**This post was originally published on November 15, 2013**
It is now more than 50 years since Hannah Arendt published Eichmann in Jerusalem. It is neither her best nor her most important book, yet it does contain essential and important insights. Above all, it offers us the example of a man who, as Arendt saw and understood him, moved fairly seamlessly from being an anti-Semite to a genocidal murderer. Arendt asked: How is it that Eichmann and others like him morphed so easily from an anti-Semite to a mass murderer?
The first of the three volumes of the Gesammtausgabe of Martin Heidegger’s work, titled Überlegenungen or Reflections arrived in the mail. Somehow I’ll read the over 1,000 pages in these three volumes. And on April 8 in New York City I’ll be moderating a discussion on these volumes at the Goethe Institute in New York City, with Peter Trawny, the editor, as well as Babette Babich and Andrew Mitchell. But these volumes, even before they are published, have preemptively elicited dozens upon dozens of reviews and scandalized-yelps of outrage, nearly all by people who haven’t read them. What is more, most of these commentators also have never seriously read Martin Heidegger’s philosophy. The occasion for the outrage is that these so-called Schwarzen Hefte (The Black Notebooks) include statements that clearly trade in Jewish stereotypes and anti-Semitic tropes.
No one should be surprised that Heidegger had certain opinions about Jews that are anti-Semitic. Heidegger may be the most important philosopher of the 20th century. Be wary of anyone who denies his importance. But that does not mean he was a good person or without prejudices. The fact that his published work had never previously included anti-Semitic remarks is hardly evidence of his tolerance.
Amongst the most salacious of the literati pronouncing “Heidegger’s Hitler Problem is Worse Than We Thought” is Rebecca Schumann at Slate. Slightly better is the horrifically titled “Heidegger's 'black notebooks' reveal antisemitism at core of his philosophy,” by Philip Oltermann in The Guardian. On the other side, Jonathan Rée writes in defense of Heidegger. Rée makes an excellent point about the confusion of the charge of antisemitism and philosophy:
I think that those who say that because he was anti-Semitic we should not read his philosophy show a deep ignorance about the whole tradition of writing and reading philosophy. The point about philosophy is not that it offers an anthology of opinions congenial to us, which we can dip into to find illustrations of what you might call greeting card sentiments. Philosophy is about learning to be aware of problems in your own thinking where you might not have suspected them. It offers its readers an intellectual boot camp, where every sentence is a challenge, to be negotiated with care. The greatest philosophers may well be wrong: the point of recognising them as great is not to subordinate yourself to them, but to challenge yourself to work out exactly where they go wrong.
But the charge of many of Heidegger’s critics is not simply that he is an antisemite, but that his philosophy is founded upon antisemitism. As someone who has read Heidegger closely for decades, I can say confidently that such an opinion is based on fundamental misunderstandings. There is no need to deny Heidegger’s antisemitism. And yet, that is not at all an indictment of his philosophy. But Rée goes further, and concludes:
As for the hullaballoo over the Schwarzen Hefte. In the first place it seems to me a remarkable piece of publicity-seeking on the part of the publisher, who hints that we may at last find the black heart of anti-Semitism that beats in every sentence Heidegger wrote. That would of course be very gratifying to people who want an excuse for not taking Heidegger seriously, but it seems to me—from the few leaked passages I have seen, dating from 1938-9—that if Heidegger is on trial for vicious anti-Semitism, then the newly published notebooks make a case for the defence rather than the prosecution.
While I agree with Rée that this is largely a case of insane overreaction, one cannot say that the notebooks offer a defense of Heidegger, certainly not before reading them. What is more, only three of the planned four volumes of these notebooks are being published. The final notebook, covering the years 1941-1945, is apparently being held back and not even Peter Trawny, the editor of the first three volumes, is permitted to read the final one. We are left to imagine how much more damaging that final volume may be. What is undeniable, it seems, is that Heidegger certainly adopted and reflected upon some vulgur examples of antisemitism.
It is no small irony that the Schwarzen Hefte are being published in Germany at the same moment as a new biography of Paul de Man (The Double Life of Paul de Man by Evelyn Barish) is being released and reviewed in the U.S. De Man, like Heidegger, stands accused of Nazi writing and opinions during the war. Peter Brooks has an excellent essay on the controversy in the New York Review of Books. He writes:
Judging the extent and the gravity of de Man’s collaboration is difficult. At the war’s end, he was summoned for questioning in Brussels by the auditeur-général in charge of denazification, who decided not to bring any charges against him (whereas the editors of Le Soir were condemned to severe punishments). One could leave it at that: if not guiltless, not sufficiently guilty to merit sanction. Yet both those to whom de Man was an intellectual hero and those to whom he was akin to an academic Satan have wanted to know more.
Brooks is at his best when he takes seriously the charges against de Man but also reminds us of the context as well as the lost nuance in our backward looking judgments:
The most useful pieces in Responses come from the Belgians Ortwin de Graef, who as a young scholar discovered the wartime pieces, and Els de Bens. They help us to understand the nuances of collaboration in the occupied country, the different degrees of complicity with an enemy whom some saw as a liberator, and the evolution of a situation in which an apparent grant of at least limited freedom of speech and opinion gradually revealed itself to be an illusion. They do not conduce to excusing de Man—he clearly made wrong choices at a time when some others made right, and heroic, choices. They give us rather grounds for thought about life under occupation (which most Americans have not known) and the daily compromises of survival. They suggest that in our hindsight we need to be careful of unnuanced judgment. To try to understand is not in this case to excuse, but rather to hold ourselves, as judges, to an ethical standard.
On that ethical standard, Brooks finds Barish lacking. Her assertions are unsupported. And footnotes lead nowhere, as, for example, “I shared this information, and it has since been previously published in Belgian sources not now available to me.” And also, “This writer understands that an essay (citation unavailable) was produced by a student in Belgium.” As Brooks comments, “That does not pass any sort of muster. One could do a review of Barish’s footnotes that would cast many doubts on her scholarship.”
Brooks’ review is an important reminder of the way that charges of antisemitism are crude weapons. Barish, he writes,” goes on to conclude that de Man was not a pronounced anti-Semite but rather “one of the lukewarm, whom Dante condemned to sit eternally at the gates of Hell, men without principles or convictions who compromised with evil.”” I am left to wonder what it means to condemn lukewarm antisemites or racists to purgatory.
As the Director of the Hannah Arendt Center, I confront all kinds of misinformation on behalf of those who insist that Hannah Arendt defended Adolf Eichmann (on the contrary she called for him to be killed and erased from the face of the earth), that she blamed the Jews for the Holocaust (she never equates Jewish cooperation with the crimes of the Nazis), and that she opposed the state of Israel (she thought the existence of Israel important and necessary). No matter how often it is corrected, such misinformation has the tendency to spread and choke off meaningful thought and consideration.
The propagandists and vultures are circling the new Heidegger affair with open mouths. It is important at such moments to recall how easily such feeding frenzies can devour the good and the middling along with the bad and horrifically evil. It is helpful, therefore, to read a few sober cautions about the current Paul de Man controversy. Susan Rubin Suleiman has an excellent account in the NY Times Book Review. And then there is Brooks' essay in the NYRB. They are your weekend reads.
Anthony Grafton calls David Nirenberg’s Anti-Judaism “one of the saddest stories, and one of the most learned, I have ever read.” Grafton knows that Anti-Judaism “is certainly not the first effort to survey the long grim history of the charges that have been brought against the Jews by their long gray line of self-appointed prosecutors.” What makes this account of the long history of Jewish hatred so compelling is that Nirenberg asks the big question: Why the Jews?
[Nirenberg] wants to know why: why have so many cultures and so many intellectuals had so much to say about the Jews? More particularly, he wants to know why so many of them generated their descriptions and explanations of Jewishness not out of personal knowledge or scholarly research, but out of thin air—and from assumptions, some inherited and others newly minted, that the Jews could be wholly known even to those who knew no Jews.
The question recalls the famous joke told during the Holocaust, especially amongst Jews in concentration camps. Here is one formulation of the joke from Antisemitism, the first book in the trilogy that comprises Hannah Arendt’s magnum opus, The Origins of Totalitarianism: “An antisemite claimed that the Jews had caused the war; the reply was: Yes, the Jews and the bicyclists. Why the bicyclists? Asks the one? Why the Jews? asks the other.”
The point of the joke is clear: Anti-Judaism is as senseless and irrational as anti-bicyclists would be. “The theory that the Jews are always the scapegoat,” Arendt writes, “implies that the scapegoat might have been anyone else as well”—even bicyclists. The question, then, is why the Jews? Grafton gives a clue to Nirenberg’s subtle answer:
Nirenberg’s answer—and to summarize it, as to summarize so much of this impassioned book, is to flatten it—is that ideas about the Jews can do, and have done, many different and important jobs. True, they are anything but stable: this is not a paper chase after some original idea of the Jew that crops up everywhere from early Christianity to early Nazism. Visions of the Jews change emphasis and content as the larger societies that entertain them change shape and texture. Ideas have multiple contexts, and Nirenberg shows dazzling skill and a daunting command of the sources as he observes the changes and draws connections between them and his authors’ larger worlds.
Nirenberg’s point is that anti-Judaism has nothing to do with Jews themselves. The negative ideas about Jews are held throughout history by a motley group of Christians, philosophers, tyrants, and martyrs. Shakespeare’s account of Shylock is only one of many examples in which an intellectual employs anti-Jewish stereotypes—the Jew as greedy moneylender—to make a wider social critique, this time of the dangers of capitalism. London is becoming a city of commerce. There are no Jews in London. Yet Shakespeare turns to Jews in order to find a way to criticize the emergent commercial culture.
The use of negative sentiments about Jews to bash capitalism was common, Nirenberg writes, and carries through history from Jerome to Marx. Marx couches his critique of capitalism through the lens of a critique of Jews. Shakespeare does the same with commercial society. Jews stand in for the oppressed in the world, so that oppressing Christians could be seen as making them Jewish. Jews at the same time were seen as powerful bankers and powerful agents of world domination, so that any group of conspirators from Bolsheviks in Russia to media moguls in Hollywood were tarred with the pungent scent of Judaism.
Jews have been characterized by non-Jews for their obstinacy—their refusal, for example, to recognize the known truth that the Messiah had come, which enabled them to become the villains of both early Christian and early Muslim narratives. They have been characterized by non-Jews for their viciousness—their desire to desecrate the sacrament and murder Christian children, which allowed them to be used both by rebels against royal authority, and by kings, in the Middle Ages, as each side could claim, when the wind blew from the right quarter, that Jews were polluting society through their materialism and greed. . . . Nirenberg’s parade of imagined and imaginary Jews—the most hideous procession since that of the flagellants in The Seventh Seal—stretches from the Arabian peninsula to London, and from the seventh century BCE to the twentieth CE. Working always from the original sources in their original languages, he observes the multiple ways in which imaginary Jews served the purposes of real writers and thinkers—everyone from Muhammad, founding a new religion, to Shakespeare, observing a new commercial society. God, here, is partly in the details: in the careful, tenderly observant way in which Nirenberg dissects everything from fierce political rhetoric to resonant Shakespearean drama. In works of the imagination, profound treatises, and acts of political radicalism, as he analyses them, imaginary Jews are wielded to powerful effect. He shows us the philosophes of the Enlightenment, those friends of humanity and enemies of tyrannical “infamy,” as they develop a viciously negative vision of Jewish sterility and error to attack Christianity at its origins or to characterize the authorities whom they defied.
The only reservation Grafton voices concerns the univocality of Nirenberg’s account. As exceptional as the account of anti-Jewish opinion is, Nirenberg largely ignores other perspectives and examples where real and imaginary Jews were accepted, embraced, and even praised.
As a social historian of conflict and an intellectual historian of the uncanny imagination, Nirenberg is unbeatable. But Jews and non-Jews lived other histories together as well. As Josephus recalled, when the thousands of diaspora Jews settled in the cities of the Roman world, across Asia Minor and Italy as well as Egypt, many of their pagan neighbors found their ways attractive. Pagans admired the Jews’ pursuit of a coherent code for living and their worship of a single, unseen god. Some became “god-fearers,” who accepted the Jewish god but did not hold full membership in the Jewish community. Some converted. Jews, meanwhile, pursued their own visions of high culture—whether these involved learning to write Greek tragedies about the Jewish past or rebuilding one’s foreskin to make possible appearances at the gymnasium.
Grafton largely stops there and minimizes his “very small complaints….Anti-Judaism is that rare thing, a great book, as much in its ability to provoke disagreement as in its power to shape future writing on the vast territory that its author has so brilliantly mapped.” But Grafton’s small complaints deserve a wider hearing, especially as concerns the leading question he and Nirenberg pose, “Why the Jews?”
The overarching argument of Anti-Judaism is one of eternal antisemitism: Anti-Judaism had nothing to do with the Jews themselves. It is an attitude that sees the Jews to be to blame and is concerned with imaginary Jews as opposed to real Jews. Anti-Judaism is powerful and impactful, but it has no rational connection to reality. Here is how Michael Walzer aptly sums up Nirenberg’s argument:
His argument is that a certain view of Judaism lies deep in the structure of Western civilization and has helped its intellectuals and polemicists explain Christian heresies, political tyrannies, medieval plagues, capitalist crises, and revolutionary movements. Anti-Judaism is and has long been one of the most powerful theoretical systems “for making sense of the world.” No doubt, Jews sometimes act out the roles that anti-Judaism assigns them—but so do the members of all the other national and religious groups, and in much greater numbers. The theory does not depend on the behavior of “real” Jews.
As Walzer notes in his own review of Anti-Judaism in the most recent issue of the New York Review of Books, Nirenberg includes an epilogue that takes on the most famous opponent of his view of eternal antisemitism, Hannah Arendt. As Arendt understands Nirenberg’s view, “Jew-hatred is a normal and natural reaction to which history gives only more or less opportunity. Outbursts need no special explanation because they are natural consequences of an eternal problem.” Since anti-Judaism is eternal and unending, it has been normalized. If thousand years, then Jew-killing is a normal, and even human, occupation and Jew-hatred is justified beyond the need of argument.”
The point is that Grafton’s minor complaint—that Nirenberg offers a magisterial account of Jew-hatred and ignores philo-semitism—is not so minor after all. By claiming that anti-Judaism is omnipresent and omnipotent—by focusing only on anti-Judaism and leaving aside those who embrace or praise Jews—Nirenberg risks normalizing antisemitism. Everyone traffics in Jew-hatred, even Jews. Such a move means, however, that we lose the ability to distinguish those who are antisemites from those who are not. Which is why Arendt argues that the eternal antisemitism thesis is one way to “escape the seriousness of antisemitism and the significance of the fact that the Jews were driven into the storm center of events.”
Walzer and Nirenberg condemn Arendt for seriously asking the question “Why the Jews?” She insists that there are reasons for antisemitism, reasons that the Nazis sought to exterminate the Jews and not the bicyclists. There are such reasons, and anti-Judaism is not simply mysterious and irrational accident. She does not think those are good reasons. She of course never says that the Jews are to blame or that the Jews were responsible for the holocaust as Nirenberg and Walzer wrongly argue. But she does insist we confront the fact that Jews have proven such convenient targets for anti-Judaism, that we seek to understand why it is that over and over it is the Jews who are targeted. There is not one simple answer to that question, Why the Jews? But Arendt asks it seriously and courageously and seeks to come up with a series of potential answers, none of which have to do with her claiming that the Jews are to blame.
If you have The Origins of Totalitarianism on your shelf, take it out and read Chapter One on “Antisemitism as an Outrage to Common Sense.” Then read Grafton and Walzer on Nirenberg’s Anti-Judaism. It will be a sad but thrilling weekend.
On October 27, 2013, Walter Russell Mead and Roger Berkowitz sat down with Jay Rosen and Megan Garber as part of the "Blogging and the New Public Intellectual" series. The series engages in ongoing discussion with the nation’s leading bloggers in politics, history, art, and culture.
Jay Rosen is a media critic, a writer, and a professor of journalism at New York University. You can visit his blog, "Pressthink" here. Megan Garber is a staff writer at The Atlantic. She was formerly an assistant editor at the Nieman Journalism Lab, where she wrote about innovations in the media. Read her work from The Atlantic here.
Roger Berkowitz started the evening by asking: Should journalists be objective or should they be political actors?
Jay Rosen answered: "Journalists have to do more than just flood us with facts." Rosen thinks of the journalist, "as a heightened form of an informed citizen." The panel discussed the idea of the journalist vs. the citizen and the myriad of ways in which the two overlap. As well, the role the Internet plays in creating an informed public through the sharing of information.
Megan Garber added, "I'm not interested in getting my ideas out, I'm interested in exploring things publicly...There is value in convening people together to talk about one thing."
Watch the video of the discussion here.
The next event in the "Blogging and the New Public Intellectual" series will take place March 9 and features a discussion with Tom Goldstein, the Publisher and a regular contributor to the SCOTUSblog.
Learn more about the event here and RSVP to firstname.lastname@example.org.
It is now more than 50 years since Hannah Arendt published Eichmann in Jerusalem. It is neither her best nor her most important book, yet it does contain essential and important insights. Above all, it offers us the example of a man who, as Arendt saw and understood him, moved fairly seamlessly from being an anti-Semite to a genocidal murderer. Arendt asked: How is it that Eichmann and others like him morphed so easily from an anti-Semite to a mass murderer?
Arendt’s book is justly famous because it posed this deeply important question and offered an answer that has, over time, come to be seen as persuasively right. In short, it is the case that modern systems of administratively organized murder and criminality depend upon the collaboration and work of many people who, while they support the general goals of the regime, would not otherwise imagine themselves criminals and murderers. These people act out of conviction, but they seek to justify what they do in clichés and bureaucratic language. They take pride not only in their dutifulness, but also in their initiative and support for carrying out the goals of the regime. Ordinary in many ways and far from being cold-blooded killers, they nevertheless willingly and even enthusiastically participate in an administrative machinery of death. They are able to do so, Arendt suggested, because they close themselves off from others and come to think in an echo chamber where they hear and credit no opinions that challenge their own. This shallow thoughtlessness—Arendt elsewhere calls dumbness—is what she names the banality that allows modern regimes of evil to cause such horrifically and decidedly non-banal evil.
What amazes me is how the centrality of her insight is still clouded over by an exaggerated and misplaced anger and contempt. How is it that 50 years after her book appeared and 75 years after Kristallnacht, some American intellectuals still have little better to do than attack Arendt for the tone of her book, the offense of certain phrases, and her use of the word “banal”? Aren’t there more important questions than the ultimately unknowable question of whether Eichmann—the example Arendt used—was or was not truly thoughtless? There must be more important things for intellectuals to be indignant about.
A case in point is the two-part series of essays published by Mark Lilla in the last two issues of the New York Review of Books. Lilla, a distinguished Professor of the Humanities at Columbia University in New York, begins the second of his essays, “The Defense of a Jewish Collaborator,” with these reflections:
A half-century has passed since Hannah Arendt’s Eichmann in Jerusalem was first published. Yet somehow we can’t escape it. Even today historians of the Final Solution do battle with her misguided thesis that Adolf Eichmann, the cold-blooded engineer of the Nazi killing machine, was himself but a cog in it, a self-deceived simpleton who made evil seem banal.
If Lilla is so upset that so much attention is lavished on Arendt’s book, why does he once again begin with it? Moreover, why does he insist on criticizing Arendt for things she never said? Let’s consider Lilla’s characterizations of Arendt’s arguments—characterizations that are tossed off, repeated by many, and quite simply are false.
Lilla first accuses Arendt of calling Eichmann “a cog” in the Nazi killing machine. This is a common complaint, one made famous by Deborah Lipstadt, whom Lilla cites approvingly. But where does Arendt say this? The simple answer is nowhere.
The “cog theory” comes up sparingly in Eichmann in Jerusalem, but wherever it does, Arendt decidedly rejects it. Consider this paragraph from section IV of her report, where she discusses what she calls “Eichmann's muddled general outlook and ideology with respect to “the Jewish question.”” She writes:
Eichmann admitted, as he had in the Sassen interview, that he “did not greet his assignment with the apathy of an ox being led to his stall,” that he had been very different from those colleagues “who had never read a basic book [i.e., Herzl's Judenstaat], worked through it, absorbed it, absorbed it with interest,” and who therefore lacked “inner rapport with their work.” They were “nothing but office drudges,” for whom everything was decided “by paragraphs, by orders, who were interested in nothing else,” who were, in short, precisely such “small cogs” as, according to the defense, Eichmann himself had been. If this meant no more than giving unquestioning obedience to the Führer's orders, then they had all been small cogs - even Himmler, we are told by his masseur, Felix Kersten, had not greeted the Final Solution with great enthusiasm, and Eichmann assured the police examiner that his own boss, Heinrich Müller, would never have proposed anything so “crude” as “physical extermination.” Obviously, in Eichmann's eyes the small-cog theory was quite beside the point. Certainly he had not been as big as Mr. Hausner tried to make him; after all, he was not Hitler, nor, for that matter, could he compare himself in importance, as far as the “solution” of the Jewish question was concerned, with Müller, or Heydrich, or Himmler; he was no megalomaniac. But neither was he as small as the defense wished him to be.
Arendt revisits the “cog theory in her postscript. Here is what she writes there:
We heard the protestations of the defense that Eichmann was after all only a “tiny cog” in the machinery of the Final Solution, and of the prosecution, which believed it had discovered in Eichmann the actual motor. I myself attributed no more importance to both theories than did the Jerusalem court, since the whole cog theory is legally pointless and therefore it does not matter at all what order of magnitude is assigned to the “cog” named Eichmann. In its judgment the court naturally conceded that such a crime could be committed only by a giant bureaucracy using the resources of government. But insofar as it remains a crime - and that, of course, is the premise for a trial - all the cogs in the machinery, no matter how insignificant, are in court forthwith transformed back into perpetrators, that is to say, into human beings. (italics added)
In the only mentions of the “cog theory” in her book, Arendt dismisses it as untrue and shows how even Eichmann rejected the cog theory and took pride in seeing himself as someone driven by conviction rather than by mere obedience. What Eichmann believed in is difficult to discern, which is why Arendt calls his thinking on the Jewish Question “muddled.” By this she means, it is unclear what were Eichmann’s real motivations. At times Eichmann spoke of helping the Jews emigrate (his first job from 1933-1939). At other times he said he “regarded the Jews as opponents with respect to whom a mutually acceptable, a mutually fair solution had to be found.” Arendt assumed he was an anti-Semite as well and discredited his claims of philo-Semitism. In the end, she found his thinking muddled. What was clear, is that Eichmann supported the Nazis enthusiastically. He was hardly a mere cog.
I hope we can put the “cog theory” to rest once and for all. It is repeated ad nauseum. But nowhere does Arendt embrace it. On the contrary, she rejects it.
Lilla also writes that Arendt “made evil seem banal.” One wonders what he means by such a statement. In fact, Arendt contrasts the horrific evil of the Holocaust with Eichmann’s inability to think from the perspective of others—banality not of what he did (evil), but of his person. When Arendt comes to actually offer her own opinion on what should happen to Eichmann—that he must be killed—she argues the true reason he needs to be executed is simply because of the extraordinary evil he has done.
That “evil violates a natural harmony” is, Arendt writes, the non-banal and “supreme justification” for why Eichmann must be executed. Against modern criminal law theories that see punishment as a response to the intent of the wrongdoer, Arendt argues the opposite: that Eichmann must be punished—regardless of his intent—because of the evil he has done. Here is what she says:
Foremost among the larger issues at stake in the Eichmann trial was the assumption current in all modern legal systems that intent to do wrong is necessary for the commission of a crime. On nothing, perhaps, has civilized jurisprudence prided itself more than on this taking into account of the subjective factor. Where this intent is absent, where, for whatever reasons, even reasons of moral insanity, the ability to distinguish between right and wrong is impaired, we feel no crime has been committed. We refuse, and consider as barbaric, the propositions “that a great crime offends nature, so that the very earth cries out for vengeance; that evil violates a natural harmony which only retribution can restore; that a wronged collectivity owes a duty to the moral order to punish the criminal” (Yosal Rogat). And yet I think it is undeniable that it was precisely on the ground of these long-forgotten propositions that Eichmann was brought to justice to begin with, and that they were, in fact, the supreme justification for the death penalty. Because he had been implicated and had played a central role in an enterprise whose open purpose was to eliminate forever certain “races” from the surface of the earth, he had to be eliminated.
The evil of the Holocaust was barbaric. It violated the order of the universe. To say that Arendt saw evil as banal is simply a willful misreading of her book.
The word “banality” appears once in a book of 250 pages that is filled with expressions of shock and horror at Nazi doings of evil. When Arendt does speaks not simply of the “banality of evil,” but of the “fearsome, word-and-thought defying banality of evil,” she refers to Eichmann and people like him who are able to justify their participation in truly evil acts by justifying themselves according to clichés, rationalizations, and deceptions. To do so, she argues, requires a lack of thinking, where thinking is understood as thinking from the perspectives of others. That is the kind of shallow banality that enables ordinary men to do evil. It is hardly to describe evil itself as banal.
Finally, in Lilla’s first essay on Arendt (thinly disguised as a review of the new film by Margarethe von Trotta), Lilla trades in the lately popular fallacy that newly discovered interviews of Eichmann by Dutch Nazi Willem Sassen prove Arendt mistaken about Eichmann. Lilla claims that a quotation full of ellipses offers such glaring proof of Eichmann’s thoughtful monstrousness that, had Arendt known this “new” information, she “would have to concede” she was wrong.
Here is the chilling quotation from the Sassen papers that Lilla offers.
The cautious bureaucrat, yeah, that was me…. But joined to this cautious bureaucrat was a fanatical fighter for the freedom of the Blut I descend from…. What’s good for my Volk is for me a holy command and holy law…. I must honestly tell you that had we…killed 10.3 million Jews I would be satisfied and would say, good, we’ve exterminated the enemy…. We would have completed the task for our Blut and our Volk and the freedom of nations had we exterminated the most cunning people in the world…. I’m also to blame that…the idea of a real, total elimination could not be fulfilled…. I was an inadequate man put in a position where, really, I could have and should have done more.
This quotation shows the ferocity of Eichmann’s character. It shows him to be fully committed to carrying out the Final Solution, which, of course, was one of Arendt’s main arguments—that Eichmann did not simply obey, but supported the Nazi regime. It shows Eichmann was not simply a cog, again a point made by Arendt. It shows that Eichmann put himself under his “Volk,” the German word for Nation or People. He repeats this point often in the Sassen papers, that he was prepared to sacrifice himself, his conscience, his morality, and his life for the good of the German Volk as articulated by Adolf Hitler. And it shows that Eichmann refused to ask for forgiveness for what he had done. He shows no remorse and even feels guilty that he did not accomplish the task eventually assigned to him after 1941, to help exterminate the entirety of the 10.3 million Jews in Europe. In short, these citations show Eichmann to be a god awful man.
Lilla offers this citation to make a different point, however, namely, to accuse Arendt, not simply Eichmann. It is intended to prove that Arendt was wrong about Eichmann. Because of this quote, “we now know [Arendt’s argument] to be utterly indefensible.” What is more, in an astounding act of ventriloquism, Lilla writes: “Arendt, [if] were she alive, would have to concede.”
The problem with Lilla’s assertion is that Arendt was aware of the material he quotes. Partial transcriptions of the interviews—including the quotes Lilla cites—were published in two volumes of Life Magazine in 1960. Arendt read those interviews; she suspected they were not fully reliable, but understood them to give a sense of Eichmann’s anti-Semitism, his boastfulness and stupidity—all congruent with the 70 pages of Eichmann’s 1956 memoir written in Argentina that she also read. In short, Arendt had seen many of the damning quotes from the Sassen interviews and concluded that, if anything, they supported her interpretation. If Lilla wants to argue that Arendt got Eichmann wrong, fine: he should make his case on its merits, not on assertions of her ignorance of essentials of which she was not ignorant.
Arendt saw Eichmann as an anti-Semite. Might she have underestimated the extent of his hatred? Perhaps. Having read as much of Eichmann’s writings as I have been able to get my hands on, I am convinced that Eichmann was a virulent anti-Semite. So much so that it is clear to me that his hatred of Jews must have played some significant role in his willingness to participate in the Final Solution. But none of that in any way contradicts Arendt’s argument.
There is a difference between virulent anti-Semitism and genocidal mass murder. Both in Jerusalem and Argentina, Eichmann describes pangs of conscience—not about killing Jews, but about killing. The fact is that from 1933-1940 Eichmann’s anti-Semitism led him to enthusiastically support and carry out first the policy of helping Jews to leave Germany and second the policy of deporting them from Germany. After the Final Solution was decided upon, Eichmann expressed reservations about it in both Argentina and in Jerusalem. He made it very clear that he was against killing and that he never personally killed anyone. This point—as irrelevant as it was to the trial—was important to him. What shocked Arendt was how he so quickly overcame his conscientious resistance to killing. His anti-Semitism—clearly part of the explanation—cannot alone explain how, or why, he so easily overcame his initial resistance to the physical extermination of the Final Solution.
Arendt saw that Eichmann’s original reservations at being involved in mass murder dissipated quickly as he justified mass murder, consoling himself with clichés, and hoping others would understand and forgive him. This dumb shallowness is what Arendt called Eichmann’s banality. Arendt’s point was that Eichmann—beyond being an anti-Semite—thrived upon the power and meaning he got from being a Nazi. There is simply no reason to think that the quotations from the Sassen Papers that Lilla offers—quotations Arendt had read—would make her change her mind. To say they would is to free oneself from the obligation of understanding her argument.
Arendt asked how Eichmann morphed from an anti-Semite to a mass murderer. Her critics owe her the courtesy of engaging the depth of her argument, something Lilla’s false claims of superior knowledge free him from having to do. Fifty years on, it is time to get beyond “gotcha” accounts that dismiss the seriousness of her work and, instead, take Arendt’s arguments seriously.
When all this is said, there is much to recommend in Lilla’s two essays. Especially in his consideration of Claude Lanzmann’s film The Last of the Unjust—a spirited defense of one of the worst of the Judenräte Benjamin Murmelstein. Lilla displays good sense in questioning Lanzmann’s defense of Murmelstein’s rationalizations for his collaboration. Further, in his first essay, Lilla rightly considers and rejects the most slanderous and pernicious arguments that Arendt blamed the Jewish victims of the Holocaust. His discussion of Arendt’s account of the Judenräte is balanced and informative. He rightly sees that the anger over her characterization of the Jewish leaders was largely overblown, based on taking offending phrases out of context.
In the end, it is important to read essays like Lilla’s, if only to understand the liveliness of the sadly-continuing controversy around Eichmann in Jerusalem. Mark Lilla’s “Arendt and Eichmann: The New Truth” and his “The Defense of a Jewish Collaborator,” are your weekend reads.
The Arendt Center is on vacation this week. We will be back next week. Enjoy one of our more popular weekend reads from the archives.
Earlier this month I attended a lecture by Matthias Lilienthal, the former artistic director of Hebbel am Ufer (HAU). HAU as it is affectionately known in Berlin is an organization with three performance spaces in the Kreuzberg district of Berlin, and is one of the largest, best funded, and risk-taking performance theatre complexes in the world. As one of the most important and innovative avant garde theatre directors, Lilienthal has "created, instigated and nourished many of the most important developments in theatre in recent decades," according to Tom Sellar of Yale who introduced him.
Lilienthal was interviewed after his talk by Gideon Lester, my exciting new colleague who now is director of the theatre program at Bard.
While Lilienthal is an artistic director and has a background in the theatre, he calls himself a "booker" of talent more than an artist or a curator. He is committed to theatre that has social and political impact. His mission is to constantly create friction. Friction means in his telling, "to be polemic against society and be an urban laboratory for the future." That said, Lilienthal insists that he remains an artist, someone who in his words cares most about the aesthetic experience his works bring about.
Lilienthal discussed a number of his past projects to explain what he means by a theatre of friction. One of the most famous and interesting is FOREIGNERS OUT! SCHLINGENSIEF'S CONTAINER, a performance, installation, and movie that he produced in collaboration with the filmmaker Christoph Schlingensief.
FOREIGNERS OUT! premiered in Vienna in the summer of 2000, at a time of great anti-immigrant sentiment in Austria—it was shortly after the xenophobic politician Jörg Haider came to power in Austria. Schlingensief and Lilienthal put two large containers in the public square in front of the Viennese Opera house and filled them with 15 asylum seekers. Above the asylum seekers, the artists hung a sign that read: "Foreigners Out." They then gave the Austrian population the opportunity to vote which foreigner to expel from the country. Over 10,000 Austrians voted every day and the first person sent home was a Nigerian woman.
Lilienthal speaks of a "hysterical longing for reality in today's theatre." Much of his work and the work he "books" mixes reality with theatre. His most famous performance piece, performed all over the world, is "X Wohnungen" or "X Apartments." Artists are asked to create artistic experiences that last up to ten minutes and take place in private apartments or houses. In one example that Lilienthal showed a clip from during his talk, audience members in groups of two are led into apartments of immigrants in Cologne where they are told to kneel in front of doors with keyholes. Through the keyholes they watch a Muslim woman in a burka and hijab strip naked and recline on a couch. They are then interrupted, given tea and told to go out.
Lilienthal explains that "we are playing a private reality, with voyeurism and with exhibitionism." His participatory performance art is "a kind of playful treatment of reality. You are playing with prejudgments against migrants. You are playing with your own voyeurism." The effort is partly to create discussions about Islam, religion, and sexuality. But it above all, in his words, to "to bring together experiences of reality."
Lilienthal was quite critical of the New York art scene, arguing that NYC artists are too commercial and that there is no meaningful artistic forum in the U.S. as there is in Germany. His point is that his HAU stages have, in his telling, become the center of German and European art worlds, presenting all the most interesting and most important artists from around the world under a single umbrella. He lamented the fact that there was no similarly dominant and unifying artistic space in NY or in the U.S. New York, he said provocatively, in the East Village, is a provincial state.
Lester asked Lilienthal what would he have done in NYC had he accepted a job here? He answered, (I am paraphrasing here),"I would have presented art that offers a polemic against society. I would like everyone to know me and then I would have been... perhaps they would kill me after a year."
There is something both noble and anachronistic in Lilienthal's Socratic dream to create art so full of friction and power that he would be killed for it. It is a noble dream because it imagines that art, like philosophy, might still have the power and importance to be seen as a threat to the state or the society. It is anachronistic because art and philosophy have long since lost such centrality.
When I asked Lilienthal about this, his answer was that it was different in Berlin, where the arts are more central and given more public financing and public attention. But I don't accept the argument that the arts are so much more important in Berlin than in NYC. In Berlin, as everywhere today, the intellectual world is just no longer governed by a unified aesthetic or a single dominant medium. There is a mass culture, but the premise of the mass culture is consumerism. Everybody buys what they want and art connoisseurs consume what they like. Most intellectuals and educated people now consume art and news that is hardly distinguishable from middle or low-brow tastes; indeed, the distinction between high and low is now illegitimate. But more important even than that, is the fact that those who do like the best art or best philosophy or best theatre or the best philosophy do not agree on what the "best" is.
One sees this fracturing of culture everywhere. The New York Times was, for a period of time, the arbiter of what mattered in the United States. That is no longer the case and has not been so for decades. It is not the Internet that brought about the factionalization of cultural and political opinion, but, on the contrary, the loss of any single or dominant opinion made the cacophony of voices and platforms on the Internet appealing and powerful.
Similarly, philosophy is broken into analytic and continental schools, and within each there are esoteric sub-schools so specialized that advanced papers and thinking can be read and understood by only dozens of people around the world. The same fission occurs in literature and art as well. Who now feels the need to read all the books profiled in the NY Times Book Review or the New York Review of Books? The selection criteria are ever more arbitrary and there are no longer any acknowledged gateways to culture.
There are, of course, still important artists and writers, but they appeal to ever-more specialized and localized crowds of followers. Lilienthal's dream of a unified artistic world with a single influential cultural world is long gone. And this is true in Berlin as well as in NYC. We will never again have a situation where the chattering classes are all reading the same books and seeing the same shows. The culture is simply too diffuse and differentiated and democratized. There are no measures of quality that are widely accepted. So what we have are simply sub-groups and sub-genres and sub-cultures.
A version of this argument is made by Peter Sloterdijk in his essay Themes from the Human Zoo. Sloterdijk writes:
Because of the formation of mass culture through the media—radio in the First World War and television after 1945, and even more through the contemporary web revolution—the coexistence of people in the present societies has been established on new foundations. These are, as it can uncontrovertibly be shown, clearly post-literary, post-epistolary, and thus post-humanistic. Anyone who thinks the prefix `post' in this formulation is too dramatic can replace it with the adverb `marginal'. Thus our thesis: modern societies can produce their political and cultural synthesis only marginally through literary, letter-writing, humanistic media. Of course, that does not mean that literature has come to an end, but it has split itself off and become a sui generis subculture, and the days of its value as bearer of the national spirit have passed. The social synthesis is no longer—and is no longer seen to be—primarily a matter of books and letters. New means of political-cultural telecommunication have come into prominence, which have restricted the pattern of script-born friendship to a limited number of people. The period when modern humanism was the model for schooling and education has passed, because it is no longer possible to retain the illusion that political and economic structures could be organized on the amiable model of literary societies.
What Sloterdijk rightly sees is that literate means of cultural analysis have lost their once-dominant place in the social and political formation of society. Books and theatre and artworks have been replaced by mass entertainments and diversions, so that literate works are relegated to sub-genres of importance only to their particular fans and followers. Art and philosophy, therefore, become socially and politically marginal.
Instead of seeking to bring back a unified culture of art in which artists matter to the social and political worlds, as Lilienthal dreams, it would be more radical and more honest to admit that we live today in a world in which those who make art, write literature, and think philosophy matter ever less. To think the challenges of doing art and thinking in a world immune to the charms of art and thought is the challenge we are faced with today.
Matthias Lilienthal's talk is fascinating and, as you can see, provocative, which is justification enough to spend one hour this weekend watching him. Thanks to Theatre Magazine for posting the video of the talk. Here is your weekend read.