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Lila: An Inquiry Into Morals Mass Market Paperback – December 1, 1992
Purchase options and add-ons
- Print length480 pages
- LanguageEnglish
- PublisherBantam
- Publication dateDecember 1, 1992
- Dimensions4.15 x 1.21 x 6.88 inches
- ISBN-100553299611
- ISBN-13978-0553299618
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Excerpt. © Reprinted by permission. All rights reserved.
Lila didn’t know he was here. She was sound asleep, apparently in some fearful dream. In the darkness he heard a grating sound of her teeth and felt her body suddenly turn as she struggled against some menace only she could see.
The light from the open hatch above was so dim it concealed whatever lines of cosmetics and age were there and now she looked softly cherubic, like a small girl with blond hair, wide cheekbones, a small turned-up nose, and a common child’s face that seemed so familiar it attracted a certain natural affection. He got the feeling that when morning came she should pop open her sky-blue eyes and they should sparkle with excitement at the prospect of a new day of sunlight and parents smiling and maybe bacon cooking on the stove and happiness everywhere.
But that wasn’t how it would be. When Lila’s eyes opened in a hung-over daze she’d look into the features of a gray-haired man she wouldn’t even remember—someone she met in a bar the previous night. Her nausea and headache might produce some remorse and self-contempt but not much, he thought—she’d been through this many times—and she’d slowly try to figure out how to return to whatever life she’d been leading before she met this one.
Her voice murmured something like “Look out!” Then she said something unintelligible and turned away, then pulled the blanket up around her head, perhaps against the cold breeze that came down through the open hatch. The berth of the sailboat was so narrow that this turn of her body brought her up against him again and he felt the whole length of her and then her warmth. An earlier lust came back and his arm went over her so that his hand held her breast—full there but too soft, like something overripe that would soon go bad.
He wanted to wake her and take her again but as he thought about this a sad feeling rose up and forbade it. The more he hesitated the more the sadness grew. He would like to know her better. He’d had a feeling all night that he had seen her before somewhere, a long time ago.
That thought seemed to bring it all down. Now the sadness came on in full and blended with the darkness of the cabin and with the dim indigo light through the hatch above. Up there were stars, framed by the hatch opening so that they seemed to move when the boat rocked. Part of Orion momentarily disappeared, then appeared again. Soon all the winter constellations would be back.
Cars rolling over a bridge in the distance sounded clearly through the cold night air. They were on their way to Kingston, somewhere on the bluffs above, over the Hudson River. The boat was berthed here in this tiny creek for a night’s rest on the way south.
There was not much time. There was almost no green left in the trees along the river. Many of the turned leaves had already fallen. During these last few days, gusts of cold wind had swept down the river valley from the north, swirling the leaves up off their branches into the air in sudden spiraling flights of red and maroon and gold and brown across the water of the river into the path of the boat as it moved down the buoyed channel. There had been hardly any other boats in the channel. A few boats at docks along the riverbank seemed abandoned and forlorn now that summer had ended and their owners had turned to other pursuits. Overhead the V’s of ducks and geese had been everywhere, flying down on the north wind from the Canadian arctic. Many of them must have been just ducklings and goslings when he first began this voyage from the inland ocean of Lake Superior, a thousand miles behind him now and what seemed like a thousand years ago.
There was not much time. Yesterday when he first went up on deck his foot slipped and he caught himself and then he saw the entire boat was covered with ice.
Phædrus wondered where he had seen Lila before, but he didn’t know. It seemed as though he had seen her, though. It was autumn then too, he thought, November, and it was very cold. He remembered the streetcar was almost empty except for him and the motorman and the conductor and Lila and her girlfriend sitting back three seats behind him. The seats were yellow woven rattan, hard and tough, designed for years of wear, and then a few years later the buses replaced them and the tracks and overhead cables and the streetcars were all gone.
He remembered he had seen three movies in a row and smoked too many cigarettes and had a bad headache and it was still about half an hour of pounding along the tracks before the streetcar would let him off and then he would have a block and a half through the dark to get home where there would be some aspirin and it would be about an hour and a half after that before the headache would go away. Then he heard these two girls giggle very loudly and he turned to see what it was. They stopped very suddenly and they looked at him in such a way that there could have been only one thing they were giggling at. It was him. He had a big nose and poor posture and wasn’t anything to look at, and tended to relate poorly to other people. The one on the left who looked like she had been giggling the loudest was Lila. The same face, exactly—gold hair and smooth complexion and blue eyes—with a smothered smile she probably thought covered up what she was laughing at. They got off a couple of blocks later, still talking and laughing.
A few months later he saw her again in a downtown rush-hour crowd. It happened in a moment and then it was over. She turned her head and he saw in her face that she recognized him and she seemed to pause, waiting for him to do something, say something. But he didn’t act. He didn’t have that skill of relating quickly to people, and then it was too late, somehow, and they each went on and he wondered for a long time that afternoon, and for days after that, who she was and what it would have been like if he had gone over and said something. The next summer he thought he saw her at a bathing beach in the south part of the city. She was lying in the sand so that when he walked past her he saw her face upside down and he was suddenly very excited. This time he wouldn’t just stand there. This time he would act, and he worked up his courage and went back and stood in the sand at her feet and then saw that the right-side-up face wasn’t Lila. It was someone else. He remembered how sad that was. He didn’t have anybody in those days.
But that was so long ago—years and years ago. She would have changed. There was no chance that this was the same person. And he didn’t know her anyway. What difference did it make? Why should he remember such an insignificant incident like that all these years?
These half-forgotten images are strange, he thought, like dreams. This sleeping Lila whom he had just met tonight was someone else too. Or not someone else exactly, but someone less specific, less individual. There is Lila, this single private person who slept beside him now, who was born and now lived and tossed in her dreams and will soon enough die and then there is someone else—call her lila—who is immortal, who inhabits Lila for a while and then moves on. The sleeping Lila he had just met tonight. But the waking Lila, who never sleeps, had been watching him and he had been watching her for a long time.
It was so strange. All the time he had been coming down the canal through lock after lock she had been making the same journey but he didn’t know she was there. Maybe he had seen her in the locks at Troy, looked right at her in the dark but had not seen her. His chart had shown a series of locks close together but they didn’t show altitude and they didn’t show how confusing things could get when distances have been miscalculated and you are running late and are exhausted. It wasn’t until he was actually in the locks that danger was apparent as he tried to sort out green lights and red lights and white lights and lights of locktenders’ houses and lights of other boats coming the other way and lights of bridges and abutments and God knows what else was out there in that black that he didn’t want to hit in the middle of the darkness or go aground either. He’d never seen them before and it was a tense experience, and it was amidst all this tension that he seemed to remember seeing her on another boat.
Product details
- Publisher : Bantam; Reprint edition (December 1, 1992)
- Language : English
- Mass Market Paperback : 480 pages
- ISBN-10 : 0553299611
- ISBN-13 : 978-0553299618
- Item Weight : 8.8 ounces
- Dimensions : 4.15 x 1.21 x 6.88 inches
- Best Sellers Rank: #161,352 in Books (See Top 100 in Books)
- #610 in Philosophy of Ethics & Morality
- #1,488 in Fiction Satire
- #1,495 in Contemporary Literature & Fiction
- Customer Reviews:
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About the author

Robert M. Pirsig was born in 1928 in Minneapolis, Minnesota. He holds degrees in chemistry, philosophy, and journalism and also studied Oriental philosophy at Benares Hindu University in India. He is the author of Zen and the Art of Motorcycle Maintenance and Lila.
Photo by Ian Glendinning, en:User:IanGlendinning [GFDL (http://www.gnu.org/copyleft/fdl.html), CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0/), CC BY 2.5 (http://creativecommons.org/licenses/by/2.5), CC BY 2.0 (http://creativecommons.org/licenses/by/2.0) or CC BY 1.0 (http://creativecommons.org/licenses/by/1.0)], via Wikimedia Commons.
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Very interesting was the response, you should go into the library and find information on that subject. This introduction was my last encounter with philosophy teaching. Pirsig dug into it and impressed me with his thoroughly classification of the various stages of moral/quality with as farrest in evolution dynamic intellectual moral. It makes one wonder how long it will take before human kind will consider this as superior in dealing with the world.
Having said that, Lila should be approached from a different perspective. It was never meant to be a ZAAMM kind of story and is not a novel that is going to provide a satisfactory summing up. But if you take the time to read and re-read it, and if you agree with Pirsig's philosophical theories...it becomes quite compelling. It provides a framework for better understanding the role that "Quality" - which is not definable via language - can play in a world dominated by scientific reason.
If you enjoyed Zen and the Art of Motorcycle Maintenance but were disappointed with Lila, I encourage you to give this enquiry another chance.
It’s as wonderful as his first.
1.As someone noted in another review, you shouldn't read this book without reading "zen" first. I figured that this book would cover completely different ground but apparently it just continues on with subjects that were discussed in the zen book so you may get lost starting here.
2.On paging through a sample version of the book I saw notes about Indian/Native American spirituality, Victorians, science, morality, and so forth and thought this is the kind of book that I would really like. The section on Indians mostly involves whining about anthropologists. The parts about Victorians blame them, religions in general and the field of traditional morality for every wrong in life. Victorians take the blame for the massacre of Native Americans, the world wars, and pretty much everything else.
3.If you're looking for what Pirsig refers to as social-biological morality with rights and wrongs and "civilized behavior" this is only really useful if you want an opposing viewpoint. according to the book, social morality is a waste of time and based on Victorian points of view and anyone who doesn't hate Victorians and their moral codes is an extremist right winger, a religious fundamentalist or stupid.
4.a point that annoyed me at first is that either the author or character seems to be an extreme hypocrite. He complains about anthropologists arguing over the meaning of a simple word then does it himself. He puts down others for not thinking as they do and then he does it himself. He says at first that quality can't be defined then gets upset when no one understands what it is. He saves himself however by noting these flaws and lessens the hypocrisy.
5.The character of Phaedrus (what Midwesterner is named Phaedrus?, I think he might have explained that though) is extremely unlikeable although the author seems to know it and comments on it.
6.Much of the story is a waste of time. The main character picks up a barfly then the author rants about anthropologists for an endless amount of time before talking about his card catalogue system and process of writing. Eventually the barfly Lila wakes up then the author talks about science for awhile. A few chapters later they have breakfast.
7.Grammar. I'll admit my grammar sucks and part of my problem reading this book is because sometimes when the author is talking about metaphysics (for example) he is referring to the main character's book "Metaphysics of quality" and so on. In other cases he is giving new meaning to other words (like quality) which the reader already has a definition for (that is completely different from Pirsig's). Plus, although I hadn't read the previous book and reading it might've made this one easier to process, sentences like: "writing a metaphysics is a degenerate activity" is a little jarring. How about "writing ABOUT metaphysics is a degenerate activity"?
8.Other reviewers have complained about a key idea: that Pirsig's morality seems to be mostly about psychological advancement (in a way). Basically, if you had to save either an "evil" mad scientist (although calling him evil just because he wants to kill people is wrong and is a Victorian viewpoint) OR some children with little potential for higher advancement, the "moral" thing to do is to save the scientist because his thoughts are more valuable and evolved even if he is homicidal. (The fact that the scientist may do more harm than "good" and that social morality may lead him to more productive/ evolved discoveries is unimportant. Social morality/ control is wrong/ Victorian).
When dealing with his ideas and many of the complaints about Pirsig personally, I think maybe people are judging the author when he might just be throwing out hypothetical ideas. Given the choice, he may still do the "socially moral" thing... save the children. The character of Phaedrus also may have parts of Pirsig in him but that doesn't mean that they are the same.... Overall, I say I'd keep the book because it discusses ideas (even if I don't agree with them all) but because I strongly disagree with many ideas and the "story" itself is almost nonexistent, I don't see myself reading it again. If anything I'll refer back to the dog eared pages. In short: its something to get you thinking and create a discussion. If that's not what you are looking for, don't bother with this book!
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Pirsig is going to become acknowledged academically posthumously because the worlds intellectual elite are simply too "culturally immune" to cope with the implications of his genius. The ideas in both his books are quite literally..."it all"
"Lila" is not simply Part II of "Zen or the art of motorcycle maintenance", it's an essay on morals as a system that can be devided in 4 evolutionary layers: inorganic, biological, social, intellectual. That's important because on every layer you find an urge to preserve the current state in a "static pattern". To preserve the actual state can be seen as valuable, as a quality.
On the other hand, there is also a dynamic quality which tries to attack the actual evolutionary level either from above, that is from a higher evolutionary level, which is good, or from a lower evolutionary level, which is bad. And of course that's the main question: to decide what is good and what is bad. With its four layers and five transitional states, the metaphysics of quality do a lot to escape oversimplified judgements.
Nevertheless, this questioning of the status quo is a quality in itself, a dynamic quality, it's good. The problem is that a person or a group or on object with dynamic quality tends to get in trouble with authorities, institutions, the powers that be.
-Pirsig says that a political system can be judged by the way how it reacts on dynamic quality. A democratic society is relatively permissive to different kinds of anomies except for violence. Because of that it seems the best system in the sense of a metaphysics of quality, as it leaves a lot of space for change and improvements.
But Pirsig is not only an original philosophical thinker, but also a trained scientist, so he won't speculate on what might be. In this sense the moral system according to the metaphysics of quality becomes the "motorcycle" of his first book. From a dynamic point of view it's a running system, it's more than the parts it contains. So what you can actually do is, while driving, listening to the sounds of the system, keeping your eyes open for anything that seems odd, that sounds "unround". In this case the system needs maintenance, the sooner the better.
And in the case of system maintenance it's always a good advice to keep in mind: "The assembly of japanese bicycles requires a deep peace of mind."
In my opinion "Lila" is not the only good, readable book on metaphysics, ethics and social science. Foucault had a lot to say on how societies since the medieval dealt with so called mentally ill persons. Dworkin has written very good books on evolutionary theory, which are understandable for every intereseted reader. Walter Benjamins "aura" seems to equal Pirsigs "quality" in a lot of aspects, not only in that it is hard if not impossible to provide a concept or definition of it. For Kant "quality" is one of four functions in judgement: "quantity", "quality", "relation" and "modality". As function of judgement (Funktion im Urteil) it has three categories: reality, negation and limitation. They (the three categories) all deal with degrees of reality (Wirklichkeit), which is an important advantage to the metaphysics of quality, because you can't, in my opinion, give a degree of an imagination or a value. In this sense only real things can be judged by degree: the intensity of the blue colour of the ink I'm writing with, for example. I think that this distinction is very important in a practical, moral sense: We don't want a jury to say to a person who is accused to have committed a crime: He kind of did it. According to the judgement, who actually did, what has been investigated, it has to be: "Yes" or "No". The guilt on the other hand is a question of degrees: intentional, unintentional, sane, unsane, circumstances etc.
What I liked in "Lila" was the authenticy of the story, Pirsigs reflections and of his personal search for truth.
I think that Pirsig puts to much weight on the questions concerning the subject-object dichotomy, while the subject part of it is still in the dark. Aristoteles says that soul ist form. Not much more from the Neo-Platonists, Newton, Leibniz, Descartes or Kant. The problem is not, that quality is undefined, it's "soul" that still nobody has defined sufficiently.







