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.
In May 2013, the Hannah Arendt Center and ECLA of Bard sponsored a conference in Berlin: Judgment in Extremis, a conference Inspired by the Fiftieth Anniversary of Hannah Arendt's Eichmann in Jerusalem: A Report on the Banality of Evil. The video from the conference is now online and you can watch lectures by Roger Berkowitz, Jay Bernstein, Seyla Benhabib, Kerry Bystrom, Andreas Nachama, Gerd Hankel, and Christoph Menke. The conference focuses on the fact that Arendt's book on Eichmann's trial is actually a book less about Eichmann and the banality of evil than an inquiry into the problems of doing justice in extreme cases of evil of the kind Eichmann represented. This is especially apparent in the keynote talks by Roger Berkowitz and Christoph Menke. As Berkowitz frames the question, Arendt "didn't go to the trial to develop a thesis on the banality of evil; she went to the trial in order to answer this question on the adequacy and inadequacy of law to deal with extreme crimes like genocide. She had already developed this in the 1940s in correspondence with Karl Jaspers, and she writes, "We have no tools at hand except legal ones, with which we have to judge and pass sentence on something which cannot be adequately represented, either in legal terms, or in political terms." So she is dealing with a problem that she has already identified, and that problem is that law is just a way we deal with a trial and deal with crimes, and is inadequate for these kinds of experiences. In the Eichmann in Jerusalem book, proper, she repeats this same point. This is but one example among many to convey the inadequacy of the prevailing legal system, and the current judicial concepts, to deal with the fact of administrative massacres, organized by the state apparatus. I want to suggest here that this is really the question she goes to Israel to answer." For both Berkowitz and Menke, Eichmann in Jerusalem is a book about the inadequacy of law to deal with extreme cases of wrong and Arendt's response to that inadequacy. You can watch all the videos here.
James Surowiecki over at the New Yorker writes about the recent walkouts by fast food workers and attempts at local and federal levels to pass living wage bills. The real problem, he argues, is that fast-food workers are now family breadwinners: "[T]he reason this has become a big political issue is not that the jobs have changed; it's that the people doing the jobs have. Historically, low-wage work tended to be done either by the young or by women looking for part-time jobs to supplement family income. As the historian Bethany Moreton has shown, Walmart in its early days sought explicitly to hire underemployed married women. Fast-food workforces, meanwhile, were dominated by teen-agers. Now, though, plenty of family breadwinners are stuck in these jobs. That's because, over the past three decades, the U.S. economy has done a poor job of creating good middle-class jobs; five of the six fastest-growing job categories today pay less than the median wage. ... More of them are relying on their paychecks not for pin money or to pay for Friday-night dates but, rather, to support families." Surowiecki argues we need legislation to require higher wages and also increased governmental safety nets to guarantee a middle class life. But maybe also we need to face the reality that across the country, the standard of living we associate with a middle class lifestyle is simply beyond the means of most middle class jobs.
Rebecca Bates talks to editor Jesse Pearson about the second issue of his magazine Apology, which he calls his "apologia against... the state of magazines today." When he elaborates, he talks about a way of publishing that is outside of time, noting that "many magazines seems to be overly obsessed with the new and are often lifestyle/culture catalogs for new, new, new, new, new. I like the idea of doing a magazine that owes nothing to the current moment."
Ryan Bloom recently translated a wordless play of Albert Camus's. In the mimeodrama, an artist becomes distracted from his life by his art; as he paints, he removes himself from the world and the world passes him by.
In a review of Anna Segher's recently republished book Transit, Adam Levy considers the German-Jewish-born Segher's experience of trying to find a way out of Marseilles in the first few years of World War II. Instead of writing her attempts to leave into her novel, she invents a protagonist who is desperate to stay; in doing so, Levy says, she turns the tragedy of the refugee on its head: "You could say that permanence is the goal of the displaced, and not always to return home. For the narrator of Transit this is certainly the case. What home is left for him to return to? And if home resides somewhere else... what would be the point in continuing to run? The logistics of staying put, however, set the narrator paradoxically on the road to departure: to stay in Marseille he must prove that he is preparing to leave."
In the wake of Amazon mogul Jeff Bezos's purchase of the Washington Post, Todd Gitlin writes about just what happened to the American newspaper: "The business model built on advertising and circulation to sustain a professional staff lasted roughly a century, and is now skidding and smoldering when it is not crashing and burning. Suburbanization killed afternoon papers, and along with television, drained department stores of their taste for full-page display ads. The Internet ate up the classifieds. At both high and low-end papers, circulation, stagnant for years at best, plunged, as did profits, especially the sort of superprofits that became de rigueur as newspaper chains and other publicly traded media companies squeezed the newsrooms for more (and less news) for their bucks."
The sixth annual fall conference, "Failing Fast:The Crisis of the Educated Citizen"
Olin Hall, Bard College
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The American writer and founder of Dissent magazine Irving Howe wrote many of the best accounts of the controversy over Arendt’s publication of Eichmann in Jerusalem. As the controversy swells yet again in the wake of the new movie “Hannah Arendt,” Dissent thankfully republishes an excerpt of Howe’s testamentary writing about Arendt.
My first encounter with Hannah had come in 1947 when she was editor of Schocken Books, the German-Jewish publishing house recently moved to New York. She needed a part-time assistant to do literary chores (copy for book jackets, cleaning up translations, and so forth), and for the handy sum of $150 a month I took the job. With it came the privilege of visiting Hannah at her office every week. She had not yet published her major work on totalitarianism, but everyone in the intellectual world respected her and some feared her. She liked to “adopt” young people, and while I was not one of her chosen—perhaps because I was deaf to philosophy, or had been contaminated by Marxism, or was visibly intent upon resisting her intellectual lures—she would take an hour off and talk to me about Kafka and Brecht, Yiddish folk tales and American politics.
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“To my dear Hannah,
In these years our friendship has stood the test.
In this relationship we no longer need to have any worries.
New York, April 30th 1945.”
“Meiner lieben Hannah,” reads a handwritten inscription in a copy of Franz Kafka’s Der Prozess (The Trial), gifted from publisher Kurt Wolff to Hannah Arendt in New York; the book is a Schocken Verlag 1935 edition published in Berlin. “In diesen Jahren hat sich unseren Freundschaft bewährt,” Wolff writes: “Wir brauchen in dieser Beziehung keine Sorge mehr zu haben. Auf Wiedersehen, Dein Kurt. New York, 30. April 1945.”
This inscription stands as a symbol of survival on many levels: from the survival of the names mentioned – Hannah Arendt, Franz Kafka, and Kurt Wolff as well as Schocken Publishing House – to the survival of friendship, to the implications of the date which invite this reading.
Kurt Wolff, who founded the publishing house Kurt Wolff Verlag in Leipzig in 1912 and soon became one of the leading publishers of expressionist literature in Germany, worked extensively with Kafka’s works up until the author’s death in 1924. With the exception of the unfinished, posthumously published writings, Wolff published the majority of Kafka’s works. A look at their correspondence indicates how significant Wolff was in convincing a hesitant Kafka to prepare his manuscripts for publication. Despite his efforts to come to terms with the gap between what the public wants to read and what the public should want to read, a problem which troubled him personally and financially throughout his publishing career, Wolff closed down the Kurt Wolff Verlag in 1933.
Wolff came from a German-Jewish family and, after fleeing to the United States, he started a new publishing house with his wife, Helen Wolff, what was to become Pantheon Books in New York. It was there in New York in the early 1940s that he first made Hannah Arendt’s acquaintance.
Although Arendt never met Kafka personally (she was 17 when Kafka died), she did seriously engage with his work during the last thirty years of her life. Indeed, after immigrating to the United States in 1941 she resolved to ‘save’ or ‘rescue’ many eastern-European Jewish authors threatened by abandonment through an idea for a ‘Jewish Journal’ (Jüdische Zeitschrift) featuring these writers. As Marie Luise Knott writes in her co-authored book with Barbara Hahn on Arendt, Von den Dichtern erwarten wir Wahrheit, this goal was something which, while never reaching fruition, endured throughout Arendt’s career.
Kafka, in particular, represented for Arendt a distinct voice articulating the alienation involved in the assimilation into a new place or society. In fact, after finally meeting Salman Schocken (of Schocken Verlag) in 1945 and accepting a position as a Chief Editor at Schocken Books (which had also recently recently moved its offices from Berlin to New York), her initial project was to edit the first English translation of Kafka’s diaries. Even before that, Arendt wrote an essay in 1944 for the 20th anniversary of Kafka’s 1924 passing, entitled “Franz Kafka: A Revaluation”; she spends the first half of the essay discussing The Trial (the novel Kurt Wolff chose for his inscription a year later). Kafka also appears in Arendt’s essay “The Jew as Pariah”, and she would go on to work with Helen Wolff, after Kurt’s death, for example, to co-edit Walter Benjamin’s Illuminations in 1968.
With all of this in mind, why did Wolff send this particular book of Kafka’s to Arendt, and why at this specific date?
“April 30th 1945” has become a historically significant date: it is the date of Adolf Hitler’s suicide, marking a turning point and a near-end to World War II. It is unlikely, though, that anyone in New York knew of this on the actual day it happened. For Wolff and Arendt, however, both transplanted German Jews, the date after the fact also connects them symbolically to their survival of Hitler’s Third Reich and the Holocaust.
In a different yet related reading, the date concerns Kurt Wolff’s publishing ventures in New York where he started Pantheon Books in January 1943. In Kurt Wolff: A Portrait in Essays and Letters, he is quoted as having written that “Pantheon was founded on an extremely small amount of initial capital to give me the chance to earn a living. It was an experiment- and since no matter what the balance sheet says on April 30, 1944, a profit is unavoidable- the experiment is a success.” One can read this, in conjunction with the Kafka inscription, as April 30 taking on a new meaning in his life. It marks, in addition to his personal survival, the survival of his first publishing undertaking in the United States, and it now points to his valuable lasting friendship with Hannah Arendt.
Wolff, though Kafka’s first publisher, never published The Trial. Max Brod prepared the manuscript from Kafka’s Nachlass for Verlag Die Schmiede in Berlin in 1925, then in 1931 gave full publishing rights of Kafka’s works and manuscripts to Schocken Verlag. That The Trial itself was not published by Wolff, but more importantly, was not published in Kafka’s lifetime, speaks to this theme of survival in the inscription. The Trial survived Kafka, this copy published in 1935 survived World War II, and Arendt, through her essays and editorial work, helped Kafka to survive and arrive in the public world after 1945.
Wolff sent this book to Arendt certainly not as a reading recommendation, but rather as a symbolic gift. For Arendt, as Wolff surely knew, had not only already read The Trial, but had also written essays on it. Thus, in contrast to other books in her personal library, there are no annotations or markings to be found anywhere else in the book. This particular copy was not meant to be read, it seems, but to be appreciated in a different way.
To conclude the inscription, Wolff writes Auf Wiedersehen. To translate this as the usual “Goodbye” gives this entire gift - of the book, of their friendship, of their survival – a perhaps unnecessarily ominous and melancholic feeling. Rather, the literal meaning is here the more accurate one: “See you again”.
- Kerk Soursourian, Bard College