken.

And so, like Socrates, Heller makes a show of flaunting his ignorance, highlighting what he doesn't know - what can't be known. It seems we never learn anything from history, only that the same dark patterns keep repeating.

Quotes:

"Nowhere in history is this assumption that human life has a value borne out by human events.

All our religions but the Judaic and the Greek think more of us dead than alive."

***

"Rich is the country that has plenty of poor. In periods when prosperity is general, the value of the impoverished to that country increases, and nations not rich in poor must import indigents from inferior countries for the labor now considered degrading for citizens of repute to perform.

The bidding sometimes goes high.

It is fortunate for the progress of civilization that there are always plenty of poor."

***

"War is always in fashion, my dear old friend. Look at our history. In our golden age of Athens there is scarcely a period as long as five years in which we have not been at war. We lost most of the big battles and can't hold on to what we win. Yet the city prospers, the economy booms. And now see how unconvincing and feeble poor Nicias appears each time he comes into public to argue for threadbare, ragged, tedious peace. A politician can roar for war. For peace he can only plead."