Author Archives: Daniel Podgorski

About Daniel Podgorski

Daniel Podgorski is a Californian author, essayist, researcher, and web developer. On The Gemsbok, he provides art analysis (on literature, games, and films) and philosophy articles. His areas of expertise are literature and philosophy, with most of his academic research (as well as most of his informal research) focusing on intersections between the two. He has had poetry, short stories, and articles published in various academic and literary journals—and his short fiction has placed first in both competition and conference settings.

[Work: Breakfast on Pluto, Patrick McCabe, 1998]
Tradition Troubled:

Boisterous Fun, Visceral Bloodshed, and ‘Irishness’ in Patrick McCabe’s Breakfast on Pluto

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Introduction:

Patrick McCabe - Breakfast on Pluto - Irish, gender, violenceOne of the goals of this site is to make sure that the style of the articles in each series (with the possible exception of Your Friday Phil) encompasses a range containing everything from advice lists to simple reviews to deeper analyses. The Tuesday Tome series is one which has spent the past couple of weeks dealing in dense, analytical material, so it is due for a simple review. In fact, this week’s article will take the form of a straightforward recommendation. And the book which I would like to recommend is Breakfast on Pluto, a 1998 novel by Patrick McCabe, one of the two books for which McCabe has been shortlisted for the Booker Prize.

This is both the strangest and second-most recent book which I have covered in the series so far. Breakfast on Pluto‘s strangeness results from its recentness, as it presents a combination of a raw depiction of violence in Ireland during the Troubles with a wistful, campy narrative voice provided by transgender character “Pussy” Braden. She is a person who was assigned male at birth, yet who has typically feminine character traits, fashion, and identification. If you are a reader interested in a work that challenges genre (and gender) conventions in order to tell a violent and uniquely Irish history in a new way, then read on.

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[Work: Breakfast on Pluto, Patrick McCabe, 1998]
Tradition Troubled:

Boisterous Fun, Visceral Bloodshed, and ‘Irishness’ in Patrick McCabe’s Breakfast on Pluto

 was last modified: April 26th, 2023 by Daniel Podgorski

[Topics: Contractarian Ethics, Is-Ought Problem, Moral Anti-realism]
Dealing in What Is:

How the Is-Ought Problem Factors into Moral Anti-realism

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Portrait of David Hume by Allan Ramsay - is-ought problem - David Hume - moral anti-realism

Portrait of David Hume by Allan Ramsay

Introduction:

The towering influence of Enlightenment philosopher David Hume has at least partially informed all of my articles across this past month (and, more indirectly, all of the articles before then as well). And although The Gemsbok’s artist, M.R.P., did a sketch of Hume for the article last week on epistemology, that homage would perhaps have fit better next to today’s article, which will consider a topic often attributed to David Hume—if not as its originator, at least as its first notable, direct, and clear articulator. The topic in question is the is-ought problem (also known as Hume’s Law).

A few of my readers, discussing my article on the exclusively functional objectivity of our socially evolved morality in a forum thread, have raised the is-ought problem as an objection to some of the ideas presented there. While I think that careful readers of that article will already have a fair idea of my response to such objections, I imagine it would be helpful to provide something more explicit. While I would not deny the existence and importance of moral oughts as such, I would seek to offer a moral anti-realist, contractarian account of what oughts ought to be.

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[Topics: Contractarian Ethics, Is-Ought Problem, Moral Anti-realism]
Dealing in What Is:

How the Is-Ought Problem Factors into Moral Anti-realism

 was last modified: October 28th, 2023 by Daniel Podgorski

[Film: The Merchant of Venice, Michael Radford, 2004]
Remakes are Not your Enemy:

Analyzing a Scene from Michael Radford’s Film Version of The Merchant of Venice

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Introduction:

Antonio Reproaching Shylock - The Merchant of Venice - Michael Radford, William Shakespeare - 2004 court scene analysisIn an era when we lament the fact that the remake, the sequel, and the reboot have come to dominate the media landscape, it can be easy to forget that older forms of art (in particular, theatre) used to survive exclusively through their continual reinterpretation and re-presentation. Since his death, William Shakespeare has arguably garnered more of such ‘remakes’ and ‘reboots’ than any other artist, yet there are still great, interesting, and even somehow new versions of his works every year, on the stage and on the screen.

It is worth pointing out, then, that a remake or reboot is only bad if it adds nothing new to the original work and does not present an interesting version of the original work. And if that seems like a tired point to you, then I would like to make that case in a new way (a remake of my own, as it were) by zeroing in on one of Al Pacino’s scenes from Michael Radford’s film version of The Merchant of Venice, and discussing why it works so well as a new presentation of older material.

The nature of this article is such that it requires spoiling basic plot details of The Merchant of Venice, so you should only continue reading after this paragraph if you either do not mind spoilers or have already seen the film (or read the play, or seen a staging, etc.).

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[Film: The Merchant of Venice, Michael Radford, 2004]
Remakes are Not your Enemy:

Analyzing a Scene from Michael Radford’s Film Version of The Merchant of Venice

 was last modified: September 9th, 2024 by Daniel Podgorski

[Game: Dead Space, EA Redwood Shores, 2008]
AAA Horror that Works:

How the Original Dead Space Maintains a Tense Atmosphere

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Introduction:

For those of you who didn’t have enough horror over the Halloween weekend, I recommend checking out a great game which just turned seven years old, Dead Space. I decided that Your Mid-week Mission series, which is now two months old, is long overdue for something besides a 2-D, pixel art, indie PC game (as much as I obviously enjoy those). So I’m getting about as far from that as possible with this article about a AAA action horror third-person shooter.

In particular, this article will explore what makes Dead Space succeed as a horror game, which is a genre with a disproportionate number of failures. I intend to encourage any fans of the horror or third-person shooter genres to play the first part of the Dead Space trilogy as soon as possible, so let’s get to why.

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[Game: Dead Space, EA Redwood Shores, 2008]
AAA Horror that Works:

How the Original Dead Space Maintains a Tense Atmosphere

 was last modified: November 22nd, 2025 by Daniel Podgorski

[Work: Beowulf, (Author Unknown), c. 700-1000]
Ending Unending Feuds:

The Portent of Beowulf‘s Historicization of Violent Conflict

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Introduction:

Beowulf first page - history, violence, feuds, cyclesIt has long been a clichéd truism that history is written by the victors; this assertion is often paired with the acknowledgment that a history written by those who lost major conflicts or were subjugated would be starkly different. The ubiquity of such sentiments clearly declares the paramount nature of considering perspective in approaching any historical account, whether that work is presented as non-fiction or fiction.

In the Old English verse work Beowulf, the question of perspective can be considered within the literary context of looking at speaker, syntax, and diction. One is meant, in light of the aforementioned modern sentiment, to look both at what that speaker aims to communicate about the events and individuals as well as at how and why the communication is thus structured.

That speaker, in historicizing the Geatish-Swedish Wars, actively obfuscates chronology, emphasizing the cyclical, muddy, and endless nature of feuding conflict so as to present the impotence of war, the tragedy of revenge, and the dependence of the two on a preoccupation with the past.

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[Work: Beowulf, (Author Unknown), c. 700-1000]
Ending Unending Feuds:

The Portent of Beowulf‘s Historicization of Violent Conflict

 was last modified: March 26th, 2020 by Daniel Podgorski