Umberto Eco introduces Inventing the Enemy<\/i> as a compilation of \u201coccasional writings\u201d (xi); indeed, the essays in this collection were written intermittently throughout the past decade and expound upon a vast array of subject matters. Several of the essays were originally presented as lectures at various gatherings (ranging from film festivals to scholarly conferences) while others first appeared as articles in an assortment of Italian publications. Certain pieces are actually assemblages of multiple works: \u201cHugo, H\u00e9las!:<\/i> The Poetics of Excess\u201d combines three of Eco\u2019s past lectures and writings. This variety of sources generates the diverse themes of these essays, which range from a study of the various uses (both physical and symbolic) of fire to an inspection of current issues such as censorship and abortion; Eco gives the sense that there is no topic too provocative or too trivial. <\/p>\n
Inventing the Enemy<\/i> acquires its title from the initial essay in the collection. Here, Eco develops a theme of his earlier novel, The Prague Cemetery<\/i>, by demonstrating how the existence of an enemy is crucial to a nation\u2019s success\u2014so crucial, in fact, that if an enemy does not exist, a nation must create one. Such a target may well be an outsider, but people can apply the term \u201cenemy\u201d even to an insider who conducts himself differently than those around him (as evidence, Eco cites several examples such as the Church\u2019s persecution of heretics). Eco maintains that this creation of an adversary is unavoidable: <\/p>\n It seems we cannot manage without an enemy. The figure of the enemy cannot be abolished from the processes of civilization. The need is second nature even to a mild man of peace. In his case the image of the enemy is simply shifted from a human object to a natural or social force that in some way threatens us and has to be defeated. (17) <\/p>\n<\/blockquote>\n While such discrimination against a person or a belief often amounts to tragedy, Eco maintains the necessity of the enemy through the end of this essay. He asserts that the existence of an enemy creates a sense of community and nationalism that is essential to a country, one of the more provocative claims that Eco makes about society as a whole. <\/p>\n \tIn several of the succeeding essays, Eco moves away from modern society and heads into a more mystifying realm. The piece \u201cAbsolute and Relative\u201d explores various philosophies relating to the concepts introduced in the title. While Eco explains theories regarding the absolute and the relative, however, he simultaneously demonstrates how neither term can be exactly comprehended. He explains that, if an absolute exists, \u201cit is neither imaginable nor attainable\u201d (43) and is therefore outside the realm of human understanding. He also maintains that \u201cdifferent people mean different things when they talk about relativism,\u201d (37) suggesting the concept cannot possess a single definition. The reader is left without the satisfaction of solving the mysteries of the absolute and the relative; however, the process of exploring these concepts is entirely fulfilling in its own right. <\/p>\n The subsequent essay, \u201cThe Beauty of the Flame,\u201d focuses on a more tangible concept\u2014fire. It is almost immediately clear, however, that to Eco fire is no less mystifying than the absolute and the relative: \u201cAs well as a physical phenomenon, [fire] becomes a symbol, and like all symbols is ambiguous, polysemic, evoking different meanings according to the circumstances\u201d (46). Moreover, the \u201cmeanings\u201d of fire tend to contradict one another. Fire can help sustain life, but can also destroy it. It can represent the divinity of God and his Kingdom, but also has a prominent place in the depiction of Hell. By demonstrating how fire possesses such vastly conflicting traits, Eco enriches a seemingly comprehensible subject with intriguing mystery. <\/p>\n A later essay in Inventing the Enemy<\/i>, \u201cNo Embryos in Paradise,\u201d moves away from this elusiveness, yet remains particularly provocative. In this piece, Eco examines St. Thomas Aquinas\u2019s theories regarding embryos and their souls (or lack thereof). Eco maintains that he is not taking a stance on any issues such as abortion or stem cells; rather, this essay serves solely to examine Thomas\u2019s beliefs. In short, he maintains that an embryo is not endowed with a rational soul at the moment of conception: <\/p>\n Thomas has a very biological view about the formation of the fetus. God introduces the soul only when the fetus acquires, stage by stage, first a vegetative soul and then a sensitive soul. Only at that point, in a body already formed, is the rational soul created\u2026therefore the embryo only has a sensitive soul. (90) <\/p>\n<\/blockquote>\n Eco goes on to explain Thomas\u2019s various defenses of this view. In addition, he addresses how this belief would affect other topics in Christian doctrine, such original sin and resurrection. Thomas\u2019s views, though formulated hundreds of years ago, add to the fascinating pool of opinions regarding the soul of an unborn child that are a significant cause of international debate in the modern world. There are several other essays in this collection, each with its own characteristics and merits. The great range in subject matter could put Inventing the Enemy<\/i> in danger of seeming overly sporadic; however, the pieces complement each other in subtle ways, making them each seem to be part of the larger whole. These occasional writings serve as a window into the singularity of a fascinating mind at work. <\/p>\n","protected":false},"excerpt":{"rendered":" Umberto Eco introduces Inventing the Enemy as a compilation of \u201coccasional writings\u201d (xi); indeed, the essays in this collection were written intermittently throughout the past decade and expound upon a vast array of subject matters. 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\nWhile several subsequent essays in Inventing the Enemy<\/i> also touch on current controversies (\u201cCensorship and Silence\u201d discusses various means of restricting the media while \u201cThoughts on WikiLeaks\u201d touches on the WikiLeaks scandal), Eco uses various others to explore the world of literature. \u201cHugo, H\u00e9las!:<\/i> The Poetics of Excess\u201d discusses the characteristics of Victor Hugo\u2019s writing. Eco surveys the author\u2019s various works, demonstrating how Hugo takes features seen throughout the Romantic movement\u2014\u201cthe temptation and fascination of sin\u201d and the \u201cpassage from the depths of poverty to the magnificence of the court\u201d (106) among others\u2014and exaggerates everything to create his touted \u201cpoetics of excess.\u201d Eco\u2019s essays \u201cFermented Delights\u201d and \u201cUlysses:<\/i> That\u2019s All We Needed\u2026\u201d also focus on literature: the former delves into the works of Piero Camporesi while the latter discusses reviews of James Joyce\u2019s novel Ulysses<\/i>. <\/p>\n