'Celestial City and Anti-Vanity Fair', with its John Bunyan-like connotations, brings what John O'Loughlin had been building towards in previous books, like 'Yang and Anti-Yin' and 'Lamb and Anti-Lion', to its logical conclusion, underlining the gender distinctions that exist at all points of what he calls the intercardinal axial compass, so that a more comprehensively-exacting approach to terminology is possible and categorically upheld as a logical necessity. Hence the metaphysical and antimetachemical implications of the title are reflected on a parallel terminological basis which it becomes a philosophical principle and moral duty to systematically embrace, if one is to avoid either fudging the gender issue or over-simplifying it from the standpoint of one's own gender - a not-uncommon practice within the male-dominated context of most traditional philosophy in the West. The cover art, incidentally, derives from one of the author's own paintings, and is not without structural relevance to the text.
'Celestial City and Anti-Vanity Fair', with its John Bunyan-like connotations, brings what John O'Loughlin had been building towards in previous books, like 'Yang and Anti-Yin' and 'Lamb and Anti-Lion', to its logical conclusion, underlining the gender distinctions that exist at all points of what he calls the intercardinal axial compass, so that a more comprehensively-exacting approach to terminology is possible and categorically upheld as a logical necessity. Hence the metaphysical and antimetachemical implications of the title are reflected on a parallel terminological basis which it becomes a philosophical principle and moral duty to systematically embrace, if one is to avoid either fudging the gender issue or over-simplifying it from the standpoint of one's own gender - a not-uncommon practice within the male-dominated context of most traditional philosophy in the West. The cover art, incidentally, derives from one of the author's own paintings, and is not without structural relevance to the text.