This special issue of Journal of Poetry Therapy focuses on the use of poetry and other forms of expressive writing to explore the transformative experiences of military veterans, and so in this article I discuss how the use of poetry, hip-hop, and philosophy positively influenced my life while I was serving in the United States Air Force (USAF) from 2000 through 2004. This article briefly reviews my reasons for enlisting and discusses the importance that poetry, hip-hop, and philosophy had for (...) me during four different phases of my military history: (i) Basic Military Training, (ii) Aircraft Qualification, Combat Survival, and Water Survival Training, (iii) serving in the post 9/11 operations Operation Enduring Freedom and Operation Iraqi Freedom, and (iv) the period after fulfilling my time of service for the USAF. In discussing each phase, I explain the unique challenges that I encountered, how I used poetry, hip-hop, and philosophy to successfully overcome these challenges, point out relevant examples of poetry, hip-hop, and philosophy that were particularly influential, and include pictures of my experiences throughout. (shrink)

According to Epicureans, anticipating one's own annihilation ought not to be a frightening experience. Non-existence precludes the possibility of sensation, and hence annihilation can be neither pleasant nor unpleasant. And that which cannot be felt is unworthy of fear. Certain objectors to this claim have asserted that one's own annihilation really is a terrifying prospect. Against this assertion, I argue that those who make it are guilty of precisely the kind of confusion that Epicurus and his disciples alert us to, (...) namely that of projecting ourselves into the thought of our own non-existence. A further objection to Epicureanism involves the claim that, since the fear of death is merely the converse of the love of life, the one cannot be extinguished without inevitably extinguishing the other (to inevitably disastrous effect). I argue that this objection relies upon an exaggeration of thanatological fear's power and an unduly pessimistic assessment of human reason's capacity to positively modify emotional states and dispositions. I conclude that neither of the objections considered here has vindicated the fear and anxiety commonly associated with anticipating one's annihilation, and that the Epicurean attempt to deflate these debilitating emotions remains valid. (shrink)

There is a long-standing debate about whether poetry can make a substantive contribution to philosophy with compelling arguments to show that poetry and philosophy involve distinct modes of thought and aims, albeit with similar concerns. This paper argues that reading lyric poetry can play a substantive role in philosophy by helping the philosopher understand how to forge connections with the perspectives of others. The paper takes the view that poetry is not directly philosophical but can play an important role in (...) developing the philosopher's awareness of how perspective shapes beliefs and thought processes. Following Robert Nozick, David Lewis, and Helen Beebee, it argues for the need to broaden our conception of the aims of philosophy beyond aiming for conclusive proof, at the least where philosophical inquiry is focused on questions of value. It then shows how poetry cultivates an intellectual virtue essential to philosophy aimed at uncovering equilibria and collective understanding. (shrink)

In order to show how Michel Serres’s work diverges from traditional Western philosophy, this article explores a multitude of texts and contexts against which Serres might be better understood. Most starkly, Serres’s work diverges from the eighteenth and nineteenth century Germanic tradition of Bildung, meaning cultivation through introspection, apolitical thought and character building through education. Serres’s moves away from ego-centric thought to eco-centric thought more akin to what Gregory Bateson called an ecology of mind. That is, Serres’s integrates—in a more (...) ecological fashion—poetry, science, the arts, ecology and politics to raise philosophical questions. Further, this author suggests that Serres’s reference to the nineteenth century poem Pierrot Lunaire ) serves as a trope for Serres’s over-arching philosophy. Pierrot is an artist, a sage, an outlier, a Hermes-like figure who breaks with tradition. Arnold Schoenberg’s atonal performance piece, spoken and sung, shattered the boundaries of classical music. Like Schoenberg’s work, Serres’s work, both in style and content, shatters the boundaries of traditional philosophy. Serres’s breaks open a new paradigm in philosophy. (shrink)