In this chapter, McGinn begins with a study of the meaning of monstrosity, in which he considers the view set out in the previous chapters that evil is ugliness of soul. Monsters seem to be visible embodiments of evil: however, the connection between physical ugliness and ugliness of soul is not logically necessary. To pursue this point, McGinn presents a close study of Mary Shelley's Frankenstein. McGinn interprets the novel as a metaphorical depiction of the human condition. He argues that (...) the life of Frankenstein's monster can be understood as a model of human life. (shrink)

McGinn's latest brings together moral philosophy and literary analysis in a way that illuminates both. Setting out to enrich the domain of moral reflection by showing the value of literary texts as sources of moral illumination, McGinn starts by setting out an uncompromisingly realist ethical theory, arguing that morality is an area of objective truth and genuine knowledge. He goes on to address such subjects as the nature of goodness, evil character, and the meaning of monstrosity in the context of (...) an aesthetic theory of virtue, which maintains that goodness of character is the same thing as beauty of soul. Looking at such literary works as Billy Budd, Lolita, The Picture of Dorian Gray, and Frankenstein, as well as examples from film and painting, Ethics, Evil, and Fiction is an original and compelling book by a leading philosopher who is also a critic and novelist. (shrink)

In this engagingly written book, Colin McGinn advances a number of related theses, most prominent among them, that moral philosophy is in need of new methodologies in order to get at neglected questions about moral character. The methodology McGinn urges involves drawing upon literature for its deep and intricate portrayals of ethical themes. This would seem a natural approach given McGinn’s substantive views about ethics. He contends that our ethical knowledge is aesthetically mediated ; he speculates that the “innateness” of (...) ethics may be “a by-product of our innate grasp of folk psychology” which comes into play when we interpret literature; and he defends an “aesthetic theory of virtue” according to which virtue coincides with beauty of soul. (shrink)