Hannah Arendt Center for Politics and Humanities
24Nov/140

Amor Mundi 11/23/14

Arendtamormundi

Hannah Arendt considered calling her magnum opus Amor Mundi: Love of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

amor_mundi_sign-up
On Loneliness

lonelinessIn The New Republic, Judith Shulevitz writes about the deadening impact of loneliness and how it can ravage our body and our brain. She traces modern interest in loneliness to Frieda Fromm-Reichmann, a psychoanalyst whose "1959 essay, 'On Loneliness,' is considered a founding document in a fast-growing area of scientific research you might call loneliness studies. Over the past half-century, academic psychologists have largely abandoned psychoanalysis and made themselves over as biologists. And as they delve deeper into the workings of cells and nerves, they are confirming that loneliness is as monstrous as Fromm-Reichmann said it was. It has now been linked with a wide array of bodily ailments as well as the old mental ones. In a way, these discoveries are as consequential as the germ theory of disease. Just as we once knew that infectious diseases killed, but didn't know that germs spread them, we've known intuitively that loneliness hastens death, but haven't been able to explain how. Psychobiologists can now show that loneliness sends misleading hormonal signals, rejiggers the molecules on genes that govern behavior, and wrenches a slew of other systems out of whack. They have proved that long-lasting loneliness not only makes you sick; it can kill you. Emotional isolation is ranked as high a risk factor for mortality as smoking. A partial list of the physical diseases thought to be caused or exacerbated by loneliness would include Alzheimer's, obesity, diabetes, high blood pressure, heart disease, neurodegenerative diseases, and even cancer - tumors can metastasize faster in lonely people." The turn toward biology situates loneliness as a mental and a physical illness, one to be combated with public health programs. Shulevitz traces the efforts to medicalize loneliness, as well as programs to treat loneliness as a problem of inequality. And yet, in the end, she suggests that humans have incredible resources to fend off loneliness: "[T]here's something awe-inspiring about our resilience, too. Put an orphan in foster care, and his brain will repair its missing connections. Teach a lonely person to respond to others without fear and paranoia, and over time, her body will make fewer stress hormones and get less sick from them. Care for a pet or start believing in a supernatural being, and your score on the UCLA Loneliness Scale will go down. Even an act as simple as joining an athletic team or a church can lead to what Cole calls 'molecular remodeling.' 'One message I take away from this is, "Hey, it's not just early life that counts,"' he says. 'We have to choose our life well.'"

Arendt and the "Mass Man"

arendt lonelinessLoneliness was a constant theme in Hannah Arendt's work. In her most pregnant attempt at a definition of totalitarianism, published in 1950, Arendt writes: "Totalitarian movements are mass organizations of atomized, isolated, individuals." Totalitarianism depends upon "the masses [who] grew out of the fragments of a highly atomized society whose competitive structure and concomitant loneliness of the individual had been held in check only through membership in a class." Shorn of family and national and class connection, the modern atomized individual becomes a mass man. "The chief characteristic of the mass man is not brutality and backwardness but his isolation and lack of normal social relationships." Stripped of the political, social, and intellectual traditions that historically bound people together in publically meaningful institutions and networks, mass men turn to racism or consumerism to give their lives meaning. Both are dangerous in different ways. As Paul Morrow writes, "Loneliness can result from formal prohibitions on expression or action, as seen in totalitarian societies; but it can also result from informal standards and patterns of life which disvalue political - and overvalue social or commercial - interactions." And Bill Dixon adds: "To be lonely is to be deprived of both the public and the private realms and therefore to feel utterly abandoned by other human beings, to finally lose one's place in the world completely. The mass production of loneliness is closely linked to the experiences of 'uprootedness' and 'superfluousness' that have unevenly afflicted peoples across the earth since the industrial revolution and European imperialism. Pervasive loneliness as a modern way of life therefore amorphously anticipates the emergence of the totalitarian form, but it also serves to structure and vivify its psychic violence once underway. Loneliness perversely tends to intensify when felt in the presence of others, that is, when one is not strictly speaking alone."  

Integrity and Privacy

snowdenDavid Bromwich reviews Laura Poitras' Citizenfour and argues that it shows Edward Snowden to be a modern hero, a courageous conscientious objector in the war on privacy: "An incidental strength of Citizenfour is that it will make such casual slanders harder to repeat. Nevertheless, they are likely to be repeated or anyway muttered in semiprivate by otherwise judicious persons who want to go on with their business head-down and not be bothered. It must be added that our past politics give no help in arriving at an apt description of Snowden and his action. The reason is that the world in which he worked is new. Perhaps one should think of him as a conscientious objector to the war on privacy - a respectful dissident who, having observed the repressive treatment endured by William Binney, Thomas Drake, and other recent whistle-blowers, does not recognize the constitutional right of the government to put him in prison indefinitely and bring him to trial for treason. His action constitutes a reproach to the many good citizens who have learned what is happening and done nothing about it. That, too, is surely a cause of the resentment that has a hard time finding the appropriate adjectives for Snowden." Bromwich is right that listening to Snowden in the movie is to be in the presence of someone of integrity: "The undeclared subject of Citizenfour is integrity - the insistence by an individual that his life and the principle he lives by should be all of a piece. Something resembling an aesthetic correlative of that integrity can be found in the documentary style of Laura Poitras." What Snowden, Poitras, and Bromwich show is that the core of privacy is integrity. It is thus the integrity of the person that is under attack in the age of surveillance.

Learning and Teaching

teachingIn an essay about how it is for teachers, both now and in the past, Jonathan Zimmerman says he thinks he's figured out what's happened to teaching in America: "the federal Race to the Top program sponsored by the Obama administration encouraged schools to use students' test scores in evaluating individual teachers. The primary responsibility of teachers is no longer to encourage good behavior in future citizens, as Horace Mann insisted. Instead, it's to ensure that they get the right answers on a high-stakes test. The shift in goals has unfortunately done nothing to alter the tedious, anti-intellectual practices of American teaching. If anything, the strong commitment to 'academic' goals has probably made teaching less academic - so far as the quality of learning is concerned - and more routinized than it was before. When teachers were hired for their inborn ability to 'nurture' schoolchildren, many derided or disregarded their intellectual capacities. Now we've created a system that is so firmly tied to scholastic achievement - as narrowly defined by standardized tests - that no serious scholar would want to teach in it."

amor_mundi_sign-up
Rereading Without Revising

readingIn the New York Times, seven writers reread some of their old work and write about how they feel about it all this time later. Marilynne Robinson, for example, tries to recall what it was like to write Housekeeping: "In writing 'Housekeeping' I was trying to recover the appearance and the atmosphere of a very particular place, northern Idaho. When I wrote it, I had not spent much time there for almost 20 years. So it was very much an exploration of memory that I was engaged in. I thought I was writing an unpublishable book, so I was undistracted by other considerations than my own interest in the workings of memory and the ability of language to evoke what I 'saw' in memory. I found that the common old question 'What was it like?' stimulated recollection and recruited words and images that made my sense of the thing remembered, a place or a smell or the glint of light on water, much more accessible to me than I could have anticipated. It became a discipline for me, always to keep a scene before my eyes and to be ready to value and explore any detail that presented itself to me with an especially pungent or plangent specificity. I wrote much of the book in a darkened room. This was not intended as part of the experiment, but it may have contributed to it. My memories were often as bright as dreams and often as highly detailed. Only the place is actually remembered in the book. None of the characters or events are real. The point was to let my imagination take on the colorations of memory and interpret the place, as music might do."

Not The Absence of Fear

cornel westIn an interview with Questlove Thompson, an interview that's as much about music as anything else, Cornel West defines courage: "But we all live in fear. Courage is not the absence of fear. It is the working through and overcoming of fear. Brother Martin had fear. He just wouldn't allow fear to determine his behavior. As human beings, everyone has stuff coming at them, and a certain kind of fear. But courage is being true to yourself, true to a sense of integrity. And that's what is more and more difficult."

At the Intersection of Art and Commerce

ursula le guinIn her National Book Awards acceptance speech, Ursula K. Lu Guin explains why she loves, and fears for, literature: "Books aren't just commodities; the profit motive is often in conflict with the aims of art. We live in capitalism, its power seems inescapable - but then, so did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art. Very often in our art, the art of words. I've had a long career as a writer, and a good one, in good company. Here at the end of it, I don't want to watch American literature get sold down the river. We who live by writing and publishing want and should demand our fair share of the proceeds; but the name of our beautiful reward isn't profit. Its name is freedom."

On Ethics and Reporting

bill cosbyIn a piece about the resurfaced allegations of rape against Bill Cosby, Ta-Nehisi Coates reminds us that he, like all writers, lives in history, with his own context and biography. Knowing that is a kindness - one, he suggests, that an ethical journalist must transcend: "The Bill Cosby piece was my first shot writing for a big national magazine. I had been writing for 12 financially insecure years. By 2007, when I finished my first draft, I had lost three jobs in seven years. I had just been laid-off by Time magazine. My kid was getting older. I was subsisting off unemployment checks and someone else's salary. A voice in my head was, indeed, pushing me to do something more expansive and broader in its implication, something that did not just question Cosby's moralizing, but weighed it against the acts which I believed he committed. But Cosby was such a big target that I thought it was only a matter of time before someone published a hard-hitting, investigative piece. And besides, I had in my hand the longest, best, and most personally challenging piece I'd ever written. It was not enough. I have often thought about how those women would have felt had they read my piece. The subject was morality - and yet one of the biggest accusations of immorality was left for a few sentences, was rendered invisible. I don't have many writing regrets. But this is one of them. I regret not saying what I thought of the accusations, and then pursuing those thoughts. I regret it because the lack of pursuit puts me in league with people who either looked away, or did not look hard enough. I take it as a personal admonition to always go there, to never flinch, to never look away."

amor_mundi_sign-up
Featured Events

Film Screening & Director's Discussion: Killing Kasztner: The Jew Who Dealt with Nazis

Thursday, December 4, 2014

Reem-Kayden Center Laszlo Z. Bito '60 Auditorium, 5:00 - 8:00 pm


Roundtable on Academic Freedom

Tuesday, December 9, 2014

Bard College Campus Center, Multipurpose Room, 7:00 pm

 


From the Arendt Center Blog

This week on the Blog, Johannes Lang discusses Arendt's critique of obedience in political and moral matters in the Quote of the Week. Carl Sagan provides this week's Thoughts on Thinking. In our Video Archives, we remember a talk George Kateb gave at our 2011 annual fall conference on the ideal of governmental transparency. And we appreciate Arendt's impressive collection of Goethe's works in our Library feature.

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.
28Apr/140

Amor Mundi 4/27/14

Arendtamormundi

Hannah Arendt considered calling her magnum opus Amor Mundi: Love of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

Race, Democracy and the Constitution

421Looking for scandal, the press is focusing on the apparent conflict between Chief Justice John Roberts and Justice Sonia Sotomayor. But the case of Schuette v. Coalition to Defend Affirmative Action is more important than the scandal. It raises fundamental questions about the democracy, race and the constitution. Sonia Sotomayor, in her dissent, writes: "And race matters for reasons that really are only skin deep, that cannot be discussed any other way, and that cannot be wished away. Race matters to a young man's view of society when he spends his teenage years watching others tense up as he passes, no matter the neighborhood where he grew up. Race matters to a young woman's sense of self when she states her hometown, and then is pressed, 'No, where are you really from?', regardless of how many generations her family has been in the country. Race matters to a young person addressed by a stranger in a foreign language, which he does not understand because only English was spoken at home. Race matters because of the slights, the snickers, the silent judgments that reinforce that most crippling of thoughts: 'I do not belong here.'" John Roberts, in his concurring opinion, responds: "The dissent states that "[t]he way to stop discrimination on the basis of race is to speak openly and candidly on the subject of race." And it urges that "[r]ace matters because of the slights, the snickers, the silent judgments that reinforce that most crippling of thoughts: 'I do not belong here.'" But it is not "out of touch with reality" to conclude that racial preferences may themselves have the debilitating effect of reinforcing precisely that doubt, and-if so-that the preferences do more harm than good. To disagree with the dissent's views on the costs and benefits of racial preferences is not to "wish away, rather than confront" racial inequality. People can disagree in good faith on this issue, but it similarly does more harm than good to question the openness and candor of those on either side of the debate. Both opinions are worth reading. And read more about them in The Weekend Read.

The Sanctification of A Christian Pope

422Pope Francis I has declared two prior popes Saints. One is well known, Pope John Paul II. But Pope John XXIII is perhaps forgotten by many. As NPR reports, "John XXIII, also known as 'Good Pope John,' was nearly 77 at his coronation and, because of his advanced age, was widely regarded as a 'stopgap' pope who wasn't going to make waves. Instead, he called the Vatican II Council, which promulgated one of the most far-reaching and controversial reforms in the Roman Catholic Church's history." John XXIII also published a little book Journal of a Soul, which Hannah Arendt reviewed for the New York Review of Books. For the Jewish thinker, Good Pope John is a Christian Pope, one of the few. Arendt tells of a "Roman chambermaid" in a hotel who asked her, in all innocence: "Madam," she said, "this Pope was a real Christian. How could that be? And how could it happen that a true Christian would sit on St. Peter's chair? Didn't he first have to be appointed Bishop, and Archbishop, and Cardinal, until he finally was elected to be Pope? Had nobody been aware of who he was?" Arendt had a simple answer for the maid. "No." She writes that Pope John was largely unknown upon his selection and arrived as an outsider. He was, in the words of her title, a true Christian living in the spirit of Jesus Christ. In a sense, this was so surprising in the midst of the 20th century that no one had imagined it to be possible, and the Good Pope John was selected without anyone knowing who he was. On the day of Pope John XXIII's Sainthood, it is worth revisiting Arendt's full review.

The Human Factor—Hannah Arendt

423Taking Hannah Arendt's quote, "There are no dangerous thoughts; thinking itself is dangerous," as its starting point, the Canadian Public Radio show Ideas with Paul Kennedy explores Hannah Arendt's Eichmann in Jerusalem. The program features Roger Berkowitz, Adam Gopnik, Adam Kirsch, and Rivka Galchen. The conversation was heated at times, but overall offers a good account of Arendt's book, her thoughts on thinking, and the reason her thought matters. Take some time to listen to program.

 

 

Make Work

424Patricia Lockwood, at the Poetry Foundation blog, seems to be tired of being asked if poetry is work: "IS it work, though? The question persists. Is a single muscle exerted during the process? Do you sweat at all, besides the weird thing that sometimes happens under your right arm because you haven't lifted it up for 8 hours? Do you get to retire after you work at it faithfully for 50 years? The answers are no, no, and no. Can anyone fire a poet? Only Death can fire a poet." She is, of course, making a joke. For Arendt, though, poetry, and art more generally, is in fact work. Indeed, making art may be the last vestige of work in a world where the primary activity of life has become the repetitive, never ending, activity of consumption, in which nothing is left behind and all labor seeks only to further the process of consumption. Poetry, and painting, and art are outliers in the modern world to the extent they leave something behind and resist the process of consumption.

Geopolitics Strikes Back

425"So far, the year 2014 has been a tumultuous one, as geopolitical rivalries have stormed back to center stage. Whether it is Russian forces seizing Crimea, China making aggressive claims in its coastal waters, Japan responding with an increasingly assertive strategy of its own, or Iran trying to use its alliances with Syria and Hezbollah to dominate the Middle East, old-fashioned power plays are back in international relations." Walter Russell Mead believes that geopolitics, never really gone, is back for good: "Westerners should never have expected old-fashioned geopolitics to go away. They did so only because they fundamentally misread what the collapse of the Soviet Union meant: the ideological triumph of liberal capitalist democracy over communism, not the obsolescence of hard power. China, Iran, and Russia never bought into the geopolitical settlement that followed the Cold War, and they are making increasingly forceful attempts to overturn it. That process will not be peaceful, and whether or not the revisionists succeed, their efforts have already shaken the balance of power and changed the dynamics of international politics.

The Mundane's Beautiful Due

426On the occasion of the publication of a biography of the author, Hermione Lee describes what John Updike was up to: "As he said of himself... he is the artist of middleness, ordinariness, in-betweenness, who famously wanted 'to give the mundane its beautiful due.' For over half a century-even though his own life moved far away from 'middleness';-he transformed everyday America into lavishly eloquent and observant language. This-even more than his virtuoso writing about sex, his close readings of adultery and husbandly guilt, his tracking of American social politics, his philosophizing on time and the universe-is his great signature tune. No wonder that some of the narrators in his stories are archaeologists, or that he's so interested in vanished cities, ancient civilizations, and extinct species."

Killing Hamlet, Skipping Lear

427On the 450th birthday of William Shakespeare, Bob Duggan remembers that what are understood as his great contributions now were not his most well known plays during his life: "During Shakespeare's own lifetime he was known best as the "honey-tongued" poet of such works as Venus and Adonis and The Rape of Lucrece, in which he used classical and ancient characters to his own artistic purposes as well as practical purposes of making money during the plague-forced theater closures of 1593-1594. Readers literally read published copies of these works to pieces, making surviving copies extremely rare today. People went to see the plays, of course, but the emphasis of the theaters was on making money as much as making art."

Post-SAT

428Eric Hoover, in an essay about the ways that colleges and universities may begin to evaluate students, describes one measure designed to quantify the information in a recommendation: "Motivated by such findings, the Educational Training Service developed an online rating tool called the Personal Potential Index. Designed to quantify what's conveyed in a recommendation, it asks past instructors to rate students on a five-point scale in six categories: communication skills, ethics and integrity, knowledge and creativity, planning and organization, resilience, and teamwork. To gauge resilience, for instance, respondents are asked to what extent a student 'accepts feedback without getting defensive; works well under stress; can overcome challenges and setbacks; works extremely hard'. Recommenders can type in comments to elaborate on their ratings, if they choose." Adding comments, of course, is not the same thing as real qualitative assessment; perhaps, instead of attempting to replace the tests, institutions of higher education should abandon that requirement altogether, and instead evaluate students as students, rather than as data.

From The Hannah Arendt Center Blog

This week on the blog we revisit Tracy Strong’s Quote of the Week on “Thinking Without Bannisters.” And in the Weekend Read, Roger Berkowitz looks at the relation of race, democracy, and the constitution in Schuette decision.

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.
28Jan/140

Amor Mundi 1/26/14

Arendtamormundi

Hannah Arendt considered calling her magnum opus Amor Mundi: Love of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

Expansive Writing

Flickr - Manky M.

Flickr - Manky M.

In The Origins of Totalitarianism, Hannah Arendt asks after the “elements” of totalitarianism, those fundamental building blocks that made possible an altogether new and horrific form of government. The two structural elements she locates are the emergence of a new ideological form of Antisemitism and the rise of transnational imperialist movements, which gives the structure to Part One (Antisemitism) and Part Two (Imperialism) of her book. Underlying both Antisemitism and Imperialism, however, is what Arendt calls “metaphysical loneliness.” Totalitarian government, Arendt writes, “bases itself on loneliness, on the experience of not belonging to the world at all, which is among the most radical and desperate experiences of man.” In a world of individualism in which the human bonds of religion, family, clan, and nation are increasingly seen as arbitrary, tenuous, and weak, so that individuals people find themselves uprooted, redundant, and superfluous. “Metaphysical loneliness,” Arendt writes, is the “basic experience” of modern society that is “the common ground for terror, the essence of totalitarian government, and for ideology or logicality, the preparation of its executioners and victims, is closely connected with uprootedness and superfluousness which have been the curse of modern masses since the beginning of the industrial revolution and have become acute with the rise of imperialism at the end of the last century and the breakdown of political institutions and social traditions in our own time.” The question underlying so much of Arendt’s work is how to respond to what she calls “the break in tradition,” the fact that the political, social, and intellectual traditions that bound people together in publically meaningful institutions and networks have frayed beyond repair. The customs and traditions that for millennia were the unspoken common sense of peoples can no longer be presumed. How to make life meaningful, how to inure individuals from the seduction of ideological movements that lend weight to their meaningless lives? If metaphysical loneliness is the basic experiences of modern life, then it is not surprising that great modern literature would struggle with the agony of such disconnection and seek to articulate paths of reconnection. That, indeed, is the thesis of Wyatt Mason’s essay “Make This Not True,” in this week’s New York Review of Books. Modern fiction, Mason argues, struggles to answer the question: How can we live and die and not be alone? There are, he writes, at least three paradigmatic answers, represented alternatively by three of the greatest contemporary writers, David Foster Wallace, Jonathan Franzen, and George Saunders. Reviewing Saunders Tenth of September (a 2012 finalist for the National Book Award), Mason writes suggests an important link between Saunder’s Buddhism and his writing:  “In Buddhist practice, through sitting meditation, the mind may be schooled in the way of softness, openness, expansiveness. This imaginative feat—of being able to live these ideas—is one of enormous subtlety. What makes Saunders’s work unique is not its satirical verve or its fierce humor but its unfathomable capacity to dramatize, in story form, the life-altering teachings of such a practice. … [I]f fiction is to continue to exert an influence over a culture that finds it ever easier to connect, however frailly, to the world around them through technology, Saunders’s stories suggest that the ambition to connect outwardly isn’t the only path we can choose. Rather, his fiction shows us that the path to reconciliation with our condition is inward, a journey we must make alone.”

Second Life

aiAi Weiwei describes what he thinks Internet access has done for his home country: "the Internet is the best thing that ever happened to China.” If Mason and Saunders (see above) worry that technology magnifies the loneliness of modern mass society, Ai Weiwei argues that the World Wide Web “turns us into individuals and also enables us to share our perceptions and feelings. It creates a culture of individualism and exchange even though the real society doesn't promote it. There isn't a single Chinese university that can invite me to give a talk. Even though I know there are many students who would like to hear what I have to say."

Bringing Power to the People

poetIn an interview about art, politics, and the intersection between the two, Sudanese poet Mamoun Eltlib describes a revolution for those who have rejected the political: "When you come to politicians now, people don’t really care about them, because they find out it’s just a chair or election problem between them. It’s not about them as Sudanese. So when you do something for the people without asking them to vote for you or elect you or to do anything, just to make a very beautiful, attractive program, they respond. I was in Doha for a conference for three days, to solve the problem in Sudan. They brought all the intellectuals and the writers and the thinkers from the political parties and from the rebel groups and from the government itself, as well as independent writers like me and Faisal, and they made this paper called, ‘Loving Your Enemy Through Culture,’ because I was saying that we don’t just need to change the people, we need to change the politicians. If we really want to fight now, we have just one way, the cultural way."

Losing Our Religion

saintIn Democracy in America Alexis de Tocqueville argues that the American brand of religion—strong on morality while permissive on rituals and dogma—is deeply important to liberal democracy. While democracy imagines political and civil liberties, religion maintains a “civic religion” that privileges moral consensus over dogmatism provides a common core of moral belief even amongst a plurality of faiths and sects. Under this view, the continued religiosity of Americans especially in comparison to the irreligiosity of Europeans is an important part ingredient in the American experience of democracy. With this in mind, consider this snippet from Megan Hustad’s memoir More Than Conquerors. Hustad talks about growing up in a missionary household, and how her father is coping with changes he sees happening around him: "Thanks be to God, my parents would say. Thanks to my ability to take care of myself, I would say. My father knows I choose to fill my time with people for whom Christianity is an outmoded concept, a vestigial cultural tail humanity would be better off losing. He knows most of my friends are of the opinion that the country would be better off without people who think like he does. His new status as cultural relic bothers him. He finds it ironic that moral relativists temporarily misplace their relativism when talk turns to Jesus. He doesn’t like how “evangelical” and “fundamentalist” are so often conflated in news reports and in opinion pieces, as if there were no shadows between them. It seems to him more evidence that the United States is becoming a post-Christian society like England and much of Europe before it. Used to be, he remembers, one didn’t have to explain the contours of faith. Billy Graham appeared on prime-time television. Everyone in this country, he remembered, knew what faith was for."

From the Hannah Arendt Center Blog

This week on the blog, Roger Berkowitz explores the literary responses to loneliness in the writing of George Saunders via Wyatt Mason. Jeffrey Champlin discusses how Arendt read Adam Smith.

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.
24Jan/147

Loneliness and Expansive Writing

ArendtWeekendReading

In The Origins of Totalitarianism, Hannah Arendt asks after the “elements” of totalitarianism, those fundamental building blocks that made possible an altogether new and horrific form of government. The two structural elements she locates are the emergence of a new ideological form of Antisemitism and the rise of transnational imperialist movements, which gives the structure to her book: Part One (Antisemitism) and Part Two (Imperialism) lead into Part Three (Totalitarianism). Underlying both Antisemitism and Imperialism is what Arendt calls metaphysical rootlessness and metaphysical loneliness.

origins

Totalitarian government, Arendt writes, “bases itself on loneliness, on the experience of not belonging to the world at all, which is among the most radical and desperate experiences of man.” The loneliness of modern humanity is multifaceted. It is “closely connected with uprootedness and superfluousness which have been the curse of modern masses since the beginning of the industrial revolution and have become acute with the rise of imperialism at the end of the last century and the breakdown of political institutions and social traditions in our own time.” The image of the factory worker laboring repetitively on a conveyor belt is forever associated with Charlie Chaplin’s Modern Times. In his 1950 classic The Lonely Crowd, David Reisman describes how middle class Americans had lost their meaningful connections to religion, to class, and to family. They take their values increasingly from a mass culture and they become malleable and subject to the influence of propaganda and advertising.

“Metaphysical rootlessness,” Arendt argues, is both the “basic experience” of modern society and also the generative impulse behind ideological racisms (which Arendt distinguishes from older non-scientific versions of racism). Without a core of personal and collective identity, the lonely mass man is “the common ground for terror, the essence of totalitarian government, and for ideology or logicality, the preparation of its executioners and victims.” Racism is based in hatred of a world in which lonely and rootless people are confronted with their meaninglessness, their belonging to no place, and their superfluousness. It is these masses that seek to build an imaginary and coherent togetherness based on race. Thus is rootlessness characteristic of all racism and all totalitarianism.

In her most pregnant attempt at a definition of totalitarianism, Arendt writes: “Totalitarian movements are mass organizations of atomized, isolated, individuals.” Totalitarianism depends upon “the masses [who] grew out of the fragments of a highly atomized society whose competitive structure and concomitant loneliness of the individual had been held in check only through membership in a class.” Shorn of family and national and class connection, the modern atomized individual becomes a mass man. “The chief characteristic of the mass man is not brutality and backwardness, but his isolation and lack of normal social relationships.”

The question underlying so much of Arendt’s work is how to respond to what she calls “the break in tradition,” the fact that the political, social, and intellectual traditions that bound people together in publically meaningful institutions and networks have frayed beyond repair. The customs and traditions that for millennia were the unspoken common sense of peoples can no longer be presumed. Stripped of these meaningful institutions of transcendence, mass men turn to racism or consumerism to give their lives meaning. Both are dangerous in different ways. Arendt ask repeatedly, how are we to make life meaningful, how are we to inure individuals from the seduction of ideological movements that lend weight to their meaningless lives?

If metaphysical loneliness is the basic experiences of modern life, then it is not surprising that great modern literature would struggle with the agony of such disconnection and seek to articulate paths of reconnection. That, indeed, is the thesis of Wyatt Mason’s essay “Make This Not True,” in this week’s New York Review of Books. Modern fiction, Mason argues, struggles to answer the question: How can we live and die and not be alone?

In the guise of a review of George Saunders Tenth of September (a 2012 finalist for the National Book Award), Mason suggests at least three paradigmatic answers to this question “How do I die?” The answers are represented alternatively by three of the greatest contemporary writers, David Foster Wallace, Jonathan Franzen, and Saunders. In brief, Wallace combats the loneliness and inattention of the distracted masses by writing prose that is so seductively difficult that it demands attentiveness and thus membership in a community of readers. Franzen seeks the antidote to loneliness in palpable scenes of connection amidst the wreckages of modern relationships. For both Wallace and Franzen, connection is to be found in the cultivation of quintessentially modern relationships.

Flickr - Manky M.

Flickr - Manky M.

Saunders is notable for pursing a different path through the wilderness of contemporary isolation. Instead of external connections, Saunders is a master of the inward journey we must make alone. For Mason, there is an important link between Saunder’s Buddhism and his writing:

In Buddhist practice, through sitting meditation, the mind may be schooled in the way of softness, openness, expansiveness. This imaginative feat—of being able to live these ideas—is one of enormous subtlety. What makes Saunders’s work unique is not its satirical verve or its fierce humor but its unfathomable capacity to dramatize, in story form, the life-altering teachings of such a practice. … [I]f fiction is to continue to exert an influence over a culture that finds it ever easier to connect, however frailly, to the world around them through technology, Saunders’s stories suggest that the ambition to connect outwardly isn’t the only path we can choose. Rather, his fiction shows us that the path to reconciliation with our condition is inward, a journey we must make alone.

Mason’s essay is subtle and profound. It is your weekend read. And if you have the time, read Saunders’ masterful short story, "The Falls", which Mason discusses at length in his essay. Best of all, order Tenth of December. I spent a few rapturous days reading Saunders’ stories this summer. They can warm your January as well.

-RB

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.
6Jan/141

Amor Mundi 1/5/14

Arendtamormundi

Hannah Arendt considered calling her magnum opus Amor MundiLove of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.

Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.

The Missing NSA Debate About Capitalism

nsaHero or traitor? That is the debate The New York Times wants about Edward Snowden. But the deeper question is what, if anything, will change? Evgeny Morozov has a strong essay in The Financial Times: "Mr. Snowden created an opening for a much-needed global debate that could have highlighted many of these issues. Alas, it has never arrived. The revelations of the US's surveillance addiction were met with a rather lacklustre, one-dimensional response. Much of this overheated rhetoric - tinged with anti-Americanism and channelled into unproductive forms of reform - has been useless." The basic truth is that "No laws and tools will protect citizens who, inspired by the empowerment fairy tales of Silicon Valley, are rushing to become data entrepreneurs, always on the lookout for new, quicker, more profitable ways to monetise their own data - be it information about their shopping or copies of their genome. These citizens want tools for disclosing their data, not guarding it.... What eludes Mr. Snowden - along with most of his detractors and supporters - is that we might be living through a transformation in how capitalism works, with personal data emerging as an alternative payment regime. The benefits to consumers are already obvious; the potential costs to citizens are not. As markets in personal information proliferate, so do the externalities - with democracy the main victim. This ongoing transition from money to data is unlikely to weaken the clout of the NSA; on the contrary, it might create more and stronger intermediaries that can indulge its data obsession. So to remain relevant and have some political teeth, the surveillance debate must be linked to debates about capitalism - or risk obscurity in the highly legalistic ghetto of the privacy debate."

The Non-Private World Today

worldConsidering the Fourth Amendment implications of the recent Federal injunction on the NSA's domestic spying program, David Cole notes something important about the world we're living in: "The reality of life in the digital age is that virtually everything you do leaves a trace that is shared with a third party-your Internet service provider, phone company, credit card company, or bank. Short of living off the grid, you don't have a choice in the matter. If you use a smartphone, you are signaling your whereabouts at all times, and sharing with your phone provider a track record of your thoughts, interests, and desires. Technological innovations have made it possible for all of this information to be collected, stored, and analyzed by computers in ways that were impossible even a decade ago. Should the mere existence of this information make it freely searchable by the NSA, without any basis for suspicion?"

The End of the Blog

blogJason Kottke thinks that the blog is no longer the most important new media form: "The primary mode for the distribution of links has moved from the loosely connected network of blogs to tightly integrated services like Facebook and Twitter. If you look at the incoming referers to a site like BuzzFeed, you'll see tons of traffic from Facebook, Twitter, Reddit, Stumbleupon, and Pinterest but not a whole lot from blogs, even in the aggregate. For the past month at kottke.org, 14 percent of the traffic came from referrals compared to 30 percent from social, and I don't even work that hard on optimizing for social media. Sites like BuzzFeed and Upworthy aren't seeking traffic from blogs anymore. Even the publicists clogging my inbox with promotional material urge me to 'share this on my social media channels' rather than post it to my blog." Of course, it may be the case that the blog form remains deeply important, but only for those blogs that people visit regularly and then distribute through social media. The major blogs are more powerful and popular than ever. What we are learning is that not everyone is a blogger.

Against Daddy Days

daddyTa-Nehisi Coates explains why he's frustrated about the way we're having the conversation about paternity leave: "So rather than hear about the stigma men feel in terms of taking care of kids, I'd like for men to think more about the stigma that women feel when they're trying to build a career and a family. And then measure whatever angst they're feeling against the real systemic forces that devalue the labor of women. I think that's what's at the root of much of this: When some people do certain work we cheer. When others do it we yawn. I appreciated the hosannas when I was strolling down Flatbush, but I doubt the female electrician walking down the same street got the same treatment."

The Professional Palate Unmasked

nyBreaking a tradition of his profession, New York magazine restaurant critic Adam Platt has decided to reveal his face. During his explanation, he stakes a claim for the continued importance of the critic in the digital age: "So is there still room for the steady (and, yes, sometimes weary) voice of the professional in a world where everyone's a critic? Of course there is. This is especially true in the theatrical realm of restaurants, where the quality and enjoyment of your dinner can vary dramatically depending on where you sit, what time of day you eat, how long the restaurant has been open, and what you happened to order. Anonymity would be nice, but it's always been less important than a sturdy gut and a settled palate. Most important of all, however, is a healthy expense account, because if a critic's employer allows for enough paid visits to a particular restaurant, even the most elaborately simpering treatment won't change his or her point of view."

 

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.
30Sep/1315

Hannah Arendt on Education and Excellence

Arendtquote 

Neither education nor ingenuity nor talent can replace the constituent elements of the public realm, which make it the proper place for human excellence.”

-Hannah Arendt, The Human Condition

I am proud to attend a college that envisions education as a life devoted to intellectual excellence. I am also proud of the fact that the school promotes a genuine love for knowledge and ideas and not simply what is practical and useful. It is easy to believe that education represents the peak of human excellence. And I have experienced few joys in my education as deeply as that of reading Hannah Arendt.

What a surprise, therefore, to see that Hannah Arendt writes that education and ingenuity are not and have never been the proper place for the display of human excellence. Arendt writes that excellence is found only in the public realm, that space to which “excellence has always been assigned.” Educational achievements—for example learnedness and scholarship—are important for students, but have nothing to do with excellence. But what does Arendt mean by human excellence? And why does it require a public realm? More to the point of modern debates, why is education not the proper locus of excellence?

boarddesk

Education is one of the elementary and necessary human activities. The word education comes from the Latin verbs educare (to mold) and educere (to lead out). To teach and educate is to take a human being in the process of becoming and lead him or her out of the confines of the home into the world, into his or her community. Formal education, Arendt argues in The Crisis in Education, is the time when schools and teachers assume the responsibility for “what we generally call the free development of characteristic qualities and talents.” This is the stage in the educational development of the student in which he or she is not only introduced to the world, but when he or she becomes freely and spontaneously acquainted with those qualities that make one unique and further refined as a person.

It is also in school that we learn what human excellence is and the conditions in which human excellence is properly displayed. Human excellence, Arendt argues, is what the ancient Greeks called arête and the Roman virtus. The concepts of arete and virtus were always used by the ancients to denote the good and distinctive qualities embodied by those who performed in public. Drawing upon these concepts, Arendt argues that human excellence is a public act that manifests what she calls “inspiring principles,” e.g, prudence, justice, and courage, qualities of conduct that allow one to excel and distinguish oneself from all others.

Unlike the realm of the school, where one is expected only to learn and develop the characteristics used to make these principles manifest, the public realm demands that one act and embody excellence. It is our capacities for speech and action that allows for this display of excellence to be distinctively human. Arendt argues that only “in acting and speaking, [do] men show who they are, reveal actively their unique personal identity and thus make their appearance in the human world.” In contrast to education, which is concerned with the development of talents and virtues of the developing human being, in the political realm, these talents and virtues are fully developed and displayed.

Schools for Arendt are neither public nor private but “the institutions that we interpose between the private domain of home and the world in order to make the transition from the family to the world.” Schools are hidden from the world, as are the activities through which the student first displays his or her qualities and talents. Schools offer the student “the security of concealment in order to mature undisturbed.” But in order to achieve excellence, action needs an audience, a stage, a public realm where these characteristics can be properly manifested and properly received. Activities completed in school hide these characteristics and nurture the creative process, in contrast to those performed public, which always display the virtuosity, the excellence inherent in action.

The public realm is also the space of equality, which is alien to schools. In schools, the teacher is the authoritative figure, the one who knows the world, and in order to teach it, deference to authority is required. Arendt argues that this responsibility of authority is given to the educator because the educator not only knows the world but also belongs and acts in it. In the school, the educator acts as a representative of that world by “pointing out the details and saying to the child: this is our world.” Once the student knows the world and assumes responsibility for it, he or she can go into the world and act virtuously, display human excellence and start something new, which could potentially change it. This is why Arendt argues that school is not the “proper place” to display excellence, to act, and create something new. The ability to be excellent—to act, and to start something new—demands responsibility for the world. In education, this responsibility takes the form of authority, which is why it is given to the educator, and not to the student.

This does not mean, however, that Arendt is against changing the world; she is against changing it by disturbing the activity of education. Change, the new, is a phenomenon of the political realm, an activity performed among equal and fully-grown human beings. For Arendt, the “conservative function” that preserves traditions and the status quo in education comes to an end in the political realm. This conservative attitude in politics, she says, can only lead to destruction. As she explains: “because the world is made by mortals it wears out; and because it continuously changes its inhabitants it runs the risk of becoming as mortal as they. To preserve the world from the mortality of its creators and inhabitants it must be constantly set right anew.” Arendt maintains that to act and to change the world is expected of those who get educated and enter the community of adults and the political world.

As an immigrant student, I was surprised by the extraordinary commitment of my peers to be excellent. The dream of greatness and the desire for changing the world is also common among armchair “politicians” in academia. This ever-present enthusiasm for changing the world in academia is natural, especially if one believes to be living the true life of excellence. This desire, at times overconfident or even arrogant, is particular to Americans, not only in academia but also in every other sphere of life, and arises from what Arendt calls the “indefinite perfectibility” spirit that characterizes Americans.

bard

At a place like Bard College, most students I come in contact with trade insights and debate about what has to be changed on a daily basis. This constant craving for the new and their commitment to excellence uplifts my spirit and has stirred in me the desire to do great things as well; this is very inspiring. Yet, we are still students and Bard or any other educational institution is not the public world, and, as Arendt argues, “it must not pretend to be.” Bard represents the sphere where we are welcomed to and learn about the world from educators, so that one day we can change it, hopefully through human acts that embody excellence.

School for Arendt is where we learn and decide whether we love the world enough to assume responsibility for it and renew it or watch it fall as a victim of our very own condition of mortality. In order to change the world, one has to love and understand it. For Arendt, one has to learn to love the world, whether ones wishes to propagate and preserve it or to set it entirely anew; love of the world for her is what constitutes the world because it “fits me into it,” it allows one to ‘under-stand,’ to grasp while being in the midst of things. The world has to be constantly renewed but this can only happen once we leave the concealment of the classroom and acquire the courage to enter the political realm.

-Angel Arias

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.
5Jun/130

Here’s How to Demonize Thinking

ArendtFilm2

Richard Brody writes of “Hannah Arendt,” the new movie by Margarethe von Trotta, “The movie, unfortunately, doesn’t do Arendt justice”—a rhetorical gambit that suggests at least a fair-minded inquiry into Arendt’s thought. But Brody then proceeds to accuse Arendt of a propensity toward “monstrous abstractions.” Her tendency toward abstraction occurs despite what Brody calls  “her meticulous pileup of facts,” which has such “a terrifying, implacable, unbearable power” as to render her book “overwhelming, incommensurable, alien to human experience.” Brody repeats the widespread error that Arendt accepts “at face value” Eichmann’s claim not to be an anti-Semite. Arendt, Brody writes, misses the “mystery, ambiguity, vastness, complexity, and horror” of the Eichmann trial. Arendt and von Trotta, Brody writes in a synthesis of reality and fiction, both make “the same mistake” of setting up “’thinking’” as a special category of activity.” Arendt, pace Brody, “writes from the point of view of a philosopher, not of a journalist”—as if that critique explains her mistake in thinking that “thinking” might be important. The only half-positive sentence about Arendt comes in the last line where he concedes: “From [Arendt’s] philosophical, historical, and journalistic failures, Arendt created an accidental literary masterwork despite itself.” If von Trotta’s movie doesn’t do Arendt justice, one wonders what Brody would think necessary for the movie to do her justice.

movie poster

He tells us. To do Arendt justice, von Trotta should have focused on “giving small gestures and daily labors grand scope.” He actually says that Arendt should be more ridiculous and less dignified: “Von Trotta preserves Arendt’s dignity to the point of dehumanization, depriving the protagonist of any trait that could render her ridiculous.” He insists on seeing more of her regular life with family and friends, after acknowledging that von Trotta’s movie does offer a balanced insight into the importance of Arendt’s friends in her life. The implication is we want more gossip and less thinking, a portrayal of the chatty girlish Hannah rather than the austere chain smoker. Aside from the misogyny in such a statement about one of the great thinkers of the 20th century who happened to have been a woman, Brody here exhibits his fundamental lack of understanding of all things concerning Arendt. For Arendt was not the least bit interested in “small gestures and daily labors.” She was a thinker of surprising and unexpected deeds that, she argued, can only be measured by their greatness. Nothing chatty here.

What galls Brody above all is that a serious movie is made about a serious thinker that takes seriously precisely what is unique (for better or worse) about Arendt—her insistence on being different and apart. Arendt called herself an “intentional pariah,” someone who sought freedom and independence by standing aloof from society. Brody finds such moral seriousness silly and Arendt’s insistence on self-thinking brings forth his disdain for what he dismisses as the false “gleaming nobility of the life of the mind” that diverts us from the truth of “the turmoil of regular life.” Von Trotta’s movie, with the extraordinary assistance of Barbara Sukowa’s acting, nails this most essential characteristic of Arendt’s persona to perfection. For that achievement of cinematic, biographical, and intellectual fidelity, Brody skewers both von Trotta and Arendt.  The exploration of uniqueness is apparently something Brody cannot abide.

The absolute low point of his rejection of Arendt’s idea of thinking comes when he expresses through multiple examples his complete discomfort with thinking itself. As A.O. Scott and others including myself have argued, the genius of von Trotta’s movie is the setting to screen not a theory of thinking, but the act itself. For Brody, this is no accomplishment. This is because for him thinking is nothing special. Thinking, he argues, is banal. It is, as he writes, commonplace and, in the end, common. Thus thinking and showing thinking both are easy:  "Actually, the work of thinking is easy, almost effortless, to show—it’s what almost every movie is made of."

type

To bring home his point, Brody offers six links to putative examples of thinking on display in movies. The first is to an actress peeling a potato for 150 seconds, an exercise in the profundity of mundane life. The second extols the virtue of killing and violence for masculinity. The third, from Murnau’s silent “The Last Laugh,” shows Max Schreck in emotional agony. The fourth, from “Bringing up Baby,” has Katharine Hepburn tricking Cary Grant into coming over and helping her with a leopard. You get the idea. There is no thinking going on in these scenes. That is apparently Brody point: thinking doesn’t exist except in the most mundane and calculating of ways.

Brody’s antipathy to the act of thinking is flagrant. He writes: “The movie’s sanctimonious depiction of “thinking” as something greater than what the regular run of people do is one of the signs of its artistic failure.” But Brody’s defense of the common man is misplaced, for Arendt in no ways denies that run of the mill people can think.  On the contrary, she imagines that uneducated people raised with traditions and character are frequently more thoughtful than intellectuals. Those trained in ideas and abstractions are uniquely susceptible to the power of rationalization and the sway of ideologies in ways that those relying on common sense are not.

That everyone can think does not mean that we all do. Thinking, Arendt insists, is rare. It is fundamentally distinguished from reasoning. It is not the same as calculating. It is also not the same as being creative, intelligent, inventive or smart. Thinkers are not necessarily intellectuals. Above all, thinkers are distinguished from “problem solvers,” those educated persons of “great self-confidence” who are uncommonly adept at convincing themselves of their infallibility. Thinking doubts and puts up obstacles. Its primary effect is to raise questions rather than offering answers.

We need to understand that by thinking Arendt means something specific. Thinking means, above all, Selbstdenken—an untranslatable German word for “self-thinking,” or thinking for oneself. It is the act of having a conversation with oneself in which one acknowledges the basic moral premise that it is better to suffer wrong than to do wrong. Such thinking is free from social conventions, clichés, and oversimplifications. Thinking is also quite distinct from social science, which seeks answers precisely in the kind of normalization of unique actions that thinking rebels against. Only thinking, Arendt argued, has the potential to remind us of our human dignity and free us to resist our servility. Such thinking, in Arendt’s view, cannot be taught: it can only be exemplified.

We cannot learn thinking through catechism or study. We learn thinking only through experience, when we are inspired by those whose thinking enthralls us—when we encounter someone who stands apart from the crowd.

hasmoke

Brody’s review dismisses Arendt’s understanding of thinking with an unknowing wave of his hand. He reduces thinking to an emotional scream—like the agony on Shreck’s face— or cunning—Hepburn knocking over a tea set and pretending a leopard is attacking her. Brody doesn’t much like thinking and finds it pretentious and overly intellectual.  So he makes fun of those who strive to write or make films about thinking, calling what he won’t understand “soft-core philosophical porn.”

At another point, Brody cites interviews with Claude Lanzmann to raise questions about Arendt’s portrayals of the Jewish leaders who collaborated or cooperated with the Nazis during the war. There are legitimate disagreements one can have with Arendt on this issue, and von Trotta’s film gives these opposing views full voice, something a reader of Brody’s review would never learn. In the film two of Arendt’s dearest friends turn away from her and Hans Jonas lambasts her for unfeeling arrogance in refusing to see the moral and practical tragedies of Jewish leaders during the war. Jonas is right to point to Arendt’s arrogance, and von Trotta confronts that arrogance head on, leaving it to the viewer to decide whether such independence is called for. Jonas’ critique of his friend is more blistering—and more insightful—than anything Brody might add.

Hannah Arendt was neither a saint nor infallible. She may in the end be wrong about the power of thinking to save or dissuade people from doing evil. Neither I nor the Arendt Center has an interest in holding her on a pedestal. The Center regularly publishes posts and essays critical of her work; on our blog you can find a collection of reviews of “Hannah Arendt,” the movie, with critical reviews that raise meaningful questions about both her and the movie. I have no problem with criticizing Arendt intelligently. Such criticism, however, demands some baby steps toward taking Arendt seriously. Brody merely crawls around throwing sand.

You can read Brody’s review here.

-RB

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.
16Nov/122

What is a House?

Hannah Arendt spoke of having acquired, through her life, a "love of the world." When writing about education she argues that "education is the point at which we decide whether we love the world enough to assume responsibility for it." And in politics, she insists, we must care for and love the world more than oneself. What then is the world?

The world is related to human making and to the things and artifacts that human beings make. What defines the things of a world is that those things gather individuals together.

In the public realm, a politician is that person who speaks and acts in such a way that those around him come to see those institutions and values that they share and treasure. The common world is the world that emerges when a plurality of people bind themselves to stories, traditions, institutions, rituals, and practices that they share and that they love. Like a table that unites those who sit around it in a common conversation or feast, the common world brings different people together. It stands between them, both joining and separating them.

In the private realm, a world is founded in property, and property has an essential role in the public realm too. For property is what one owns, what is proper to one, and thus defines one over against others in the common world. Property provides the boundaries between people and also serves as the boundary between the commonality of the public realm and the uniqueness of the private realm. It is no accident that original Greek word for law, nemein, also means to distribute and to possess, as well as to dwell. Property, in English, also names the laws of propriety, what is right and given to each.

In both the public and the private realms the world consists of things that endure. Worldly things must not only be common. They must also last. Since we must love the world more than our own lives—since we must be willing to pursue the world as an ideal and sacrifice ourselves to the glory and good of the world we share with others—the world must offer us the promise of permanence and thus immortality.

How are to understand the worldly conditions of permanence and immortality? We might ask: What is a house?

This is one of the many questions at issue in Jonathan Franzen's essay "House For Sale," about his return to his mother's house in Webster Grove, Missouri to sell the house after her death. Here is how Franzen describes his mother's house.

This was the house where, five days a month for ten month, while my brothers and I were going about our coastal lives, she had come home alone from chemotherapy and crawled into bed. The house from which, a year after that, in early June, she had called me in New York and said she was returning to the hospital for more exploratory surgery, and then had broken down in tears and apologized for being such a disappointment to everyone and giving us more bad news. The house where, a week after her surgeon had shaken his head bitterly and sewn her abdomen back up, she'd grilled her most trusted daughter-in-law on the idea of the afterlife, and my sister-in-law had confessed that, in point of sheer logistics, the idea seemed to her pretty far-fetched, and my mother, agreeing with her, had then, as it were, put a check beside the item "Decide about the afterlife" and continued down her to-do list in her usual pragmatic way, addressing other tasks that her decision had rendered more urgent than ever, such as "Invite best friends over one by one and say goodbye to them forever." This was the house from which, on a Saturday morning in July, my brother Bob had driven her to her hairdresser, who was Vietnamese and affordable and who greeted her with the words "Oh, Mrs. Fran, Mrs. Fan, you look terrible," and to which she'd returned, an hour later, to complete her makeover, because she was spending long-hoarded frequent-flyer miles on two first-class tickets, and first-class travel was an occasion for looking her best, which also translated into feeling her best; she came down from her bedroom dressed for first class, said goodbye to her sister, who had traveled from New York to ensure that the house would not be empty when my mother walked away from it—that someone would be left behind—and then went to the airport with my brother and flew to the Pacific Northwest for the rest of her life. Her house, being a house, was enough slower in its dying to be a zone of comfort to my mother, who needed something larger than herself to hold on to but didn't believe in supernatural beings. Her home was the heavy (but not infinitely heavy) and sturdy (but not everlasting) God that she'd loved and served and been sustained by, and my aunt had done a very smart thing by coming when she did.

Franzen offers us a house in many valences.

It was where his mother lived. Where she was sick. Where she thought about dying and God. Where she recovered from surgery and made herself up. Above all, it was his mother's house. Later he writes that the house was "my mother's novel, the concrete story she told about herself." In this house she "pondered the arrangement of paintings on a wall like a writer pondering commas." It was a house in which she showed herself. It was thus an invitation. And "she wanted you to want to stay."

The problem is that Franzen does not want to stay in his mother's house. He grew up in the house, but he resents it. The house his mother made, was filled with "sturdy and well made" furniture that "my brothers and I couldn't make ourselves want." He has fled the house and returns only to remove those photos that for his mother made the house hers, to act like a conqueror, he admits, and repossess the house from his mother. But only to then sell it.

If Mrs. Fanzen's house is her novel and if it was a house in which she both concealed and showed herself, her son's house in NYC is something else entirely. Here is how Franzen describes his own dwelling place:

I now owned a nice apartment on East Eighty-first Street. Walking in the door, after two months in California, I had the sensation of walking into somebody else's apartment. The guy who lived here was apparently a prosperous middle-aged Manhattanite with the sort of life I'd spent my thirties envying from afar, vaguely disdaining, and finally being defeated in my attempts to imagine my way into. How odd that I now had the keys to this guy's apartment.

House for sale is, amongst other themes like the loss of religion, the loss of family, and the loss of the American middle class, about the loss of the American house. It is also therefore, in an Arendtian vein, a story about the loss of our world, the property that both hides and nurtures our souls and separates and distinguishes us from our fellow citizens. Denuded of our habitus and property, we are defenseless against the conformity of society. Without desks and bookshelves passed down over generations that fit us, over and against our choices, into a private world, we are consumers who build a temporary bulwark whether styled by Ikea or the local antique store. Such a house is not meant to last and to be passed down across the generations. It will be used and, eventually, sold or walked away from. With nothing that defines us in a lasting and immortal vein, our lives have no depth or meaning beyond our accomplishments. There is no weight or law that claims us and obligates. We are free, but free, unsure why we are here or what it all means.

I recently encountered Jonathan Franzen's essay within an extraordinary theatrical experience. The play "House For Sale" is based on his essay by the same name.

It has been adapted for the stage by Daniel Fish. I have now been to see it twice. The play is hilarious, brutal, and shattering. It makes Franzen's essay come alive in ways miraculous and uplifting. The final scene itself is worth dropping every plan you have, flying to NYC, and rushing to the Duke Theatre on 42nd St. to catch it. I can't recommend this highly enough. But hurry, it is playing for only a few more performances. You can buy tickets here.

Or, if you simply can't get to NYC, buy The Discomfort Zone, Franzen's book of essays in which "House For Sale" originally appeared. It is your weekend read.

-RB

Roger Berkowitz
Roger Berkowitz is Associate Professor of Political Studies and Human Rights at Bard College, and Academic Director of the Hannah Arendt Center for Politics and the Humanities. He is also the author of "Gift of Science: Leibiniz and the Modern Legal Tradition", as well as co-editor of "Thinking in Dark Times: Hannah Arendt on Ethics and Politics".
16Apr/120

Childism, Chapter 2 – Elisabeth Young-Bruehl

Elisabeth Young-Bruehl's final work, Childism, was published soon after her untimely passing in December of 2011. In the book, Young-Bruehl, a long time psychoanalyst and child advocate, focuses on the pervasive prejudice she feels overshadows many children in our society. Be it abuse, or the modern day phenomenon of helicopter-parenting, she felt these injustices served to demarcate children, marking them as less worthy than adults. The resulting consequences result in unhealthy and damaging parent-children relationships.

Arendt Center internAnastasia Blank, is reading Childism and providing us with a chapter by chapter review, highlighting some of the most interesting and compelling insights and arguments. Her first post  provided us with an overview of the book and its themes, and her second post last week, looked at the first chapter. Today, she shares her thoughts and impressions of Chapter 2. We hope you are inspired to read along. You can purchase the book here.

In the second chapter of Childism we are introduced to one of Young-Bruehl’s own patients, “Anna”, a victim of severe abuse throughout her childhood and adolescence. While at first this chapter appears as a gruesome telling of years of neglect and abuse—at points difficult to read—it raises two major questions.

First, how could this happen to a child?

Second, why did this happen to a child?

After reading this chapter I realized that I was not just reading Anna’s story, I was reading the reality that thousands of children are facing every day. So, I suggest, when you read this story, remember it is not just a retelling of one person’s life. It is a testimony for the developmental destruction that is taking place in the lives’ of too many children each day.

The haunting aspect of this chapter is not only the negativity and hurt that is inflicted upon Anna, but the normal appearance of the family that is presented. To any onlooker, Anna’s life would seem perfectly normal. She is a good student, her father is a doctor, and she is surrounded by siblings. What reason does one have to believe that Anna is not the child of a loving family? It appears that there was no such reason to believe anything to the contrary. If the image the family portrayed was so standard, then why was the reality so brutal?

Young-Bruehl argues that the perpetrators of childism in Anna's house are in a pursuit of lasting domination. One example is Anna’s father who refused to acknowledge the sexual abuse her stepbrother was inflicting on Anna. According to Young-Bruehl's account, this is because he wanted Anna to play the role of the “whore” he could control.  "When he rescued Anna with support for her education, for example, his unconscious design was for her not to grow up, she would have to remain under his direction." Anna’s father was certainly privy to her being abused, but he would not interfere, because doing so could mean he would lose her as an exploitable object. In allowing the abuse to go on, Anna would always need to be rescued. While he provided her with a home and a stellar education, he never helped her in the way she needed most; he reaped the benefit of her abuse.

This chapter provides an inside view into a home of abuse, and also reveals the inner-workings of a therapy that aims to heal the effects of the harm Anna suffered during her development. It is harrowing and yet fascinating to read about Anna’s father, mother, stepbrother, and stepmother and the individual motivations of each character that contributed to their childist tendencies. It is also thrilling to follow Young-Bruehl's efforts to find answers to what underlies and perpetuates such abuse.

When Anna meets Young-Bruehl, she is an adult, however her persona is much like that of a child. Anna is insecure, anxious, resentful, and speculative of those who show her affection. By telling Anna’s story as an adolescent, it becomes clear that many of the destructive themes throughout her childhood have stunted her development into a happy and confident adult. I would like to return to a question asked at the beginning of this post, “Why did this happen to a child?” and now ask, “Why is this happening to an adult?” The lack of conscience in the grown-ups in Anna’s life resulted in a hideous upbringing that Anna has never been able to shed. Here we begin to see what consequences childism breeds.

I wonder what type of parent Anna will become, or would have become had she not sought treatment. Can Anna be expected to love her children when she does not know what this love looks like? It seems tricky to expect warmth and care from an adult who lacked such experiences during development and continues to struggle to manifest such relationships as an adult. Anna embodies both the victim and a  perpetrator, for she endured abuse and is unable to move forward. Childism does not end when the child grows up, it persists.

What Young-Bruehl shows us is that children need love and support, but simply wanting to provide these things is not the same as actually demonstrating them. I do not doubt that most parents love their children, but many adults have disturbing matters in their life that need to be counterbalanced. A person needs to feel greater affection than abhorrence towards themselves and the world before they can take proper care of a child. Otherwise, the child’s life will be filled with more fear than love and that is not the proper balance.

Please feel free to respond to the questions asked in this post and join me for a reading of chapter three in the upcoming week.

-Anastasia Blank

 

The Hannah Arendt Center
The Hannah Arendt Center at Bard is a unique institution, offering a marriage of non-partisan politics and the humanities. It serves as an intellectual incubator for engaged thinking and public discussion of the nation's most pressing political and ethical challenges.