The Women Are Up to Something: How Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch Revolutionized Ethics by Benjamin J. B. Lipscomb

Abstract

Reviewed by: The Women Are Up to Something: How Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch Revolutionized Ethics by Benjamin J. B. Lipscomb Amy Gilbert Richards LIPSCOMB, Benjamin J. B. The Women Are Up to Something: How Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch Revolutionized Ethics. New York: Oxford University Press, 2022. xxx + 326 pp. Cloth, $27.95 In The Women Are Up to Something, Lipscomb demonstrates in form and content the inextricable link between philosophical theory and personal story and character. The book tells two stories: "first, a story [End Page 148] about four women, their overlapping friendships, and their struggle to establish themselves as philosophers in an often-hostile context; second, a story about two conflicting approaches to ethics." These two stories connect through the role these women played in the development of the second of the conflicting approaches—a challenge to the mid-twentieth-century Oxbridge orthodoxy in metaethics, what Lipscomb later calls a "minority report." Chapter 1 centers on the fact–value divide. The consequence of this divide for ethics lies in its banishment of all evaluative terms from the realm of possible facts, thereby demoting them to matters of "opinion." Lipscomb here offers a genealogy of the divide. He also introduces the insight that will become the seed of the minority report: The picture of the world offered by the fact-value divide is just that, a picture. Bringing to light the deep background pictures that undergird our understanding of the world is one of the most difficult intellectual tasks. But the picture rooted in the fact–value divide includes the claim that the divide itself is simply a "fact"—not a picture at all, and therefore not contestable. Lipscomb labels this view "the Dawkins' sublime." The next three chapters continue the work of stage-setting. Chapter 2 immerses us in the Oxford of the women's undergraduate years—an Oxford temporarily but dramatically altered by World War II, where female students made up a much larger percentage of the undergraduate population than was usual, and where professors were in a new way open to mentoring women. Chapter 3 briefly recounts all four childhoods, lived in the aftermath of the first World War. Chapter 4 returns to Oxford and narrates the graduate degrees of the four women. It also offers a perceptive primer on the history of analytic ethics, culminating in the state of the field at the point when the women were on the cusp of entering it—the precise shape of the approach to ethics the women would eventually abjure. Each of the next four chapters traces the development of the mature philosophy of one of the four women—in order: Murdoch, Anscombe, Foot, and Midgley. Despite deep differences among their philosophical and theological outlooks, they all four came to defend a version of the thesis, commonplace in ancient and medieval philosophy, that there are things that are good for human beings qua human being, that our moral lives are largely a matter of seeing and responding—well or poorly—to these elements of the human good that are given as part of our nature. In other words, there are facts about values. We in crucial ways discover rather than invent morality. The last chapter serves as an epilogue to both stories: It traces the ways in which the writing and lives of these four women produced a decisive change in the landscape of Anglo-American philosophy. Lipscomb notes which strains in contemporary Anglo-American philosophy owe their existence to the minority report. Figures like Korsgaard feature as contemporary representatives of an ethics grounded in the fact–value [End Page 149] divide. Figures like MacIntyre and Hursthouse feature as inheritors of the philosophical legacy of the book's heroines. In this final chapter Lipscomb also offers brief portraits of the later life and death of each of the women in turn. At the end of the final portrait, the book rounds to a poetic close—not offering a final philosophical statement but reflecting on the fruits of friendship and the power of its legacy for those who come after. It is difficult to pin down Lipscomb's precise philosophical...