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The Hard Problem: A Play, by Tom Stoppard
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Above all don’t use the word good as though it meant something in evolutionary science.
The Hard Problem is a tour de force, exploring fundamental questions of how we experience the world, as well as telling the moving story of a young woman whose struggle for understanding her own life and the lives of others leads her to question the deeply held beliefs of those around her.
Hilary, a young psychology researcher at the Krohl Institute for Brain Science, is nursing a private sorrow and a troubling question. She and other researchers at the institute are grappling with what science calls the “hard problem”—if there is nothing but matter, what is consciousness? What Hilary discovers puts her fundamentally at odds with her colleagues, who include her first mentor and one-time lover, Spike; her boss, Leo; and the billionaire founder of the institute, Jerry. Hilary needs a miracle, and she is prepared to pray for one.
- Sales Rank: #206347 in eBooks
- Published on: 2015-09-22
- Released on: 2015-09-22
- Format: Kindle eBook
Review
Praise for The Hard Problem:
“Tom Stoppard’s first play for nine years is typically witty—an intellectually charged piece that delights in the slippery nature of language and pulses with interesting ideas.”—London Evening Standard
“Mr. Stoppard is, as always, an adept craftsman. . . . [He] has provided food for thought, and not just a tasting menu but a full, footnoted banquet.”—Ben Brantley, New York Times
“Oozes learning. . . . [Stoppard] proves that it is possible to construct a tight 100 minutes of drama around neuroscientific conceits. . . . He has succeeded . . . this is a play to admire.”—Economist
“[The Hard Problem] displays intact the dramatist’s remarkable ability to synthesize complex knowledge into wittily metaphorical dialogue. . . . Demand for this brainy, funny, and touching play will long outstrip supply.”—New Statesman
“100 minutes of condensed brain-ache, marbled by wit and some camisoled sexiness. . . . Admirably high-minded . . . It succeeds, in my view triumphantly.”—Daily Mail
“Stimulating . . . absorbing . . . A rich, ideas-packed work that . . . offers endless stimulation and represents, like so much of [Stoppard’s] work, a search for absolute values and a belief in the possibility of selfless virtue.”—Guardian
“The dialogue is flashily impressive . . . it leaves one panting with admiration.”—Spectator (UK)
About the Author
Tom Stoppard's work includes Rosencrantz and Guildenstern Are Dead, The Real Inspector Hound, Jumpers, Travesties, Night and Day, Every Good Boy Deserves Favour, After Magritte, Dirty Linen, The Real Thing, Hapgood, Arcadia, Indian Ink, The Invention of Love, the trilogy The Coast of Utopia and Rock 'n' Roll. His radio plays include If You're Glad I'll Be Frank, Albert's Bridge, Where Are They Now?, Artist Descending a Staircase, The Dog It Was That Died, In the Native State and Darkside (incorporating Pink Floyd's Dark Side of the Moon). Television work includes Professional Foul, Squaring the Circle and Parade's End. His film credits include Empire of the Sun, Rosencrantz and Guildenstern Are Dead, which he also directed, Shakespeare in Love, Enigma and Anna Karenina.
Most helpful customer reviews
9 of 9 people found the following review helpful.
Stoppard Studies Consciousness
By Richard B. Schwartz
A new play by Tom Stoppard is always an event of some significance, particularly since he has not produced a play in nine years. The hard problem of the play’s title is consciousness. The process is so unique and so vastly complex as to be presently inexplicable (though some have made attempts to do so). In terms of Stoppard’s play, the question of consciousness leads the protagonist (a young woman named Hilary) to approach a host of other, often related issues: sociobiology, evolutionary psychology, egoism/altruism, nature/nurture and, in particular, the viability of materialist views of both cognition and all things in general.
Hilary is also a person of faith. She prays to God, asking for help in protecting and nurturing a daughter that she gave up for adoption when Hilary was 15. As fortune would have it, her employer adopted a daughter at the time when Hilary gave her’s up for adoption; they share the same name.
Hilary works for a well-funded psychological research institution funded by a mega-wealthy financial manager (the adoptive parent), played in the first London stage version by Anthony Calf (for American audiences—the actor who played Colonel Fitzwilliam in the BBC Pride and Prejudice).
Hilary discusses her issues with a sometime lover who is a practicing skeptic, an Indian financial manager and other workmates and friends, one of whom she takes the fall for when the friend manipulates research results (thus exemplifying the terms of the egoism/altruism issue). This all takes place in a single act with ten scenes, approximately ninety minutes in length.
London theatre critics have said that several of the characters remain two-dimensional, functioning as exemplars for the positions that they take. This is fair criticism, I think. I believe that the play would have benefited from a two-act structure and, say, an additional thirty minutes of material. The subject(s) which it essays are very, very important and very, very complex. If I compare it with one of his masterpieces—Arcadia--I would say that The Hard Problem’s characters lack some of the humor and full humanity of that play’s characters and the dynamism of its action, scene changes, time differentials, and so on. Arcadia is a much richer play.
Nevertheless, The Hard Problem has wonderful moments and a fine central character. I have not yet been able to see it on stage. My initial impression is that this is a second-tier work by our greatest living dramatist, and, hence, one that requires our attention.
4 of 4 people found the following review helpful.
One of Stoppard's Most Personal, and Most Meaningful Plays
By KR503
One of Stoppard's best and most approachable plays since "The Real Thing." The National Theatre production was brilliant, and the poetry of the language came soaring through what is a very intimate play about a very large subject. I love it when Stoppard, or any playwright, for that matter, successfully embeds large themes in the lives of ordinary people, and rarely is it as well-done as it is here. Reading the script again, after seeing the production, was very special. I could relive moments that I knew had been exquisite, and dwell over the lovely dialogue. As with any play, it's designed to be seen, and secondarily read as literature, but if you have a chance to read it and not see it, and you're interested in meaningful, contemporary theater, at least read it.
2 of 2 people found the following review helpful.
Why morality can endure over violence
By Lawrence E. George
I bought it because having seen it in London I had to read it, (which is really, seeing it twice) to understand it. And furthermore,
knowing that Stoppard is taking formal positions on moral philosophy through his characters, the reader needs to acquaint with with specific philosophical references. i didn't feel I understood the play having merely seeing. For me, it was a, challenging philosophical Hard Problem.
The difference for example, seeing American Buffalo and the Hard Problem is that Mamets play is understood in the emotional impact of
conflict onstage. Stoppard lingers on intellectually because the formal implications of philosophy make the characters opaque and dense, not emotionally available but full of contradiction and complexity. Mamet provides a violent answer, he is an American, whereas Stoppard raises questions that endear you to the characters moral quandary, and their lived experience which remains transparent individually and collectively
remains an argument without moral resolution. There is the difference. I prefer to re-interpret meaning rather than being given a pat answer.
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